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1 In his Prison Notebooks, Antonio Gramsci, states that:

The crisis consists precisely in the fact that the old is dying and the new cannot be born; in this interregnum a great variety of morbit symptoms appear.

2 Frances Ferguson, "The Nuclear Sublime," Diacritics, 14, no.2 (Summer 1984), pp. 8-9.

3 Jean-Francois Lyotard, "For a Pseudo Theory," in Yale French Studies, 1952, pp. 115-127.

4 Michel Foucault, "The Confession of the Flesh," in Power/Knowledge: Selected Interviews and Other Writings: 1972-1977, ed., Colin Gordon, New York: Pantheon Books, 1972, p.194.

5 The name Hugo recalls another architectural crisis articulated by yet another Hugo. See Victor Hugo's, The Hunchback of Notre-Dame, New York: Dodd, 1947.

6 In his Paraesthetics: Foucault, Lyotard, Derrida, New York: Methuen, 1987, p. 142, David Carroll states that:

The sublime...constitutes in some sense the paradoxes of the aesthetic itself: the paradox of the pleasure of displeasure and the presentation of the unpresentable.

7 Peter De Bolla, The Discourse of the Sublime: Readings in History, Aesthetics and the Subject, Oxford: Basil Blackwell, 1989, p.38.

8 Jean-Francois Lyotard, "The Sign of History," in The Lyotard Reader, ed. Andrew Benjamin, Oxford: Basil Blackwell, 1989, p. 409.