Abstract

The Kantian interpretation of the sublime proposes in its assessment a predominant place to the contemplation of nature. Contemporary interpretations, on the other hand, focus their attention upon the capacity of art as a de-structuralizing element, in order to give an account of a historical development of the arts in the way of the sublime. The present paper holds that, since Martin Seel’s Aesthetics of Appearing, it is possible to link both approaches by means of an existential interpretation of the experience of the sublime that stresses the role of time, and thus recovers the experience of the natural sublime in the absence of a super-sensible foundation