How the sublime became "now": time, modernity and aesthetics in Lyotard's rewriting of Kant

Writing in the late 1980s, Nancy gives as examples of the "recent fashion for the sublime" not only the theoreticians of Paris, but the artists of Los Angeles, Berlin, Rome, and Tokyo. At the beginning of the twenty-first century, the sublime may of course no longer seem quite so "now" as it did back then, whether in North America, Europe, or Japan. Simon Critchley, for one, has suggested that, at least as regards the issue of its conceptual coupling to "postmodernism," the "debate" concerning the sublime "has become rather stale and the discussion has moved on." Nonetheless, if that debate has indeed "moved on"-and thankfully so-it is not without its remainder, particularly in the very contemporary context of a resurgence of interest in explicitly philosophical accounts of art, in the wake of an emergent critique of cultural studies and of the apparent waning of poststructuralism's influence-a resurgence that has led to a certain "return to aesthetics" in recent Continental philosophy and to the work of Kant, Schelling, and the German Romantics. Moreover, as Nancy's precise formulations suggest, the "fashion" [mode] through which the sublime "offers itself"-as "a break within or from aesthetics"-clearly contains a significance that Critchley's more straightforward narration of shifts in theoretical chic cannot encompass. At stake in this would be the relation between the mode of fashion and art's "destiny" within modernity itself, from the late eighteenth century onwards. Such a conception of art's "destiny," as inextricably linked to that of the sublime, is not unique to recent French theory. In a brief passage in Aesthetic Theory, Adorno also suggests that the "sublime, which Kant reserved exclusively for nature, later became the historical constituent of art itself.... [I]n a subtle way, after the fall of formal beauty, the sublime was the only aesthetic idea left to modernism." As such, although the term has its classical origins in Longinus, its historical character for "us," both Nancy and Adorno argue, associates it specifically with the emergence of the modern. As another philosopher states: "It is around this name [of the sublime] that the destiny of classical poetics was hazarded and lost; it is in this name that ... romanticism, in other words, modernity, triumphed."

Literature Review WM9: Part II - light goods vehicles in urban areas, carried as as part Work Module 1, Green Logistics Project

LGVs are of ever-greater importance in terms of the final delivery of many time-critical, high value goods and are also widely used in industries that provide a wide range of critical support services. There are almost five times as many LGVs as there are HGVs (goods vehicles over 3.5 tonnes gross vehicle weight) currently licensed in Britain. The LGV fleet in Britain is growing at a faster rate than the HGV fleet, and the LGV fleet travels more than twice as many vehicle kilometres each year than the total HGV fleet. LGVs perform a far greater proportion of their total distance travelled in urban areas than HGVs, and consume 25% of the total diesel and 3% of the total petrol used by all motorised road transport vehicles in Britain.

Literature Review WM9: Part I - urban freight transport, carried out as part of Work Module 1, Green Logistics Project

The review illustrates the importance of road movements in goods distribution in urban areas. It highlights the major economic, environmental and social impacts associated with this freight activity and reviews policy options available to those responsible for regulation. A wide range of possible solutions to problems posed by urban freight operations are also covered including approaches related to: consolidation, facilities, vehicle design, information capture and utilisation, and non-road modes.