ABSTRACT
There are two obvious problems I will refer to in the history o f the sublime in aesthetics. First is the frequently materializing danger o f philosophical discourse annihilating the artistic context from which the sublime is available for philo sophical speculation and, as a result, the sublime itself. This has to do with the discourse’s paradoxical task o f delimiting that which is said to defy the limits o f a subject’s imaginative capacity for adequate representation. The second danger is the insidious manifestation o f a gender monopoly in the discussion, production and initially even the experience of sublimity.
