It is widely believed that the concept of the sublime no longer plays any role in post-Kantian aesthetics, despite its widespread presence as a feeling in European Romantic art and literature. This article aims to show how in fact in the aesthetics of German Romanticism Kant's transcendental sublime was modified and integrated into a broader conception of the beautiful. An analysis of the various occurrences of the concept in Friedrich Schlegel's work shows that the sublime, which is related to the ideas of enthusiasm and the transcendental, represents the cognitive, metaphysical and dialectical dimension of the Romantic conception of art.
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