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In this chapter, Alfrey explores the central role that the aesthetic category of the sublime has played throughout Slavoj Žižek’s oeuvre—a role about which literary critics have had surprisingly little to say. As Alfrey explains, contrary to the more traditional romantic sublime of Burke and Kant—a sublime situated along the vertical axis of transcendence—Žižek’s “ridiculous sublime” is situated along the horizontal axis of immanence. Born, on the one hand, of the gap in immanence inscribed in the Hegelian dialectic (a gap that keeps thesis and antithesis in perpetual relation and forestalls any final Aufhebung) and, on the other hand,...

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