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Lap-Chuen Tsang - The sublime: groundwork towards a theory

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title The Sublime Groundwork Towards a Theory author Tsang - photo 1

title:The Sublime : Groundwork Towards a Theory
author:Tsang, Lap-Chuen.
publisher:University of Rochester
isbn10 | asin:1580460275
print isbn13:9781580460279
ebook isbn13:9780585278667
language:English
subjectSublime, The.
publication date:1998
lcc:BH301.S7T78 1998eb
ddc:111/.85
subject:Sublime, The.
Page iii
The Sublime
Groundwork towards a Theory
Tsang Lap-Chuen
FOREWORD BY ALASDAIR MACINTYRE
Page iv Copyright 1998 Tsang Lap-chuen All Rights Reserved Except as - photo 2
Page iv
Copyright 1998 Tsang Lap-chuen
All Rights Reserved. Except as permitted under current legislation, no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner.
First published 1998
University of Rochester Press 668 Mt. Hope Avenue Rochester, NY 14620 USA
and at P.O. Box 9 Woodbridge, Suffolk IP12 3DF United Kingdom
Library of Congress Cataloging-in-Publication Data
Tsang, Lap-Chuen, 1943
The sublime : groundwork towards a theory / Lap-Chuen Tsang;
foreword by Alasdair MacIntire.
p. cm.
Includes bibliographical references (p. 161) and index.
ISBN 1-58046-027-5 (alk. paper)
1. Sublime, The. I. Title.
BH301.S7T78 1998
111'85dc21 98-12124
CIP
British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library
Designed and typeset by Cornerstone Composition Services Printed in the United States of America This publication is printed on acid-free paper
Page v
Contents
Acknowledgments
vii
Foreword
by Alasdair MacIntyre
ix
Preface
xiii
1
Introduction
1
2
Construal
25
3
Evocation
59
4
Affectivity
81
5
Instantiation
95
6
Epilogue
123
Appendix I
Kant on the Sublime
137
Appendix II
Wittgenstein, World and Wonder
147
Bibliography
161
Index of Names
173

Page vii
Acknowledgements
I am indebted to Cyril Barrett, Gene Blocker, Colin Davies, Paul Fiddes, Erik Kvan, Alasdair MacIntyre, Basil Mitchell, Tim Moore, Joseph Munitiz, Christopher New and Ivan Strenski for their advice and support; and to Erik Kvan and Joseph Munitiz for their kindness and encouragement over the years. I should like to add that, without Tim Moore's invitation to the notion of the sublime and corrective instructions, the theory proposed in this book, fallible though it is because of my own limitations, would not be possible at all.
Among those who have also put me in their debt in their various ways, a word of thanks is due to Chow Pak-kiu, Kwan Yat-Kau, Lam Wing-hong, Lau Yan-ming, Liu Chia-chu and Wong Wai-hung.
I am grateful to Campion Hall (the House of Studies of the Society of Jesus in Oxford University) for their support and encouragement; and to Alasdair MacIntyre for writing the Foreword.
Picture 3
T.L.C.
Page ix
Foreword
Dr. Tsang Lap-chuen's book on the sublime is important in two ways. It takes up a topic that has hitherto too often been treated as if it were only of interest to those engaged in the study of aesthetics, and it provides an explanation of why this topic is of much wider and more general philosophical interest. In so doing it challenges all those previous writers on the sublime who have concluded too easily that 'the sublime' has been used to name just too many varying and different kinds of thing, so that the notion of a single theory of the sublime is a vain one.
Certainly Tsang agrees with those writers that, if we look at the range of objects that have been held to be sublime, we shall find it difficult to identify any common property that they share. And, if we look instead at the emotions evoked by and directed towards such objects, we shall once again find it difficult to identify any single common property of such emotions. Strong emotion is indeed a characteristic response to the sublime, but Tsang follows Longinus, although for different reasons, in holding that there is no essential relationship between any particular emotion and the sublime, although some affect is always involved in the experience of the sublime.
What is evoked in our experience of the sublime is a response to an object, but an object as interpreted by an idea and that idea finds application only to those objects that we encounter in what Tsang calls limit-situations. It is not what properties that object has, but the situation in which it is encountered that renders it thus interpretable. The notion of a limit that Tsang
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