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Disgust may have a cognitive role that is lacking in cases of fear; fear may lead to the apprehension of a danger, but disgust has the power to impart directly what may be very clear-sighted partial awareness of its object, which may be quite intuitive in nature. 1 -Aurel KolnaiA good deal of philosophical work in aesthetics today explores emotional responses and their role in the comprehension and appreciation of art.The power of music to excite or of horror movies to frighten are familiar instances of emotional involvement -including physiological arousal -that is indispensable for full grasp of an art work. 2 As a rule, "aesthetic" emotions (that is, those that comprise appreciative arousal) are varieties of everyday emotions: anxiety, sorrow, dread, happiness, and so forth, although they may alter in their aesthetic form from the ordinary variety: grief is muted by cognizance of the fi ctionality of its objects, for instance.Occasionally, however, aesthetic transformation is so profound that an entirely new affective experience is brought into being.The most famous example of this is the emotion identifi ed as the sublime, widely theorized as founded upon terror, though transmogrifi ed into thrill and awe.In this paper I shall make another case for the transformation of what is typically an aversion into a positive mode of appreciation.I intend to argue that just as fear can be the foundation for encounters with the sublime, so disgust has an aesthetic counterpart of comparable intensity, importance, and meaning.It doesn't have its own name yet, but I am going to call it the sublate.This term plays upon the senses of "sublime" in both philosophy and chemistry.In the latter discourse, "sublime" refers to a substance when it passes directly from solid to gaseous state with no interval of liquid; the term orig-
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