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	<title>Sublim (filsafat) - Riwayat revisi</title>
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	<updated>2026-09-16T02:31:00Z</updated>
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		<title>Maintenance script: Presentation V4: sitasi, referensi, Math, Wikimedia Commons, dan atribusi</title>
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		<updated>2026-08-25T23:05:25Z</updated>

		<summary type="html">&lt;p&gt;Presentation V4: sitasi, referensi, Math, Wikimedia Commons, dan atribusi&lt;/p&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Revisi sebelumnya&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revisi per 25 Agustus 2026 23.05&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l1&quot;&gt;Baris 1:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Baris 1:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Dalam [[estetika]], &#039;&#039;&#039;sublim&#039;&#039;&#039; () adalah [[wikt:kualitas|sifat]] kebesaran, baik dalam hal [[sistem fisik|fisik]], [[Etika|moral]], [[intelektualisme|intelektual]], [[metafisika|metafisik]], [[estetika|estetis]], [[spiritualitas|spiritual]], maupun [[seni]]. Istilah ini khususnya merujuk pada kebesaran yang melampaui segala kemungkinan perhitungan, pengukuran, atau peniruan. Sejak pertama kali diterapkan dalam bidang [[retorika]] dan drama di [[Yunani kuno]], konsep ini menjadi penting tidak hanya dalam estetika filosofis tetapi juga dalam [[teori sastra]] dan [[sejarah seni]].&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Dalam [[estetika]], &#039;&#039;&#039;sublim&#039;&#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&amp;lt;ref&amp;gt;[https://id.wikipedia.org/w/index.php?title=Sublim+%28filsafat%29&amp;amp;oldid=27897680 sumber pada Wikipedia bahasa Indonesia]&amp;lt;/ref&amp;gt; &lt;/ins&gt;() adalah [[wikt:kualitas|sifat]] kebesaran, baik dalam hal [[sistem fisik|fisik]], [[Etika|moral]], [[intelektualisme|intelektual]], [[metafisika|metafisik]], [[estetika|estetis]], [[spiritualitas|spiritual]], maupun [[seni]]. Istilah ini khususnya merujuk pada kebesaran yang melampaui segala kemungkinan perhitungan, pengukuran, atau peniruan. Sejak pertama kali diterapkan dalam bidang [[retorika]] dan drama di [[Yunani kuno]], konsep ini menjadi penting tidak hanya dalam estetika filosofis tetapi juga dalam [[teori sastra]] dan [[sejarah seni]].&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&amp;lt;ref&amp;gt;Robert Doran. &#039;&#039;The Theory of the Sublime from Longinus to Kant&#039;&#039;. Cambridge University Press. 2017. hlm. 1. ISBN 978-1-107-10153-1.&amp;lt;/ref&amp;gt;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-added&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;==Referensi==&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-added&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-added&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==Bacaan lanjutan==&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==Bacaan lanjutan==&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-added&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[[Addison, Joseph]]. &amp;#039;&amp;#039;The Spectator&amp;#039;&amp;#039;. Ed. Donald E. Bond. Oxford, 1965.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[[Addison, Joseph]]. &amp;#039;&amp;#039;The Spectator&amp;#039;&amp;#039;. Ed. Donald E. Bond. Oxford, 1965.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Beidler. P. G. &amp;quot;The Postmodern Sublime: Kant and Tony Smith&amp;#039;s Anecdote of the Cube&amp;quot;. &amp;#039;&amp;#039;The Journal of Aesthetics and Art Criticism&amp;#039;&amp;#039;, Vol. 53, No. 2 (Spring 1995): 177&amp;amp;ndash;186.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Beidler. P. G. &amp;quot;The Postmodern Sublime: Kant and Tony Smith&amp;#039;s Anecdote of the Cube&amp;quot;. &amp;#039;&amp;#039;The Journal of Aesthetics and Art Criticism&amp;#039;&amp;#039;, Vol. 53, No. 2 (Spring 1995): 177&amp;amp;ndash;186.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l11&quot;&gt;Baris 11:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Baris 7:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Brett, R.L. &amp;#039;&amp;#039;The Third Earl of Shaftesbury&amp;#039;&amp;#039;. London, 1951. ASIN: B0007IYKBU&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Brett, R.L. &amp;#039;&amp;#039;The Third Earl of Shaftesbury&amp;#039;&amp;#039;. London, 1951. ASIN: B0007IYKBU&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Budd, M. &amp;#039;&amp;#039;The Aesthetic Appreciation of Nature&amp;#039;&amp;#039;. Oxford, Oxford University Press, 2003.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Budd, M. &amp;#039;&amp;#039;The Aesthetic Appreciation of Nature&amp;#039;&amp;#039;. Oxford, Oxford University Press, 2003.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Burke, Edmund. &#039;&#039;[[A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful]]&#039;&#039;. London, 1958.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Burke, Edmund. &#039;&#039;[[A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful]]&#039;&#039;. London, 1958.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Clewis, Robert, ed. &amp;#039;&amp;#039;[https://www.bloomsbury.com/us/the-sublime-reader-9781350030152/ The Sublime Reader]&amp;#039;&amp;#039;. London: Bloomsbury Academic, 2019.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Clewis, Robert, ed. &amp;#039;&amp;#039;[https://www.bloomsbury.com/us/the-sublime-reader-9781350030152/ The Sublime Reader]&amp;#039;&amp;#039;. London: Bloomsbury Academic, 2019.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[[Clewis, Robert]], ed. &amp;#039;&amp;#039;The Kantian Sublime and the Revelation of Freedom&amp;#039;&amp;#039;. Cambridge: Cambridge University Press, 2009.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[[Clewis, Robert]], ed. &amp;#039;&amp;#039;The Kantian Sublime and the Revelation of Freedom&amp;#039;&amp;#039;. Cambridge: Cambridge University Press, 2009.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Collingwood, R.G. &#039;&#039;The Idea of Nature&#039;&#039;. Oxford, 1945.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Collingwood, R.G. &#039;&#039;The Idea of Nature&#039;&#039;. Oxford, 1945.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Cooper, Anthony Ashley, Third Earl of Shaftesbury. &amp;#039;&amp;#039;The Moralists: A Philosophical Rhapsody&amp;#039;&amp;#039;, in &amp;#039;&amp;#039;[[Characteristicks]]&amp;#039;&amp;#039;, Vol. II. Ed. John M. Robertson. London, 1900.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Cooper, Anthony Ashley, Third Earl of Shaftesbury. &amp;#039;&amp;#039;The Moralists: A Philosophical Rhapsody&amp;#039;&amp;#039;, in &amp;#039;&amp;#039;[[Characteristicks]]&amp;#039;&amp;#039;, Vol. II. Ed. John M. Robertson. London, 1900.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Crowther, P. &#039;&#039;How Pictures Complete Us; The Beautiful, the Sublime and the Divine&#039;&#039;. Stanford University Press, 2016.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Crowther, P. &#039;&#039;How Pictures Complete Us; The Beautiful, the Sublime and the Divine&#039;&#039;. Stanford University Press, 2016.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*de Bolla, P. &amp;#039;&amp;#039;The Discourse of the Sublime&amp;#039;&amp;#039;. Basil Blackwell, 1989.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*de Bolla, P. &amp;#039;&amp;#039;The Discourse of the Sublime&amp;#039;&amp;#039;. Basil Blackwell, 1989.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Dennis, John. &amp;#039;&amp;#039;Miscellanies in Verse and Prose&amp;#039;&amp;#039;, in &amp;#039;&amp;#039;Critical Works&amp;#039;&amp;#039;, Vol. II. Ed. Edward Niles Hooker. Baltimore, 1939&amp;amp;ndash;1943. ASIN: B0007E9YR4&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Dennis, John. &amp;#039;&amp;#039;Miscellanies in Verse and Prose&amp;#039;&amp;#039;, in &amp;#039;&amp;#039;Critical Works&amp;#039;&amp;#039;, Vol. II. Ed. Edward Niles Hooker. Baltimore, 1939&amp;amp;ndash;1943. ASIN: B0007E9YR4&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Doran, Robert. &quot;Literary History and the Sublime in Erich Auerbach&#039;s Mimesis&quot;. &#039;&#039;New Literary History&#039;&#039; 38.2 (2007): 353–369.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Doran, Robert. &quot;Literary History and the Sublime in Erich Auerbach&#039;s Mimesis&quot;. &#039;&#039;New Literary History&#039;&#039; 38.2 (2007): 353–369.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Doran, Robert. &#039;&#039;The Theory of the Sublime from Longinus to Kant&#039;&#039;. Cambridge: Cambridge University Press, 2015.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Doran, Robert. &#039;&#039;The Theory of the Sublime from Longinus to Kant&#039;&#039;. Cambridge: Cambridge University Press, 2015.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Dessoir, Max. &#039;&#039;Aesthetics and theory of art. Ästhetik und allgemeine Kunstwissenschaft&#039;&#039;. Translated by Stephen A. Emery. With a foreword by Thomas Munro. Detroit, Wayne State University Press, 1970.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Dessoir, Max. &#039;&#039;Aesthetics and theory of art. Ästhetik und allgemeine Kunstwissenschaft&#039;&#039;. Translated by Stephen A. Emery. With a foreword by Thomas Munro. Detroit, Wayne State University Press, 1970.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Duffy, C. &amp;#039;&amp;#039;Shelley and the revolutionary sublime&amp;#039;&amp;#039;. Cambridge, 2005.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Duffy, C. &amp;#039;&amp;#039;Shelley and the revolutionary sublime&amp;#039;&amp;#039;. Cambridge, 2005.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Ferguson, F. &amp;#039;&amp;#039;Solitude and the Sublime: romanticism and the aesthetics of individuation&amp;#039;&amp;#039;. [[Routledge]], 1992.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Ferguson, F. &amp;#039;&amp;#039;Solitude and the Sublime: romanticism and the aesthetics of individuation&amp;#039;&amp;#039;. [[Routledge]], 1992.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l29&quot;&gt;Baris 29:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Baris 25:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Hipple, Walter John, Jr. &amp;#039;&amp;#039;The Beautiful, the Sublime, and the Picturesque in Eighteenth-Century British Aesthetic Theory&amp;#039;&amp;#039;. Carbondale, IL, 1957.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Hipple, Walter John, Jr. &amp;#039;&amp;#039;The Beautiful, the Sublime, and the Picturesque in Eighteenth-Century British Aesthetic Theory&amp;#039;&amp;#039;. Carbondale, IL, 1957.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Kant, Immanuel. [[Critique of Judgment]]. Trans. J.H. Bernard. Macmillan, 1951.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Kant, Immanuel. [[Critique of Judgment]]. Trans. J.H. Bernard. Macmillan, 1951.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Kant, Immanuel. &#039;&#039;[[Observations on the Feeling of the Beautiful and Sublime]]&#039;&#039;. Translated by John T. Goldthwaite. University of California Press, 2003.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Kant, Immanuel. &#039;&#039;[[Observations on the Feeling of the Beautiful and Sublime]]&#039;&#039;. Translated by John T. Goldthwaite. University of California Press, 2003.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* Kaplama, Erman. &amp;#039;&amp;#039;Cosmological Aesthetics through the Kantian Sublime and Nietzschean Dionysian&amp;#039;&amp;#039;. Lanham: UPA, Rowman &amp;amp; Littlefield, 2014.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* Kaplama, Erman. &amp;#039;&amp;#039;Cosmological Aesthetics through the Kantian Sublime and Nietzschean Dionysian&amp;#039;&amp;#039;. Lanham: UPA, Rowman &amp;amp; Littlefield, 2014.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Kirwan, J. (2005). &amp;#039;&amp;#039;Sublimity: The Non-Rational and the Irrational in the History of Aesthetics&amp;#039;&amp;#039;. Routledge, 2005.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Kirwan, J. (2005). &amp;#039;&amp;#039;Sublimity: The Non-Rational and the Irrational in the History of Aesthetics&amp;#039;&amp;#039;. Routledge, 2005.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Lyotard, Jean-François. &amp;#039;&amp;#039;Lessons on the Analytic of the Sublime&amp;#039;&amp;#039;. Trans. Elizabeth Rottenberg. Stanford University Press, 1994.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Lyotard, Jean-François. &amp;#039;&amp;#039;Lessons on the Analytic of the Sublime&amp;#039;&amp;#039;. Trans. Elizabeth Rottenberg. Stanford University Press, 1994.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Monk, Samuel H. &amp;#039;&amp;#039;The Sublime: A Study of Critical Theories in XVIII-Century England&amp;#039;&amp;#039;. Ann Arbor: University of Michigan Press, 1935/1960.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Monk, Samuel H. &amp;#039;&amp;#039;The Sublime: A Study of Critical Theories in XVIII-Century England&amp;#039;&amp;#039;. Ann Arbor: University of Michigan Press, 1935/1960.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[[Marjorie Hope Nicolson|Nicolson, Marjorie Hope]]. &#039;&#039;Mountain Gloom and Mountain Glory&#039;&#039;. Ithaca, 1959.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[[Marjorie Hope Nicolson|Nicolson, Marjorie Hope]]. &#039;&#039;Mountain Gloom and Mountain Glory&#039;&#039;. Ithaca, 1959.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Navon, Mois. &amp;quot;Sublime Tekhelet&amp;quot;. [http://www.divreinavon.com/pdf/SublimeTekhelet.pdf The Writings of Mois Navon]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Navon, Mois. &amp;quot;Sublime Tekhelet&amp;quot;. [http://www.divreinavon.com/pdf/SublimeTekhelet.pdf The Writings of Mois Navon]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Nicolson, Marjorie Hope. &amp;quot;Sublime in External Nature&amp;quot;. &amp;#039;&amp;#039;Dictionary of the History of Ideas&amp;#039;&amp;#039;. New York, 1974.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Nicolson, Marjorie Hope. &amp;quot;Sublime in External Nature&amp;quot;. &amp;#039;&amp;#039;Dictionary of the History of Ideas&amp;#039;&amp;#039;. New York, 1974.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l45&quot;&gt;Baris 45:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Baris 41:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Shusterman, R. &amp;quot;Somaesthetics and Burke&amp;#039;s Sublime&amp;quot;. &amp;#039;&amp;#039;British Journal of Aesthetics&amp;#039;&amp;#039;, Vol. 45, No. 4, October 2005: 323&amp;amp;ndash;341.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Shusterman, R. &amp;quot;Somaesthetics and Burke&amp;#039;s Sublime&amp;quot;. &amp;#039;&amp;#039;British Journal of Aesthetics&amp;#039;&amp;#039;, Vol. 45, No. 4, October 2005: 323&amp;amp;ndash;341.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[[Guy Sircello|Sircello, Guy]], &amp;quot;How is a Theory of the Sublime Possible?&amp;quot; &amp;#039;&amp;#039;The Journal of Aesthetics and Art Criticism&amp;#039;&amp;#039;, Vol. 51, No. 4 (Autumn 1993): 541&amp;amp;ndash;550.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[[Guy Sircello|Sircello, Guy]], &amp;quot;How is a Theory of the Sublime Possible?&amp;quot; &amp;#039;&amp;#039;The Journal of Aesthetics and Art Criticism&amp;#039;&amp;#039;, Vol. 51, No. 4 (Autumn 1993): 541&amp;amp;ndash;550.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[[Schopenhauer]], Arthur. &#039;&#039;[[The World as Will and Representation]]&#039;&#039;. Volume I. New York: Dover Press.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[[Schopenhauer]], Arthur. &#039;&#039;[[The World as Will and Representation]]&#039;&#039;. Volume I. New York: Dover Press.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Slocombe, Will. &amp;#039;&amp;#039;Nihilism and the Sublime Postmodern: The (Hi)Story of a Difficult Relationship&amp;#039;&amp;#039;. New York: Routledge, 2006.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Slocombe, Will. &amp;#039;&amp;#039;Nihilism and the Sublime Postmodern: The (Hi)Story of a Difficult Relationship&amp;#039;&amp;#039;. New York: Routledge, 2006.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Stolnitz, Jerome. &amp;quot;On the Significance of Lord Shaftesbury in Modern Aesthetic Theory&amp;quot;. &amp;#039;&amp;#039;Philosophical Quarterly&amp;#039;&amp;#039;, 43(2):97&amp;amp;ndash;113, 1961.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Stolnitz, Jerome. &amp;quot;On the Significance of Lord Shaftesbury in Modern Aesthetic Theory&amp;quot;. &amp;#039;&amp;#039;Philosophical Quarterly&amp;#039;&amp;#039;, 43(2):97&amp;amp;ndash;113, 1961.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Tsang, Lap Chuen. &amp;#039;&amp;#039;The Sublime : Groundwork towards a Theory&amp;#039;&amp;#039;. University of Rochester Press, 1998.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Tsang, Lap Chuen. &amp;#039;&amp;#039;The Sublime : Groundwork towards a Theory&amp;#039;&amp;#039;. University of Rochester Press, 1998.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Zuckert, R. &amp;quot;Awe or Envy? Herder contra Kant on the Sublime&amp;quot;. &amp;#039;&amp;#039;The Journal of Aesthetics and Art Criticism&amp;#039;&amp;#039;, Vol. 61, No. 3 (Summer 2003): 217&amp;amp;ndash;232.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Zuckert, R. &amp;quot;Awe or Envy? Herder contra Kant on the Sublime&amp;quot;. &amp;#039;&amp;#039;The Journal of Aesthetics and Art Criticism&amp;#039;&amp;#039;, Vol. 61, No. 3 (Summer 2003): 217&amp;amp;ndash;232.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-added&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==Pranala luar==&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==Pranala luar==&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-added&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-added&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.schillerinstitute.org/transl/trans_on_sublime.html Friedrich Schiller, On the Sublime]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[http://www.schillerinstitute.org/transl/trans_on_sublime.html Friedrich Schiller, On the Sublime]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [https://www.bbc.co.uk/programmes/p004y23j The Sublime], BBC Radio 4 discussion with Janet Todd, Annie Janowitz &amp;amp; Peter de Bolla (&amp;#039;&amp;#039;In Our Time&amp;#039;&amp;#039;, Feb. 12, 2004)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [https://www.bbc.co.uk/programmes/p004y23j The Sublime], BBC Radio 4 discussion with Janet Todd, Annie Janowitz &amp;amp; Peter de Bolla (&amp;#039;&amp;#039;In Our Time&amp;#039;&amp;#039;, Feb. 12, 2004)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;== Referensi ==&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&amp;lt;references /&amp;gt;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;== Sumber dan atribusi ==&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;== Sumber dan atribusi ==&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Konten artikel ini diadaptasi dari [https://id.wikipedia.org/w/index.php?title=Sublim+%28filsafat%29&amp;amp;oldid=27897680 Wikipedia bahasa Indonesia], revisi 27897680 (2025-09-29T01:17:04Z), yang tersedia berdasarkan lisensi Creative Commons Atribusi-BerbagiSerupa (CC BY-SA). Mohon gunakan konten ini secara bijak serta sesuai dengan ketentuan lisensi yang berlaku.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Konten artikel ini diadaptasi dari [https://id.wikipedia.org/w/index.php?title=Sublim+%28filsafat%29&amp;amp;oldid=27897680 Wikipedia bahasa Indonesia], revisi 27897680 (2025-09-29T01:17:04Z), yang tersedia berdasarkan lisensi Creative Commons Atribusi-BerbagiSerupa (CC BY-SA). Mohon gunakan konten ini secara bijak serta sesuai dengan ketentuan lisensi yang berlaku.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&amp;lt;!-- WIKI_UNISSULA_PRESENTATION_V4 --&amp;gt;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Maintenance script</name></author>
	</entry>
	<entry>
		<id>https://wiki.unissula.ac.id/index.php?title=Sublim_(filsafat)&amp;diff=11942&amp;oldid=prev</id>
		<title>Maintenance script: Impor teks terkontrol dari Wikipedia bahasa Indonesia; revisi 27897680; atribusi sumber disertakan.</title>
		<link rel="alternate" type="text/html" href="https://wiki.unissula.ac.id/index.php?title=Sublim_(filsafat)&amp;diff=11942&amp;oldid=prev"/>
		<updated>2026-08-25T22:38:19Z</updated>

		<summary type="html">&lt;p&gt;Impor teks terkontrol dari Wikipedia bahasa Indonesia; revisi 27897680; atribusi sumber disertakan.&lt;/p&gt;
&lt;p&gt;&lt;b&gt;Halaman baru&lt;/b&gt;&lt;/p&gt;&lt;div&gt;Dalam [[estetika]], &amp;#039;&amp;#039;&amp;#039;sublim&amp;#039;&amp;#039;&amp;#039; () adalah [[wikt:kualitas|sifat]] kebesaran, baik dalam hal [[sistem fisik|fisik]], [[Etika|moral]], [[intelektualisme|intelektual]], [[metafisika|metafisik]], [[estetika|estetis]], [[spiritualitas|spiritual]], maupun [[seni]]. Istilah ini khususnya merujuk pada kebesaran yang melampaui segala kemungkinan perhitungan, pengukuran, atau peniruan. Sejak pertama kali diterapkan dalam bidang [[retorika]] dan drama di [[Yunani kuno]], konsep ini menjadi penting tidak hanya dalam estetika filosofis tetapi juga dalam [[teori sastra]] dan [[sejarah seni]].&lt;br /&gt;
&lt;br /&gt;
==Referensi==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Bacaan lanjutan==&lt;br /&gt;
&lt;br /&gt;
*[[Addison, Joseph]]. &amp;#039;&amp;#039;The Spectator&amp;#039;&amp;#039;. Ed. Donald E. Bond. Oxford, 1965.&lt;br /&gt;
*Beidler. P. G. &amp;quot;The Postmodern Sublime: Kant and Tony Smith&amp;#039;s Anecdote of the Cube&amp;quot;. &amp;#039;&amp;#039;The Journal of Aesthetics and Art Criticism&amp;#039;&amp;#039;, Vol. 53, No. 2 (Spring 1995): 177&amp;amp;ndash;186.&lt;br /&gt;
*Brady, E. &amp;quot;Imagination and the Aesthetic Appreciation of Nature&amp;quot;. &amp;#039;&amp;#039;The Journal of Aesthetics and Art Criticism&amp;#039;&amp;#039;, Vol. 56, No. 2 (Spring 1998): 139&amp;amp;ndash;147.&lt;br /&gt;
*Brett, R.L. &amp;#039;&amp;#039;The Third Earl of Shaftesbury&amp;#039;&amp;#039;. London, 1951. ASIN: B0007IYKBU&lt;br /&gt;
*Budd, M. &amp;#039;&amp;#039;The Aesthetic Appreciation of Nature&amp;#039;&amp;#039;. Oxford, Oxford University Press, 2003.&lt;br /&gt;
*Burke, Edmund. &amp;#039;&amp;#039;[[A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful]]&amp;#039;&amp;#039;. London, 1958.&lt;br /&gt;
*Clewis, Robert, ed. &amp;#039;&amp;#039;[https://www.bloomsbury.com/us/the-sublime-reader-9781350030152/ The Sublime Reader]&amp;#039;&amp;#039;. London: Bloomsbury Academic, 2019.&lt;br /&gt;
*[[Clewis, Robert]], ed. &amp;#039;&amp;#039;The Kantian Sublime and the Revelation of Freedom&amp;#039;&amp;#039;. Cambridge: Cambridge University Press, 2009.&lt;br /&gt;
*Collingwood, R.G. &amp;#039;&amp;#039;The Idea of Nature&amp;#039;&amp;#039;. Oxford, 1945.&lt;br /&gt;
*Cooper, Anthony Ashley, Third Earl of Shaftesbury. &amp;#039;&amp;#039;The Moralists: A Philosophical Rhapsody&amp;#039;&amp;#039;, in &amp;#039;&amp;#039;[[Characteristicks]]&amp;#039;&amp;#039;, Vol. II. Ed. John M. Robertson. London, 1900.&lt;br /&gt;
*Crowther, P. &amp;#039;&amp;#039;How Pictures Complete Us; The Beautiful, the Sublime and the Divine&amp;#039;&amp;#039;. Stanford University Press, 2016.&lt;br /&gt;
*de Bolla, P. &amp;#039;&amp;#039;The Discourse of the Sublime&amp;#039;&amp;#039;. Basil Blackwell, 1989.&lt;br /&gt;
*Dennis, John. &amp;#039;&amp;#039;Miscellanies in Verse and Prose&amp;#039;&amp;#039;, in &amp;#039;&amp;#039;Critical Works&amp;#039;&amp;#039;, Vol. II. Ed. Edward Niles Hooker. Baltimore, 1939&amp;amp;ndash;1943. ASIN: B0007E9YR4&lt;br /&gt;
*Doran, Robert. &amp;quot;Literary History and the Sublime in Erich Auerbach&amp;#039;s Mimesis&amp;quot;. &amp;#039;&amp;#039;New Literary History&amp;#039;&amp;#039; 38.2 (2007): 353–369.&lt;br /&gt;
*Doran, Robert. &amp;#039;&amp;#039;The Theory of the Sublime from Longinus to Kant&amp;#039;&amp;#039;. Cambridge: Cambridge University Press, 2015.&lt;br /&gt;
*Dessoir, Max. &amp;#039;&amp;#039;Aesthetics and theory of art. Ästhetik und allgemeine Kunstwissenschaft&amp;#039;&amp;#039;. Translated by Stephen A. Emery. With a foreword by Thomas Munro. Detroit, Wayne State University Press, 1970.&lt;br /&gt;
*Duffy, C. &amp;#039;&amp;#039;Shelley and the revolutionary sublime&amp;#039;&amp;#039;. Cambridge, 2005.&lt;br /&gt;
*Ferguson, F. &amp;#039;&amp;#039;Solitude and the Sublime: romanticism and the aesthetics of individuation&amp;#039;&amp;#039;. [[Routledge]], 1992.&lt;br /&gt;
*Fisher, P. &amp;#039;&amp;#039;Wonder, the rainbow and the aesthetics of rare experiences&amp;#039;&amp;#039;. Harvard University Press, 1999.&lt;br /&gt;
*Fudge, R. S. &amp;quot;Imagination and the Science-Based Aesthetic Appreciation of Unscenic Nature&amp;quot;. &amp;#039;&amp;#039;The Journal of Aesthetics and Art Criticism&amp;#039;&amp;#039;, Vol. 59, No. 3 (Summer 2001): 275&amp;amp;ndash;285.&lt;br /&gt;
*Gilbert-Rolfe, Jeremy. &amp;quot;Beauty and the Contemporary Sublime,&amp;quot; Allworth Press, 1999.&lt;br /&gt;
*Hipple, Walter John, Jr. &amp;#039;&amp;#039;The Beautiful, the Sublime, and the Picturesque in Eighteenth-Century British Aesthetic Theory&amp;#039;&amp;#039;. Carbondale, IL, 1957.&lt;br /&gt;
*Kant, Immanuel. [[Critique of Judgment]]. Trans. J.H. Bernard. Macmillan, 1951.&lt;br /&gt;
*Kant, Immanuel. &amp;#039;&amp;#039;[[Observations on the Feeling of the Beautiful and Sublime]]&amp;#039;&amp;#039;. Translated by John T. Goldthwaite. University of California Press, 2003.&lt;br /&gt;
* Kaplama, Erman. &amp;#039;&amp;#039;Cosmological Aesthetics through the Kantian Sublime and Nietzschean Dionysian&amp;#039;&amp;#039;. Lanham: UPA, Rowman &amp;amp; Littlefield, 2014.&lt;br /&gt;
*Kirwan, J. (2005). &amp;#039;&amp;#039;Sublimity: The Non-Rational and the Irrational in the History of Aesthetics&amp;#039;&amp;#039;. Routledge, 2005.&lt;br /&gt;
*Lyotard, Jean-François. &amp;#039;&amp;#039;Lessons on the Analytic of the Sublime&amp;#039;&amp;#039;. Trans. Elizabeth Rottenberg. Stanford University Press, 1994.&lt;br /&gt;
*Monk, Samuel H. &amp;#039;&amp;#039;The Sublime: A Study of Critical Theories in XVIII-Century England&amp;#039;&amp;#039;. Ann Arbor: University of Michigan Press, 1935/1960.&lt;br /&gt;
*[[Marjorie Hope Nicolson|Nicolson, Marjorie Hope]]. &amp;#039;&amp;#039;Mountain Gloom and Mountain Glory&amp;#039;&amp;#039;. Ithaca, 1959.&lt;br /&gt;
*Navon, Mois. &amp;quot;Sublime Tekhelet&amp;quot;. [http://www.divreinavon.com/pdf/SublimeTekhelet.pdf The Writings of Mois Navon]&lt;br /&gt;
*Nicolson, Marjorie Hope. &amp;quot;Sublime in External Nature&amp;quot;. &amp;#039;&amp;#039;Dictionary of the History of Ideas&amp;#039;&amp;#039;. New York, 1974.&lt;br /&gt;
*Noel, J. &amp;quot;Space, Time and the Sublime in Hume&amp;#039;s Treatise&amp;quot;. &amp;#039;&amp;#039;British Journal of Aesthetics&amp;#039;&amp;#039;, Vol. 34, No. 3, July 1994: 218&amp;amp;ndash;225.&lt;br /&gt;
*Pillow, K. &amp;#039;&amp;#039;Sublime Understanding: Aesthetic Reflection in Kant and Hegel&amp;#039;&amp;#039;. MIT Press, 2000.&lt;br /&gt;
*Ryan, V. (2001). &amp;quot;The physiological sublime: Burke&amp;#039;s critique of reason&amp;quot;. &amp;#039;&amp;#039;Journal of the history of ideas&amp;#039;&amp;#039;, vol. 62, no. 2 (2001): 265&amp;amp;ndash;279.&lt;br /&gt;
*[[George Santayana]]. &amp;#039;&amp;#039;The Sense of Beauty. Being the Outlines of Aesthetic Theory&amp;#039;&amp;#039;. New York, Modern Library, 1955. Pp.&amp;amp;nbsp;230–240.&lt;br /&gt;
*Saville, A. &amp;quot;Imagination and Aesthetic Value&amp;quot;. &amp;#039;&amp;#039;British Journal of Aesthetics&amp;#039;&amp;#039;, Vol. 46, No. 3, July 2006: 248&amp;amp;ndash;258.&lt;br /&gt;
*Shaw, P. &amp;#039;&amp;#039;The Sublime&amp;#039;&amp;#039;. Routledge, 2006.&lt;br /&gt;
*Shusterman, R. &amp;quot;Somaesthetics and Burke&amp;#039;s Sublime&amp;quot;. &amp;#039;&amp;#039;British Journal of Aesthetics&amp;#039;&amp;#039;, Vol. 45, No. 4, October 2005: 323&amp;amp;ndash;341.&lt;br /&gt;
*[[Guy Sircello|Sircello, Guy]], &amp;quot;How is a Theory of the Sublime Possible?&amp;quot; &amp;#039;&amp;#039;The Journal of Aesthetics and Art Criticism&amp;#039;&amp;#039;, Vol. 51, No. 4 (Autumn 1993): 541&amp;amp;ndash;550.&lt;br /&gt;
*[[Schopenhauer]], Arthur. &amp;#039;&amp;#039;[[The World as Will and Representation]]&amp;#039;&amp;#039;. Volume I. New York: Dover Press.&lt;br /&gt;
*Slocombe, Will. &amp;#039;&amp;#039;Nihilism and the Sublime Postmodern: The (Hi)Story of a Difficult Relationship&amp;#039;&amp;#039;. New York: Routledge, 2006.&lt;br /&gt;
*Stolnitz, Jerome. &amp;quot;On the Significance of Lord Shaftesbury in Modern Aesthetic Theory&amp;quot;. &amp;#039;&amp;#039;Philosophical Quarterly&amp;#039;&amp;#039;, 43(2):97&amp;amp;ndash;113, 1961.&lt;br /&gt;
*Tsang, Lap Chuen. &amp;#039;&amp;#039;The Sublime : Groundwork towards a Theory&amp;#039;&amp;#039;. University of Rochester Press, 1998.&lt;br /&gt;
*Zuckert, R. &amp;quot;Awe or Envy? Herder contra Kant on the Sublime&amp;quot;. &amp;#039;&amp;#039;The Journal of Aesthetics and Art Criticism&amp;#039;&amp;#039;, Vol. 61, No. 3 (Summer 2003): 217&amp;amp;ndash;232.&lt;br /&gt;
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==Pranala luar==&lt;br /&gt;
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*[http://www.schillerinstitute.org/transl/trans_on_sublime.html Friedrich Schiller, On the Sublime]&lt;br /&gt;
* [https://www.bbc.co.uk/programmes/p004y23j The Sublime], BBC Radio 4 discussion with Janet Todd, Annie Janowitz &amp;amp; Peter de Bolla (&amp;#039;&amp;#039;In Our Time&amp;#039;&amp;#039;, Feb. 12, 2004)&lt;br /&gt;
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== Sumber dan atribusi ==&lt;br /&gt;
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Konten artikel ini diadaptasi dari [https://id.wikipedia.org/w/index.php?title=Sublim+%28filsafat%29&amp;amp;oldid=27897680 Wikipedia bahasa Indonesia], revisi 27897680 (2025-09-29T01:17:04Z), yang tersedia berdasarkan lisensi Creative Commons Atribusi-BerbagiSerupa (CC BY-SA). Mohon gunakan konten ini secara bijak serta sesuai dengan ketentuan lisensi yang berlaku.&lt;/div&gt;</summary>
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