»Dies Wunderbare Gemählde«

Burke's “sensitive” sublime rooted in brain and body versus Kant's transcendental concept in the German Romantic discourse

“…Kleist's sensitive concept of the sublime When Friedrich's painting was first exhibited in October 1810 at the Academy of Fine Arts in Berlin, it became a controversial case because it was a radical departure from the basic principles of classical landscape painting (Begemann, 1990;Müller, 1986Müller, , 1995Rühse, 2013). Heinrich von Kleist published in the journal Berliner Abendblätter 2 a review of Friedrich's painting by Clemens Brentano and Achim von Arnim (1810/2013), but the text had been re-edited by Kleist himself, who maintained the first part (lines 1-12 of the following text) and added a complete new one -starting in line 12-although he printed it using the initials of Brentano's name ("cb"), leading to a major quarrel with his fellow writers.…”