This study explores theories of the sublime from Neoclassicism to the postmodern, and questions the widely accepted view of the sublime as an aesthetics that glorifies the self. It argues that the aesthetics of terror that pervaded 18th and early 19th century Europe was part of a generic movement toward the dissipation of the unity underwriting concepts of identity. Closely analyzing the divisiveness underlying the sublime in Burke's "Enquiry", Kant's third "Critique", Schiller's ten years of aesthetic essay, and Coleridge's scattered aesthetic writings, the study moves beyond leading scholars of the sublime as Thomas Weiskel, Frances Ferguson, Jean-Francois Lyotard, and Neil Hertz, offering a different perspective on the sublime and our understanding of romantic identity and its relation to the postmodern self.
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