Averil Cameron, "Form and Meaning: The Vita Constantini and the Vita Antonii" (72-88), reads Eusebius's "hybridized" Life of Constantine--part panegyric, part biography--in light of its similarities to the later Life of Antony, in the hopes that the former (like the latter) will be read "not as `source' but as text" (86), that is, not as problematically historiographic but as nascently
Lyotard argues, indeed, that the romantic "aesthetics of the sublime" gave birth to "a world of possibilities for artistic experiments in which the avant-gardes would later trace out their paths" (Lyotard  206); consequently, the sublime for Lyotard is a nascently
avant-gardist aesthetic that promotes whatever exceeds established canons of artistic taste, presentation and formalization, whatever imparts what he calls a "stronger sense of the unpresentable" to the work.
This was a form of intimate association that preferred elected, affective bonds to "natural" and natal ones: what we might take to be a nascently
homosexual alternative to the emerging nuclear family.