This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The figure of Johann Gottfried Herder looms increasingly important not only for his prescient contributions to many fields - biblical criticism, philosophy of language, literary criticism, philosophy of history - but also for his pivotal position between the impulses of the Enlightenment and Romanticism. Many of Herder's questions and concerns are more pressing at the end of the modern era than they were at its inception. Bunge's lucid and engaging translations of signal texts from Herder - most appearing here for (...) the first time in English - are arranged thematically: human nature, language, and history; myth and religion; God and nature; literature and the Bible; and Christianity and theology. Along with her extensive Introduction and Bibliography, they constitute an essential resource for coming to terms with the checkered legacy of the Enlightenment. -- Back cover. (shrink)

Herder: Philosophy and Anthropology is an important and refreshing contribution to the growing literature in English on the philosophy of Johnann Gottfried Herder. Anik Waldrow and Nigel DeSouza have brought together an impressive array of contributors—a number who are well-established within Herder scholarship and others newer to his thought—to produce an interesting collection of essays exploring Herder's philosophical anthropology.The implications of Herder's attempt to place the human agent at the core of philosophy is a broad theme, with the collection (...) offering reflections on his metaphysics, his philosophy of language, his philosophy of history, his philosophy of science, his hermeneutics, as well as the role... (shrink)

Am Ausgang des europäischen 18. Jahrhunderts zeichnet sich eine signifikante Leibniz-Renaissance ab. Während die Kritische Philosophie Immanuel Kants an den philosophischen Fakultäten Einzug hielt, wurde Leibniz für deren Kritiker interessant. Die in diesem Band gesammelten Beiträge behandeln die philosophische Leibniz-Rezeption bei Johann Gottfried Herder, Friedrich Heinrich Jacobi und Friedrich Wilhelm Joseph Schelling. Weitere Schwerpunkte bilden die monadologischen Natur- und Kulturphilosophien um 1800, die Bedeutung der Leibniz-Rezeption an der Schwelle vom philosophischen zum literarischen Diskurs sowie die nachhaltige Weiterwirkung der Leibniz’schen Ideen (...) in Ästhetik und Literatur seit Baumgarten. Mit den vorliegenden Beiträgen wollen die Autoren und Herausgeber der Forschung neue Impulse geben. At the end of the 18th century in Europe a significant Leibniz renaissance emerged. As Immanuel Kant’s critical philosophy gained ground in the philosophical faculties, Leibniz became interesting to its critics. The essays collected in this volume examine the philosophical reception of Leibniz by Johann Gottfried Herder, Friedrich Heinrich Jacobi and Friedrich Wilhelm Joseph Schelling. (shrink)

Wissenschaftler verschiedener Fachrichtungen (Theologen, Historiker, Padagogen, Literaturwissenschaftler und Musikwissenschaftler) haben sich 2017 mit der Frage befasst, wie weit Johann Gottfried Herder (1744-1803) durch eine Interpretation seiner Position in Weimar als Superintendent besser verstanden werden konnte, arbeitend unter dem Bilde Luthers, sich diesem lebenslang verpflichtet fuhlend auch als Aufklarer. Kann man den "Theologen unter den Klassikern" aus dem Geflecht der Beziehungen zu Goethe, Schiller und Wieland losen, aus seinen Beziehungen zum Hof, zur Stadt, zur Schule in Weimar? Andererseits lebte er autonom (...) aus der Idee, das Erbe der Reformation fur eine neue Zeit umformen zu mussen. Aus diesen Fragestellungen fallt neues Licht auf die deutsche Geistesgeschichte, auf die Herder gerade als Protestant massgeblich eingewirkt hat. Mit Beitragen von:Martin Bollacher, Claas Cordemann, Corinna Dahlgrun, Stefanie Freyer, Stefan Gerber, Hans-Werner Hahn, Henry Hope, Martin Kessler, Roland M. Lehmann, Johannes von Lupke, Michael Maurer, Hans-Jurgen Schrader, Christopher Spehr, Michael Winkler. (shrink)

Johann Gottfried Herder is a towering figure in modern thought, but one who has hitherto been severely underappreciated. Michael Forster seeks to rectify that situation by exploring the full range of his ideas, and showing their enormous impact in philosophy, linguistics, anthropology, and comparative literature.

In lieu of an abstract, here is a brief excerpt of the content:Hegel and Herder on Art, History, and ReasonKristin GjesdalThe introduction of a historical perspective in aesthetics is usually traced back to Hegel's 1820 lectures on fine art. Given at the University of Berlin, these lectures were amongst Hegel's most successful and best attended.1 By then a recognized intellectual figure, Hegel sets out to salvage art from its subjectivization in Kantian and romantic aesthetics, but ends up declaring that art, (...) considered in its highest vocation, is a thing of the past. This judgment on art—that its greatness is a thing of the past—follows from Hegel's attempt to combine a notion of art's historicity with a conception of its absolute essence. Hegel, however, was not the first to think systematically about the historicity of art. For this aspect of art—and, indeed, of reason too—was explored philosophically a good sixty years before Hegel's Berlin lectures by a young and aspiring student of Kant's, namely Johann Gottfried Herder. In a series of essays and fragments, Herder develops an advanced and elaborate alternative to Hegel's conception, a fundamentally non-essentialist approach to art, history, and reason.Over the past twenty years or so, Hegel's attempt to combine an essentialist and an historicist approach to art has been revitalized, with increasing force and sophistication, by Arthur Danto.2 The attempts to rehabilitate Herder's aesthetics, however, have been few and far between.3 This is the aim of the present essay, which seeks to contrast the young Herder's non-essentialist understanding of the historicity of art with Hegel's essentialist views on the artwork's historicity, pleading for a rehabilitation of the former.4 I approach this task from three different directions. First, I offer a brief account of Herder's and Hegel's views on reason, history, and art. Second, I look closer at their conceptions of classical tragedy and sculpture, which, due to Winckelmann's studies, [End Page 17] were perceived at the time as the gateway to a historically sensitive conception of culture as such. Finally, I round off by looking at some of the hermeneutic implications of Herder's non-essentialist standpoint.IAccording to Hegel, a phenomenologically mature and accountable philosophy is distinguished by its readiness to reflect on its own, historical presuppositions. It must acknowledge the critical commitments of modern thinking, but also take into account how these commitments are the result of spirit's laborious journey through history. Only by combining the perspective of modernity with the resources of tradition may philosophy inhabit a place where systematicity and historicity concur. Reality may now be exhausted in the form of a speculative logic. This, according to Hegel, is the end of history, but as the end of history, it is also the dawn of a new era, that of free and self-determining spirit.Hegel's notion of the end of history testifies to a formidable optimism about the power of critical thought. In modernity, Hegel claims, art and religion no longer emerge as adequate media of self-reflection. It is philosophy that has taken on this task. Considered from the standpoint of modernity, religion and art are no longer appropriate forms of expression; now only the conceptual optics of philosophy adequately reflects our deepest truths and values.5Artistically speaking, this moment may well emerge as a loss. For even though Hegel never claims that art, as such, will no longer be produced,6 he reckons it will not be produced in the same spirit as before. No longer expressive of a shared, ethical and political commitment, art is not brought forth by necessity. Intellectually speaking, however, the end of art triggers a different response. Not only does the end of art represent another step towards the conceptual self-determination of spirit. It also follows that only when a phenomenon such as art has finally fulfilled its historical possibilities can it be brought to philosophical clarity about itself. Only after art can we know conceptually what art is. Aesthetics can only begin at the point when art, considered in its highest vocation, no longer holds a historical future.IIAs a young and... (shrink)

Errata slip has subtitle: Untersuchungen zur Erkenntnistheorie und Metaphysik des jungen Herder (1763-1778).

Rather than as a philosopher, Zammito writes as a historian dedicated to contextual intellectual history. The book has nonetheless a conspicuous literary value, and it reminds one not incidentally of Thomas Pynchon’s historical novel Mason and Dixon, first and foremost because both focus on the friendship of scholars who were at their peak in the 1760s. In fact, just as Pynchon sets off his narrative account by reconstructing the Mason–Dixon expedition to the Cape of Good Hope for the transit of (...) Venus from 1761 to 1762, Zammito sets off with the notes Herder took in Kant’s classes at Königsberg between 1762 and 1764. Of course, those were astronomers and these were philosophers; those were Britons and these Germans; and I would rather stop looking for analogies here. According to Zammito, Kant and Herder “shared in a remarkable moment of intellectual discovery and growth associated with the penetration into Germany of the thought of Francis Hutcheson, David Hume, and especially Jean-Jacques Rousseau, and in the endeavor to use these exciting new insights to revise the established philosophical views codified in the works of Christian Wolff and Alexander Gottlieb Baumgarten”. The method of contextual history, remarks Zammito, “is not causally unidirectional.” Kant and Herder were influenced by what was in the air at their time, and at the same time they were instrumental in shaping it. Eventually, they were to contribute to the “calving away” of anthropology from philosophy around the year 1772, when Ernst Platner published his Anthropologie für Ärtzte und Weltweise, Kant gave his first course in anthropology at Königsberg, and Herder published his prize-winning essay “Versuch über den Ursprung der Sprache”. Oddly, this book does not go into any aspects of Kant’s critical philosophy. It contains analysis of Kant’s Bemerkungen zu den Beobachtungen of 1764 and the Träume eines Geistersehers of 1766, and it stops with the already mentioned course of the year 1772, which is perfectly legitimate, given that in 1772 Kant and Herder parted and stopped working toward the same goal, namely, the constitution of philosophical anthropology. Besides, and this is also one of its great merits, Zammito’s book provides the reader with a faithful reconstruction of what Kant looked like between 1762 and 1772, that is, as a thoroughly representative figure of German Enlightenment thought who had not made the “critical turn,” and who, as Lewis W. Beck has argued, would have been worthy of perhaps a paragraph in the history of philosophy. Zammito suggests that the Kant of 1772 would not have been so insignificant after all, and he asks rather “whether he does not deserve a larger stature in the history of the German Aufklärung, not simply as a representative but as a dissident and even a transformer”. Zammito’s analysis is well documented in primary literature and in secondary literature. His main thesis about the mutual influence of Kant and Herder in getting their facts straight in the 1770s by pushing “the whole cultural shift toward ‘epistemological liberalization’ that constituted the emergence of anthropological discourse” is brilliant. (shrink)

In the game theory literature, Garrett Hardin’s famous allegory of the “tragedy of the commons” has been modeled as a variant of the Prisoner’s Dilemma, labeled the Herder Problem (or, sometimes, the Commons Dilemma). This brief paper argues that important differences in the institutional structures of the standard Prisoner’s Dilemma and Herder Problem render the two games different in kind. Specifically, institutional impediments to communication and cooperation that ensure a dominant strategy of defection in the classic Prisoner’s Dilemma are (...) absent in the Herder Problem. Their absence does not ensure that players will achieve a welfare-enhancing, cooperative solution to the Herders Problem, but does create far more opportunity for players to alter the expected payoffs through cooperative arrangements. In a properly modeled Herder Problem—along the lines of an assurance game—defection would not always be the dominant strategy. Consequently, the Herder Problem is not in the nature of a Prisoner’s Dilemma. (shrink)

Diese Geschichte des Historismus ist eine Geschichte der Moderne. Sie handelt von der Entstehung des modernen Zeitregimes im Zeitalter der Französischen Revolution und von der Entwicklung des modernen Konzepts von Geschichte bis zum Ende des Ersten Weltkriegs. Im Mittelpunkt stehen Texte und Textverfahren von Johann Gottfried Herder und Georg Wilhelm Friedrich Hegel bis Wilhelm Raabe und Ricarda Huch. Sie zeigen, dass der Historismus das historische Bewusstsein und die geschichtskulturelle Praxis im langen 19. Jahrhundert dominant konfiguriert.

Through a detailed study of Herder's Enlightenment thought, especially his philosophy of literature, Kristin Gjesdal offers a new and sometimes provocative reading of the historical origins and contemporary challenges of modern hermeneutics. She shows that hermeneutic philosophy grew out of a historical, anthropological, and poetic discourse in the mid-eighteenth century and argues that, as such, it represents a rich, stimulating, and relevant engagement with the potentials and limits of human meaning and understanding. Gjesdal's study broadens our conception of hermeneutic (...) philosophy - the issues it raises and the answers it offers - and underlines the importance of Herder's contribution to the development of this discipline. Her book will be highly valuable for students and scholars of eighteenth-century thought, especially those working in the fields of hermeneutics, aesthetics, and European philosophy. (shrink)

"The maestry of nature was viewed by eighteenth-century historians as an important measure of the progress of civilization. Modern scholarship has hitherto taken insufficient notice of this important idea. This book discusses the topic in connection with the mainstream religious, political, and philosophical elements of the Enlightenment culture. It considers workd by Edward Gibbon, Voltaire, Herder, Vico, Raynal, Hume, Adam Smith, William Robertson, and a wide range of lesse- and better-know figures. It also discusses many classical, medieval, and early modern (...) sources which influenced Enlightenment historiography, as well as eighteen-century attitudes toward nature in general". (shrink)

Reviewer surveys barnard's work, approves of main theses, but corrects minor points. he then reflects upon several problems raised by barnard. he relates some of herder's assertions to german proto-romanticism. points discussed are: herder's turning away from cosmopolitanism and his turning toward english literature as an expression of his francophobia, the "superiority" of the gothic style, the concepts of "kunstpoesie" and "naturpoesie", the emphasis on primitivism and the socio-political theories, the theory of language. merlan also comments on the "volk" (...) concept and its significance for historiography, and the debate between herder and kant. he concludes with a statement about the concept of "volk" and the problem of an individual's participation in history. the work reviewed is "herder's social and political thought. from enlightenment to nationalism." by f.m. barnard. oxford: clarendon press 1965. pp. xv, 189. (shrink)

Dieses Buch untersucht die Gründe für die Aufwertung des Tastsinns bei Herder - ein Desiderat der Forschung. Veränderungen in der Wahrnehmungstheorie seit der frühen Neuzeit sind hierfür konstitutiv. Sie führen zur Umkehr der Sinneshierarchie sowie zur Nivellierung der Unterschiede zwischen sensus communis, Körper, Tastsinn und Gefühl. Werk- wie systemimmanent nicht lösbare Inkonsistenzen in Herders Konzeption des Tastsinns sind so erklärbar. Die Umkehr der Sinneshierarchie ist für die Ästhetik und Hermeneutik von zentraler Bedeutung, wie exemplarisch an der Diskussion um die (...) Bestimmung der menschlichen Schönheit seit dem 16. Jahrhundert und in der Literatur um 1800 dargelegt wird. (shrink)

Die Abhandlung, ein Beitrag zur Geschichte der wissenschaftlichen Methoden, untersucht Johann Gottfried Herders Verwendung der Analogie als Instrument für die Entdeckung neuer Gebiete der Erkenntnis in den Bereichen seiner Naturphilosophie, der Geschichtsphilosophie und Literaturkritik. Abschließend wird Herders Verhältnis zum überlieferten Gedanken einer ars inveniendi bestimmt.

In der Wissenschaftsgeschichte des 18. Jahrhunderts steht die deutsche Tradition sprachbasierter Erkenntnistheorie im Schatten der primär rationalistischen Strömungen. Der an Leibniz' Begriff der cognitio symbolica ebenso wie an den englischen Empirismus Bacons und Lockes anknüpfende Ansatz gerät dabei in den Hintergrund, obwohl diese Traditionslinie, die sowohl rationalistische als auch empiristische Elemente vereinbart, bis zum Ende des 18. Jahrhunderts fortbesteht. Dies hat weitreichende Konsequenzen sowohl für die Philosophie- und Literaturgeschichte als auch für die literaturwissenschaftliche Detailforschung, da weder Herders Erkenntnistheorie noch (...) die poetologischen Konzeptionen des 'Anti-Klassikers' Jean Paul und des Frühromantikers Novalis ohne Kenntnis der theoretischen Voraussetzungen erklärt werden können. Unter Auswertung empirisch belegbarer Quellen wie handschriftliche Nachlässe, Briefwechsel und Zitate wird die Entwicklung eines semiotischen Wissensbegriffs bis zu seinen Ursprüngen im 17. Jahrhundert zurückverfolgt und schrittweise nachvollzogen: Die theoretische Ausbildung erfolgt um 1760 durch den für die Wissenschaftsgeschichte des 18. Jahrhunderts höchst bedeutsamen Philosophen und Naturwissenschaftler Johann Heinrich Lambert (1728-1777). Eine systematische und historische Analyse der zentralen Schrift Herders "Eine Metakritik zur Kritik der reinen Vernunft" aus dem Jahr 1799 ergibt, daß Lamberts Ansatz in Herders Entwurf der Zeichenabhängigkeit allen menschlichen Denkens konsequent rezipiert wird. Schließlich müssen die poetologischen Konzeptionen Jean Pauls in der "Vorschule der Ästhetik" und in Novalis' "Theoretischem Werk" in die genannte Traditionslinie eingebunden werden. Infolgedessen sind besonders die Begriffe des Witzes und der Ironie Jean Pauls sowie der romantische Kritik-Begriff Novalis', der seine Enzyklopädistik stützt, wesentlich schärfer zu fassen als bisher. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dante in Deutschland: An Itinerary of Romantic Myth by Daniel DiMassaBrenda Deen SchildgenDaniel DiMassa. Dante in Deutschland: An Itinerary of Romantic Myth. Lewisburg: Bucknell University Press, 2022. 242 pp., hardcover, $150.00. ISBN 9781684484195.Dante in Deutschland is an eloquently written study of the "itinerary," as the author labels it, of the myth of Dante's personage and his works in Germany from the Romantic period to the Second World War. (...) The latest book in Bucknell University Press's series New Studies in the Age of Goethe, edited by John B. Lyon, the book's central argument is that "to the Romantics, the Commedia was more than a touchstone—it was a lodestar, its author no less vital to them than Shakespeare had been to the Sturm und Drang" (3). This premise lays the foundation for a reception study that is a model of Comparative Literature research. As Daniel DiMassa explains, his approach does not just examine "the Romantics' attempt at a mythology, but their attempt at a Dantean mythology" (5). Combining philology, hermeneutics, and history, he promises to [End Page 276] "open new interpretations of Romantic works" and to "trace an itinerary of Romantic myth, highlighting the waystations of a path that has remained in obscurity" (5–6). Indeed, the book succeeds in this endeavor.In terms of utopian studies, this is not a consoling literary story, for as DiMassa demonstrates, this study turns our "attention to a familiar yet puzzling trajectory of Romanticism—its move from radicality and revolution to Catholicism and conservatism" (9) in Germany. But, in contrast to Lukács's "straight line from Schelling to Hitler," DiMassa proposes a Romanticism inflected by the myth of Dante and "culminat[ing] in a trio of figures who embodied one form of fascism or another—Hauptmann, Borchardt, and George" (9). In highlighting this trajectory, DiMassa provokes thought about the dangers of utopian ideologies as well as how to confront them.Following an introduction that succinctly lays out the argument and the methodology, DiMassa historically situates, in six thoughtful and thoroughly researched chapters, pivotal figures in German Romanticism and the neo-Romanticism of the twentieth century. He then provides close readings of their major texts to show how Dante and his Commedia are "recovered, repurposed, revered, and reduplicated" to shape "the origins of German Romanticism and the attempts at its rehabilitation" in the twentieth century (177). This review of the book cannot do justice to such a complex and fascinating argument, so this cursory overview of some of the chapters is intended as a recommendation to read the study in its entirety.Chapter 1, "Discovering Dante and Theorizing Myth," examines the "Schlegel Brothers and the Origins of the Romantic Project." The eighteenth century was the nadir of Dante's reception, even in Italy, but the "myth of Dante" burst onto the stage of cultural and political history in the nineteenth century. By the end of the eighteenth century, according to DiMassa, writers such as Bodmer, Herder, and Goethe had prepared the way for a new reception of long neglected "barbarians" like Dante. Signaling this imminent change in taste, framed in nationalistic terms, in a 1772 essay, "On German Architecture," having recently revisited Strasbourg Cathedral, Goethe exclaimed, "This is German architecture! Our architecture!"1 He insists, "what unexpected emotions seized me when I finally stood before the edifice! My soul was suffused with a feeling of immense grandeur."2 Earlier, Goethe had labeled medieval buildings "barbaric," he admits in the same essay,3 but his experience of the cathedral awakened a nationalist intensity suggestive of utopian emotion. A. W. Schlegel's projection of [End Page 277] Dante "as a man of action who, in an age devoid of political leadership, had drafted a poetry teeming with manliness and vitality" (25) smacks of the same Romantic enthusiasm, but A. W. Schlegel was eager to celebrate the once "barbaric" Dante as the apogee of an emerging "Weimar Classicism and Jena Romanticism" (25), an idyll of the contemporary romantic enthusiasm. In a decade, the work of early German Romantics, including A. W. Schlegel's translations, Schelling's lectures, and Friedrich Schlegel's advocacy, buried Dante's so-called barbarism... (shrink)

Die Studie beschreibt das begriffliche und metaphorische Feld dessen, was in der Aufklärung als Tastsinn/Gefühl figuriert. Dabei bezieht sie sich auf ein Phänomen, dessen operative und physiologische Bestimmung in Frage steht. Denn wo dieser Sinn anatomisch zu verorten und wie seine Funktion zu spezifizieren sei, stellt sich in Anbetracht der diskutierten Ansätze vor allem als ein Problem dar. Das zugrundegelegte Korpus umfasst literarische, philosophische und naturkundliche Texte. Diese werden einer Lektüre unterzogen, die unter Rekurs auf systematische Begriffe die Vielschichtigkeit des (...) Gegenstandes auszuloten ermöglicht. Den Ausgangspunkt bildet Descartes' Erklärung des neuzeitlichen Sehverständnisses unter Einbeziehung des Tastvergleichs, den Abschluss Herders ästhetisches Konzept. Der zwischen diesen beiden Kapiteln gespannte historische Bogen umgreift über hundert Jahre, in deren Verlauf sich die Differenz von Sehen und Tasten als diskursiver Bezugspunkt sowohl verfestigt als auch auflöst. Anhand ausgewählter Texte von u.a. Berkeley, Wolff, Brockes, Bodmer, Breitinger, Diderot oder Lessing zeichnet die Studie die wechselnden Konstellationen sowie Medien des Tastsinns nach und zeigt auf, dass dieser bereits seit dem 17. Jahrhundert nicht mehr als Kategorie der leiblichen Präsenz gedacht wird, die es gegenüber dem Sehsinn zu rehabilitieren gelte, sondern in ein komplexeres Reflexionsgefüge eingebunden ist. (shrink)

Remapping Biology with Goethe, Schelling, and Herder recruits a Romantic philosophy of biology into contemporary debates to both integrate the theoretical implications of ecology, evolution, and development, and to contextualize the successes of the Modern Evolutionary Synthesis's gene's-eye-view of biology. The dominant philosophy of biology in the twentieth century was one developed within and for the Modern Evolutionary Synthesis. As biologists like those developing an Extended Evolutionary Synthesis have pushed the limits of this paradigm, fresh philosophical approaches have become necessary. (...) This book makes the case that an organicism developed by the 19th century figures Goethe, Schelling, and Herder offers surprising resources to navigate the contemporary biological and evolutionary terrain. This "metamorphic organicism" resonates with present trends in biological theory that emphasize process, organismal dynamics, ecology, and agency. It also proposes strategies for reintegrating reductive and mechanistic maps of biology, like those of the Modern Evolutionary Synthesis, into richer theoretical representations of life. Drawing from cutting-edge biology, Romantic history, and perspectival pluralist literatures, this integrated history-and-philosophy-of-biology will be of interest to students and scholars interested in the genesis of current theoretical tensions in evolutionary biology, and to those seeking constructive ways to resolve those tensions, including practicing biologists and educators. (shrink)

The positive revaluation of aesthesis and the emergence of aesthetics in the 18th century - from Bodmer and Breitinger to Baumgarten, Meier and ultimately Herder - established an aesthetic discourse centred on the sensual component of art and literature. In literature, this component is to be found in its visual imagery, its rhythms and also in its appreciation as a meaningful structure. The volume contains studies on Gryphius, Klopstock, Lessing, Wieland, Herder and Schiller. It systematizes the insights gained (...) from these studies to demonstrate how, in the 17th and 18th centuries, aesthetic experience was enriched by a theoretical concern for its sensual aspects and conceptualized in a manner that is of essential importance for approaches to the interpretation of art and for hermeneutics. (shrink)

ArgumentIn his Philosophia practica universalis, Christian Wolff proposes a “mathematical” theory of moral action that includes his statements on the Aesopian fable. As a sort of moral example, Wolff claims, the fable is an appropriate means to influence human conduct because it conveys general truths to intuition. This didactic concept is modeled on the geometrical figure: Just as students intuit mathematical demonstrations by looking at figures on a blackboard, one can learn how to execute complex actions by listening to a (...) fable. Wolff's “scientific” fable theory met with an ambivalent reception. Lessing, who in his fable treatises re-translates Wolff's suggestions into the conceptual framework of poetics, interprets the geometric model as a stylistic ideal. The famous passage on Homer's successive descriptions in Lessing's Laokoon can be seen as another attempt to apply the representational model of geometry to literature. Herder, reading Wolff in a way that might be called deconstructive, replaces Wolff's geometric theory of poetry by a poetic anthropology of geometry. (shrink)

Die Abhandlung betrachtet “Verantwortlichkeit für menschliches Handeln” als die quintessentielle Forderung der Aufklärung, welche Herder, nicht weniger als Thomasius und Kant, befürwortete. Was Herder, und diese Abhandlung, in Frage stellen, ist die enge Identifizierung des Aufklärungsbegriffes “Mündigkeit” mit Rationalität, Sittlichkeit, und Politik schlechthin.

In Fortunes of History Donald R. Kelley offers an authoritative examination of historical writing during the "long nineteenth century"--the years from the French Revolution to those just after the First World War. He provides a comprehensive analysis of the theories and practices of British, French, German, Italian, and American schools of historical thought, their principal figures, and their distinctive methods and self-understandings. Kelley treats the modern traditions of European world and national historiography from the Enlightenment to the "new histories" of (...) the twentieth century, attending not only to major authors and schools but also to methods, scholarship, criticisms, controversies, ideological questions, and relations to other disciplines. (shrink)

Speaking about oneself in order to change the world. Juri Vella is a Forest Nenets reindeer herder, writer and fighter for his people’s rights. In his private life, he enjoys silence, as it is a rule in his culture. But the public man, who is graduated from the Literature Institute in Moscow, is aware of the power of speech, and knows how to use it for his goals, to support his vision. He had to realise that the native peoples (...) in Western Siberia have lost much of their skills and acquired none during the Soviet period, in which they were compelled to integrate in the society and to attend Soviet institutions as school or the army. This process has been intensified in the latest fifty years, with the invasion of their traditional territories by oil industry. But Juri Vella expects the oil reserves to finish one day, and then the aborigines will lack the goods bestowed upon them by “Western” society and will have to survive with the help of the traditional skills. He tries to promote his vision of the natives able to live in both worlds and able to recover their dignity. This article analyses his public speech in this behalf and the way Juri Vella speaks about himself, enlarging his “ego” both to his clan and the native peoples in general and connecting it very directly with the space around him. The mainsources are Eva Toulouze’s fieldwork at Juri Vella’s taiga camp, living with the family five months, and the film Liivo Niglas has shot about him in 2003. (shrink)

Johann Gottfried von Herder is one of the most important German philosophers of the eighteenth century, who had enormous influence on later thinkers such as Hegel, Schleiermacher and Nietzsche. His wide-ranging ideas were formative in the development of linguistics, hermeneutics, anthropology and bible scholarship, and even today they retain their vitality and relevance to an extraordinary degree. This volume presents a translation of Herder's most important and characteristic philosophical writings in his areas of central interest, including philosophy of language, philosophy (...) of mind, philosophy of history and political philosophy, as well as his general philosophical program. An introduction sets the writings in their historical context and examines their philosophical achievement. (shrink)

The texts collected in this volume, which was originally published in 1969, contain Herder's most original and stimulating ideas on politics, history and language. They had for the most part not been previously available in English. In his introduction, Professor Barnard analyses the basic premises of Herder's political thought against the background of the Enlightenment. He examines Herder's concepts of language, community and culture, his theory of historical interaction, and his approach to the problem of change and progress. Finally, he (...) provides a brief comparative analysis of traditionalist thought following the French Revolution, showing how substantive writers like Burke differed from Herder despite the close similarity of political vocabulary. (shrink)

This book comprises a series of essays exploring the transformative insights of Fichte, Herder, Humboldt and the Romantics into the seminal role of language and imagination in shaping human experience and art, including how language, self-consciousness and understanding arise through speech. Along with topics concerning the literary work of art, the philosophy of history, German humanities, philology, and semiotics, the author also discusses the place of phenomenology and the concept of interpretation in literary theory. In highlighting ideas from A. W. (...) Vico, F. Schlegel, Novalis, Germaine de Staël, and Schleiermacher, the author also elucidates romantic poetics, translation, discourse and cultural transfer themes. Das vorliegende Werk umfasst eine Reihe hermeneutischer Abhandlungen des Autors, in deren Fokus die Deutung der Sprachauffassungen Fichtes, Herders, Humboldts und der Romantiker steht. Der Autor untersucht dabei die Formierung von Erfahrung und Kunst durch Sprache und Einbildungskraft sowie die Entstehung von Sprache, Selbstbewusstsein und Verstehen in der Rede. Desgleichen behandelt er Semiotik, Philologie und Philosophie der Geschichte, sowie die Rolle der Phänomenologie und des Interpretationsbegriffs in der Literaturkritik. Im Besonderen hebt der Autor die Auffassungen von Vico, A.W. und F. Schlegel, Novalis, Germaine de Staël, F. Schleiermacher hervor und beleuchtet Übersetzungs-, Diskurs- und Kulturtransfertheorien sowie die Poetik der Romantiker. (shrink)

Johann Gottfried Herder (1744–1803) gehört unangefochten zu den Klassikern der europäischen Geistesgeschichte. Seinen Lebensunterhalt verdiente er im Predigeramt, seine erste Anstellung nach dem Studium im ostpreußischen Königsberg fand er in Riga. Hier in Livland beginnt ein homiletisches Schaffen, das ihn über seine Lebensstationen hinweg bis nach Weimar beschäftigen wird. Die vorliegende Edition erschließt erstmals vollständig Herders Predigtnachlaß, zunächst für die erste Epoche seines Wirkens. Sie umfaßt die Zeit bis Mai 1769, ediert sämtliche erhaltenen Predigten aus der Rigaer Periode, weist (...) verlorene Texte nach und berücksichtigt auch die Entwürfe aus Schul- und Studienzeit, die bis etwa 1758 zurückgehen. Einleitende Aufsätze und ein Kritischer Apparat erschließen das Corpus und machen es auch für Nichtfachleute zugänglich. (shrink)

Zum ersten Mal wird hier die Entwicklung der Ideen in der Geographie in Deutschland im 19. und 20. Jahrhundert konsistent aufgezeigt. Die weit verstreute Literatur zu diesem Thema wurde erstmals gebundelt und diskutiert. Die grundlegenden Ideen und Traditionslinien der klassischen Geographie (19./20.Jh.) in Deutschland werden dargestellt: die Auffassung des Mensch-Raum-Verhaltnisses, die zunehmende Akzeptanz differenzierter Raumeinheiten, die Durchsetzung des aufklarerischen und emanzipatorischen "Possibilismus". "Geburtshelfer" in diesem Prozess sind einerseits J. G. Herder, andererseits - uber den franzosischen Geographen Vidal de la Blache (...) - J. J. Rousseau. Aus dem Inhalt: J. G. Herder und die Geographie - "Landschaft" - Das Mensch-Raum-Paradigma - Geode-terminismus - Possibilismus - Kulturen - Entwicklung des chorologischen Paradigmas - Vergleich mit dem franzosischen Geographen Vidal de la Blache - Einflusse Rousseaus - Classical German Geography: an overview in English. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Epic and Tragic Music: The Union of the Arts in the Eighteenth CenturyJoshua BillingsI. The Union of the Arts in WeimarAround 1800 in Weimar, thought on Greek tragedy crystallized around the union of speech, music, and gesture—what Wagner would later call the Gesamtkunstwerk. Friedrich Schiller and Johann Gottfried Herder both found something lacking in modern spoken theater in comparison with ancient tragedy’s synthesis of the arts. Schiller’s 1803 “Trauerspiel (...) mit Chören,” Die Braut von Messina, represents a radical experiment in recreating the ancient union of the arts.1 The Greek tragic chorus, revived in Schiller’s drama, becomes the modern locus for this union. In a preface appended to the published version of the play, Schiller writes,The tragic work of poetry first becomes a whole through its theatrical performance: the poet only gives the words; music and dance must be added as well to enliven them. As long as the chorus lacks this powerful sensory accompaniment, so long will it appear in the economy of a tragedy as an alien element, a foreign body, a retardation.2 [End Page 99]Exactly contemporary (and possibly in response), Herder’s discussion of drama in his journal Adrastea similarly views the union of the arts in ancient tragedy as a corrective for modern drama:3A Greek who attended our tragedy [Trauerspiel], used to the musical voice of his own, would have to find in it a sad play [trauriges Spiel]. “How wordy-mute,” he would say, “how dull and soundless! Have I stepped into a decorated grave? You shout and sigh and bluster! Move your arms, strain your facial features, reason, declaim; but does your voice and feeling never become song? Do you not miss the strength of this demonic expression? Do your rhythms, your iambs never urge you on to the accents of the true language of the gods?”4The focus on media distinguishes these Weimar discussions of tragedy both from the Jena aesthetics of the Schlegel brothers and from the Idealist “philosophy of the tragic” already underway in the works of Schelling, Hölderlin, and Hegel.5 Though both Schiller and Herder are relatively indifferent to dance, their writings reflect strong interests in music.6 Their considerations [End Page 100] of tragedy show a close engagement with the sensory experience of drama that is unusual for its time, and has little precedent in Germany.For Schiller’s late poetics, the union of words, music, and gesture is a means of radically dividing the experience of theater from daily life. The tragic chorus “should be for us a living wall, which tragedy sets up around itself in order to close itself off wholly from the real world.”7 It “justifies the tragic poet in this raising of tone, which fills the ear, which strains the spirit, which broadens the whole mind.”8 Musical speech, Schiller argues, allows for an expression that transcends conventional language and quotidian existence. Schiller had hoped “to let [the choral intermezzos] be recited in the way of song and to accompany them with an instrument,” though his wish went unfulfilled in the first, and subsequent performances.9 Yet even after relinquishing the real possibility of a union of the arts in performances of Braut, Schiller upheld it as an ideal in his preface.Herder is remembered today primarily for his elaboration of an organic historicism, which understands cultural phenomena according to the circumstances of their creation. Yet his concern was more than merely historical; especially in the Adrastea, he continually sought guidance for the present in the events of the past. A contemporary, writing shortly after Herder’s death, saw the two orientations, historical and critical, as equally important: investigation of the past was intended as “a didactic or warning image” for his own time.10 The guiding idea of the journal was similarly educative, based on Herder’s understanding of Adrastea as a principle of justice and moderation.11 In Herder’s thought, as in most writing on ancient literature of the eighteenth century, there is no absolute division between scholarly and critical concerns: the study of ancient works was both an end in itself and a... (shrink)

One of the most important works of the Enlightenment—in the first new, unabridged English translation in more than two centuries Published in four volumes between 1784 and 1791, Herder’s Ideas for the Philosophy of the History of Mankind is one of the most important works of the Enlightenment—a bold, original, and encyclopedic synthesis of, and contribution to, the era’s philosophical debates over nature, history, culture, and the very meaning of human experience. This is the first new, unabridged English translation of (...) the Ideas in more than two centuries. Gregory Martin Moore’s lively, modern English text, extensive introduction, and commentary bring this neglected masterpiece back to life. The Ideas—which engages with many of the leading thinkers of the eighteenth century, such as Montesquieu, Kant, Gibbon, Ferguson, Buffon, and Rousseau—is many things at once: an inquiry into the unity and purpose of history, a reflection on human nature and the place of humans in the cosmic order, an examination of what was beginning to be called “culture,” and a narrative of cultural progress across time among different peoples. Along the way, Herder considers a dizzying variety of topics, including the formation of the earth and solar system, species change, race, the immortality of the soul, the establishment of society, and the pursuit of happiness. Above all, the Ideas is an anthropology—what Alexander Pope had termed an “essay on man”—pervaded by an appropriately humane spirit. A fresh and much-needed modern translation of the complete Ideas, this volume reintroduces English readers to a classic of Enlightenment thought. (shrink)

Johann Georg Hamann is a major figure not only in German philosophy but also in literature and religious history. In his own time he wrote penetrating criticisms of Herder, Kant, Mendelssohn, and other Enlightenment thinkers; after his death he was an important figure for Goethe, Hegel, Kierkegaard, and others. It was only in the twentieth century, however, that the full and radical extent of his 'linguistic' critique of philosophy was recognized. This volume presents a translation of a wide selection (...) of his essays, including both famous and lesser-known works. Hamann's enigmatic prose-style was deliberately at odds with Enlightenment assumptions about language, and a full apparatus of annotation explains the numerous allusions in his essays. The volume is completed by a historical and philosophical introduction and suggestions for further reading. (shrink)

Matthew arnold maintains in the nineteenth century the renaissance school of the cambridge platonists. for them, reason and religion are by no means at odds: reason is in fact "the candle of the lord." for matthew arnold in "literature and dogma", christianity will prevail only by being shorn of its supernaturalist elements and set on its true rational ground. ernst cassirer has shown how the cambridge platonists bridge the gap between the italian renaissance and the german humanists of the (...) "goethezeit", chiefly through shaftesbury. arnold accordingly finds in herder and goethe the corroboration of his revered countrymen glanvill, whichcote, more and smith. (shrink)

Distinguished ethnomusicologist Philip V. Bohlman compiles Johann Gottfried Herder’s writings on music and nationalism, from his early volumes of _Volkslieder_ through sacred song to the essays on aesthetics late in his life, shaping them as the book on music that Herder would have written had he gathered the many strands of his musical thought into a single publication. Framed by analytical chapters and extensive introductions to each translation, this book interprets Herder’s musings on music to think through several major questions: (...) What meaning did religion and religious thought have for Herder? Why do the nation and nationalism acquire musical dimensions at the confluence of aesthetics and religious thought? How did his aesthetic and musical thought come to transform the way Herder understood music and nationalism and their presence in global history? Bohlman uses the mode of translation to explore Herder’s own interpretive practice as a translator of languages and cultures, providing today’s readers with an elegantly narrated and exceptionally curated collection of essays on music by two major intellectuals. (shrink)

"The eye that gathers impressions is no longer the eye that sees a depiction on a surface it becomes a hand, the ray of light becomes a finger, and the imagination becomes a form of immediate touching."-Johann Gottfried Herder Long recognized as one of the most important eighteenth-century works on aesthetics and the visual arts, Johann Gottfried Herder's Plastik (Sculpture, 1778) has never before appeared in a complete English translation. In this landmark essay, Herder combines rationalist and empiricist thought with (...) a wide range of sources-from the classics to Norse legend, Shakespeare to the Bible-to illuminate the ways we experience sculpture. Standing on the fault line between classicism and romanticism, Herder draws most of his examples from classical sculpture, while nevertheless insisting on the historicity of art and of the senses themselves. Through a detailed analysis of the differences between painting and sculpture, he develops a powerful critique of the dominance of vision both in the appreciation of art and in our everyday apprehension of the world around us. One of the key articulations of the aesthetics of Sturm und Drang, Sculpture is also important as an anticipation of subsequent developments in art theory. Jason Gaiger's translation of Sculpture includes an extensive introduction to Herder's thought, explanatory notes, and illustrations of all the sculptures discussed in the text. (shrink)

This article investigates the constructions of Hebrew, classical, and “Northern” antiquities put forward by an eighteenth-century network of Anglo-German scholars. It asks to what extent these constructions propose a cultural equality between these competing “antiquities”, how such equality relates to the contemporaneous conception of universal history, and to what extent this development is driven by emancipatory tendencies within Enlightenment thinking. By discussing the changing approaches to Homer, Old Testament texts, and “early” European literature, the article relates the emergence of (...) primitivism and orientalism to Enlightenment historicism and an interest in the sublime, which produces a growing focus on the importance of authentic culture and the role of the bard-poet. By discussing the connections between the work of Joseph Trapp, Thomas Blackwell, Robert Lowth, and Thomas Percy on the one hand, and Johann David Michaelis, Christian Gottlob Heyne, Johann Jakob Bodmer, and Johann Gottfried Herder on the other, the article illustrates the significance in this context of newly emerging Anglo-German scholarly networks and illuminates lesser-known aspects of Anglo-German relations in the second half of the eighteenth century. (shrink)

Historians of ideas, and students of nationalism in particular, have traced the origins of much of our current vocabulary and ways of thinking about the nation back to Johann Gottfried Herder. This volume provides a clear, readable, and reliable translation of _Auch eine Philosophie der Geschichte zur Bildung der Menschheit_, supplemented by some of Herder's other important writings on politics and history. The editors' insightful Introduction traces the role of Herder's thought in the evolution of nationalism and highlights its influence (...) on fields such as history, anthropology, and politics. The volume is designed to give English-speaking readers more ready access to the thinker whom Isaiah Berlin called the father of the related notions of nationalism, historicism, and Volksgeist. (shrink)

In December 2006, Indonesia decided to stop sending influenza virus specimens to the World Health Organization’s Global Influenza Surveillance Network (GISN). Indonesia justified its actions by claiming that they were in protest of the injustice of GISN. Its actions stimulated negotiations to improve the workings of GISN by developing and implementing a more just framework for ‘sharing influenza viruses and other benefits’. These negotiations eventually led to the adoption of a new framework for virus and benefit sharing in May 2011, (...) at the World Health Assembly meeting. In this article, we critically evaluate Indonesia’s claims about the unjustness of GISN. We show that arguments based on the values of ownership, contribution and reciprocity work together to support Indonesia’s claim that it was owed an equal share in the benefits of GISN and, in turn, that GISN was unjust because of its failure to ensure this. We also use these values to evaluate the newly agreed upon framework for virus and benefit sharing. We suggest the new framework fails to give proper consideration to the values of ownership, contribution and reciprocity and, as a result, that it is fundamentally unjust. (shrink)

Plastik - einige Wahrnehmungen über Form und Gestalt aus Pygmalions bildendem Träume ist ein unveränderter, hochwertiger Nachdruck der Originalausgabe aus dem Jahr 1778. Hansebooks ist Herausgeber von Literatur zu unterschiedlichen Themengebieten wie Forschung und Wissenschaft, Reisen und Expeditionen, Kochen und Ernährung, Medizin und weiteren Genres. Der Schwerpunkt des Verlages liegt auf dem Erhalt historischer Literatur. Viele Werke historischer Schriftsteller und Wissenschaftler sind heute nur noch als Antiquitäten erhältlich. Hansebooks verlegt diese Bücher neu und trägt damit zum Erhalt selten gewordener Literatur (...) und historischem Wissen auch für die Zukunft bei. (shrink)

A seminal figure in the philosophy of history, culture, and language, Johann Gottfried Herder also produced some of the most important and original works in the history of aesthetic theory. A student of Kant, he spent much of his life striving to reconcile the opposing poles of Enlightenment thought represented by his early mentors. His ideas influenced Hegel, Schleiermacher, Nietzsche, Dilthey, J. S. Mill, and Goethe. This book presents most of Herder's important writings on aesthetics, including the main sections of (...) one of his major untranslated works, Kritische Wälder. These notes, essays, and treatises, the majority of which appear here in English for the first time, show this idiosyncratic thinker both deeply rooted in the controversies of his day and pointing the way to future developments in aesthetics. Chosen to reflect the extent and diversity of Herder's concerns, the texts cover such topics as the psychology and physiology of aesthetic perception, the classification of the arts, taste, Shakespeare, the classical tradition, and the relationship between art and morality. Few thinkers have reflected so sensitively and productively on the cultural, historical, anthropological, ethical, and theological dimensions of art and the creative process. With this book, the importance of aesthetics to the evolution and texture of Herder's own thought, as well as his profound contribution to that discipline, comes fully into view. (shrink)