Heidegger’s Kant and the Problem of Metaphysics (1929) turns on a reading of the productive imagination in the first edition of the Critique of Pure Reason (1781). In siding with the imagination, Heidegger declares his dissent from the neo-Kantianism of his contemporaries. Yet, when Heidegger subsequently elaborates his philosophy of art in the 1930s, he is dismissive of the imagination altogether. His earlier partisanship was qualified. In Kant and the Problem of Metaphysics, Heidegger treats the productive imagination of Kant’s critical (...) period as still a step short of Heidegger’s own problem of the time of finite human beings. German Idealism’s step past Kant is, for Heidegger, a step beyond, but in the wrong direction. The aesthetics of German Idealism builds on the unification of experience and conceptuality wrought by the productive imagination in its transcendental use, thereby inscribing in the work of art a neglect of finitude that Heidegger will dispute. If what Heidegger holds against the imagination is its transcendental use, the fully empirical concept of the imagination in Kant’s precritical writings invites reassessment in light of an engagement with finitude. I will show it has particular promise for rehabilitating the imagination in a Heideggerian philosophy of art. (shrink)

Past philosophical ideas about arts influence contemporary artistic practices. We still use traditional Idealist concepts, such as the autonomy of art or the subjective expression of the artist. At the same time, today_s art often attacks and abandons Idealist thinking. The author of this book analyses this relation between the Idealist conception of the arts including literature and present-day reality. The aim is to create a link between past and present artistic practices and theoretical, philosophical thinking. The author also questions (...) the Idealist notions of history and the relation between the theoretical, the aesthetic and the practical, and seeks new ways to deal with the relation between the past and the present. (shrink)

This paper argues for a metacognitive reading of Kant’s doctrine of ‘aesthetic ideas’, according to which they enjoy the functional role of licensing a theory of art interpretation. I begin by offering a textualist reading of Kant’s doctrine of ‘aesthetic ideas’ and contest the received ‘semantic paradigm’ according to which aesthetic ideas either approximate the form or content of a rational idea. After showing the relationship between aesthetic ideas and artistic interpretation, I assess whether Kant’s theory delivers what we want (...) from a theory of artistic interpretation. I subsequently show how Schelling’s conception of artistic production and reception in the System of Transcendental Idealism (1800) draws from Kant’s doctrine of ‘aesthetic ideas’. After analyzing the relationship between Kant and Schelling’s accounts of art interpretation, I evaluate which account we ought to prefer. (shrink)

People's desire not to limit the meaning of Hancang driving force, continuous development and self-transcendence, which is people from within and beyond the root driving force. The so-called "inner beyond" is not a process of idealism, which began with the desire, from the bottom of the body, and go up on the layer by layer through the heart of the development process裡and mental flexibility, and would therefore have to enhance and transform. We regard the body as I desire the (...) presence of mode. Significance by the driving force in the body and thus close to the appearance, at first non-verbal, and then eventually completed in the language of representation. Through a variety of different non-linguistic representation, the meaning of the body of the driving force to obtain specific and differentiation, as music, art, dance, drama art form ... ... and so on. These different forms of art of common origins, is made ​​to understand the forms of physical exercise, as they are each other's differences, then is made ​​to understand the form of different, such as voice, image, attitude ... ... and so the nature and rules lawyers, and the rise because of their differences on the artistic and cultural expressions of different, and even the formation of the various arts precinct. In order to film art integrated voice, image and body movement, presented at the time of the current moving image, to the above description of the story. Different types of art is "the desire of the induced mover", which provides clear instructions and guidance In order to man the desire for meaning. The meaning of desire is the driving force of development of art in different fields to cross-border basic driving force. Story has entered into a description of the classification of the appearance of language, its basic features is metaphorical. Cross-disciplinary domain of the past will pin their hopes on the concepts and logical reasoning and arguments permit. Today, the language of metaphor for understanding the nature, making metaphor and narrative clues as cross-domain, and in the humanities, social sciences, natural sciences and even among. The reason why life events, actions and circumstances can be constructed to the story, because there I am with the interaction between multiple otherness, its impetus came from one continuous extrapolation, and extrapolation of each other. And diversity of his stories were always the people the story, and always coming to the multivariate description of those who hear him. Through stories, we witness In order to the meaning of life, but always to witness the way metaphor and description of each story to each other through mutual enrichment. Description of the future, after all, the story, no matter real or imagined, there is established based on the relationship regardless of which I was with him who have the freedom in the relationship, a relationship in freedom. It is also across the world who can not break the fundamental driving force and field-based. This paper assumes that there is an undetermined dynamic energy for meaningfulness in human desire, which develops and transcends any particular realization. This is the original energy by which human beings could attain transcendence by way of immanence, which is not an idealist process, but rather originated from a body-based desire that develops upwards and fuller to integrate the mental and the spiritual. Representability, first non-linguistic and then linguistic, is the access to meaning for our desire that takes body as its mode of existence. Through different forms of representation, such as sounds, pictures and gestures ... etc., the project of meaning is specified. The movement of body in intelligible forms is the common origin of music, dancing and performative arts. Cultural difference and artistic boundaries are based upon differences in the nature and rule of these intelligible forms. The art of filming, which synthesizes image, music and body movement in presenting images moving in time so as to tell stories of various kinds. All forms of art are "inducers of desire" by articulating, determining and guiding our desire for meaning. This dynamic development of our desire for meaning is the common basic energy by which we can cross the borders of different arts. Story-telling presupposes linguistic representation accessible to our meaning dynamism. In the past, concepts and logical reasoning and argumentation were taken to be the hope for interdisciplinary research. But now, with the better understanding we have of the metaphoric nature of language, metaphors and narratives are taken to be the clue for a cross-bordering effort in different sciences, human , social and natural. If there are events, actions and plots in human existence to be constructed as stories, it is because there is always interaction with multiple others, the dynamism of it consisting in our incessant act of strangification and mutual strangification. Stories are always stories about one self with multiple others and told to multiple others. By telling stories, we witness a particular way of meaningful life, always metaphorically interpreted. We achieve mutual enrichment by telling stories to each other. The ultimate foundation of cross-bordering in arts and scientific disciplines consists in the ontology of dynamic relation, in which there is relatedness in freedom and freedom in being related, and this is the ground on which all our life stories, both real and imaginative, are based. (shrink)

Hegel's Aesthetics is the first comprehensive interpretation of Hegel's philosophy of art in English in thirty years. It gives a new analysis of his notorious "end of art" thesis, shows the indispensability of his aesthetics to his philosophy generally, and argues for his theory's relevance today.

The article reassesses Schelling’s philosophy of art in the System of Transcendental Idealism, focusing on its practical philosophy and the concept of the artefact. Often unexplored, this perspective offers a new account of Schelling’s early aesthetics, linking aesthetic experience to historical becoming. The discussion begins with an analysis of Schelling’s theory of intentional action, followed by a reconstruction of his understanding of artefact. It argues that Schelling integrates both social and material dimensions into his concept of artefacts. The paper (...) then examines Schelling’s comparison between artefacts in general and works of art, asserting that aesthetic experience in the context of the System exemplifies ‘hermeneutic obstinacy’. This characteristic, typical of works of art, correlates with the open nature of historical reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 537 tion of his three dialogues, and of course there are several references to Hume's intern= parable Dialogues. The bibliographic essay is useful with respect to general works and period pieces but unfortunately does little to help those who are seeking further help in understanding an individual writer. Professor France's work is an invaluable guide nevertheless for those who realize that authors, even philosophers, do not write (...) in a cultural vacuum. NICHOLASCAPALDI Queens College, CUNY Die Auseinandersetzung yon ldealismus und Realismus in Fichtes Wissenscha/tslehre. By Ingeborg Schfissler. (Frankfurt am Main: Vittorio Klostermann, 1972. Pp. 182. DM 24.50) For Fichte scholars this closely argued and well organized study of the foundations of Fichte's Wissenscha/tslehre is simply a must. American philosophers generally, however, will not become Fichte enthusiasts after reading this book. But this is not the fault of the authoress, but of Fichte. The key question which Dr. SchiJssler raises is, What role does realism play in Fichte's transcendental idealism? With this question in mind she examines Fichte's "foundation of the entire theory of science" of 1794-1795 and related matters, and the "theory of science" of 1804, together with the lecture of 1813. As Fichte originally saw the task of philosophy it was to explain theoretical, i.e., scientific, consciousness in terms of its own foundation. In 1804, however, the task was conceived as presentation of absolute truth; and in 1813, Fichte tried to understand the theory of science as a theory of appearances. Dr. Schfissler's thesis is that all three approaches are necessary; that, in fact, the changes in Fichte's conception of what a theory of science is or ought to be are grounded in the nature of transcendental philosophy itself. The book is not something one reads for relaxation; its sustained and detailed arguments militate against that. But it is a highly illuminating study, and well worth the effort of careful analysis. W. H. WE~mSTBR Florida State University The Manifold in Perception. Theories of Art.from Kant to Hildebrand. By Michael Pedro. (Oxford: Clarendon Press, 1972. Oxford-Warburg Studies) This is a survey of theories of art of Kant, Schiller, Herbart, Hildebrand, Schopenhauer and Fiedler. One may question the value of a re-statement of this sort, over simply another reading of the works of the authors themselves. Pedro's answer may be found in the Preface and again in a more extended statement in the conclusion. "German aesthetic theory from Kant through to the end of the nineteenth century seemed to contain valuable critical ideas quite absent from contemporary philosophical writing." Pedro's attempt has been to "re-locate notions in current use, like 'aesthetic detachment', within the sustained systematic discourse of which they were once part. This seemed a way both of uncovering a number of assumptions which have been constraining writing on art for some time, and of clarifying a number of crucial insights of earlier theorists." The author's account is almost entirely expository, its negative critical questions being limited almost exclusively to Herbart. Yet even here, when the author indicates that Herbart's theory of mind "exhibits certain very basic logical difficulties," he adds that 538 HISTORY OF PHILOSOPHY "they are difficulties which have a particular importance in the discussion of art.... " Podro's clarification is largely made through the asking of questions which the authors themselves did not ask and then suggesting answers to these questions in the light of what the authors did say. The two chapters on Schiller form the core of the book. Schiller's theory of art and aesthetic education of man is placed as central to Podro's account of an aesthetic tradition beginning with Kant and ending with Fiedler. The "tradition" detailed in Podro's book is described as having two underlying assumptions. The first was that any account of art must indicate distinctive or at least characteristic uses of our perception, uses which if not exclusive to art are at least necessary to it, and which are seen in art in a particularly striking way. The second assumption was that art involves our attitudes, in the sense of our serious purposes as... (shrink)

This article appeared in a special issue of the Goethe Yearbook, on Goethe and German Idealism. In it, I consider Novalis' unparalleled admiration for Goethe's scientific writings in contrast to his rather lukewarm reception of Goethe's poetry. I argue that Novalis' ideal of a “romantic encyclopedia” in which all the arts and sciences are understood in their relations to one another (as opposed to in isolation, like Diderot and D'Alemberts' project) is inspired by Goethe's practice as a scientist. I (...) develop Novalis' idea of an “empiricism that is nothing but genuine idealism,” illustrate its parallels with Goethe's “gentle empiricism,” and argue that Novalis’ conception of romantic science and his understanding of idealism as empiricism is directly inspired by Goethe’s practices as a poet and scientist. I consider the implications of this for our understanding of the meaning of “romantic” science. (shrink)

The aim of this paper is to show how a sensory approach to visual arts can be relevant for philosophy and how this prism, once brought to philosophy, can give insights on art in return. I will try to demonstrate that the difference between modernity’s two main schools of thought (namely, materialism and idealism) can be understood – thanks to the model of painting as an allegory of the world – as an exclusive preference for one sense: touch for (...) materialism and sight for idealism. Much as the two schools differ, both consider the painting (or the world) a finite picture, whose elements can be juxtaposed in a single homogeneous plane of knowledge devoid of any opacity. This leads to separate both vision and the mind from the body and from the world. As a result, sight and touch end up dissociated. That is why, to challenge this modern paradigm and renew with a holistic relationship to the world and to ourselves, philosophers and artists propose a shift towards a synaesthetic approach to painting. Such an approach will uncover a modality of being where the body, the subject, and the world, as well as sight and touch, can be reunited. Thus, I will show that Merleau-Ponty’s ontology of the flesh – that echoes through the paintings of artists who attempt to break free from the frame and engage the observer with all his senses and being, such as Racławice Panorama, Malevich, El Lissitzky, Cézanne or the Navajos’ sand paintings – can offer, thanks to a synaesthetic approach, both a new framework for philosophy and a new understanding of visual arts. (shrink)

This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism (...) of mind and body is surpassed by following a Spinozistic theory of affects. In this respect, the dissertation has both theoretical and practical dimensions. Since art(s) of becoming are bodies without organs which constitute their own lines of flight through a process of minoration, the concepts of body, affect, becoming, and intensity are central to this study. For the same reason, this is an attempt to show the intersections of philosophical, political and aesthetic domains in Deleuze’s theory of sensation which is part of his general practice of philosophy, that is, a quest for establishing an ontology of immanence as opposed to identitarian metaphysics. (shrink)

What is the relation between mimesis and posthumanism? And why should these seemingly antagonistic concepts be joined in a volume opening up a new branch of posthuman studies titled Mimetic Posthumanism? After the plurality of innovative qualifications that, since the twilight of the twentieth century, have been giving critical and creative specificity to the posthuman turn, rendering posthumanism "critical" and "speculative," "philosophical" and "ecological," among other future-oriented perspectives, adding "mimetic" to the list of qualifications may initially sound disappointing. Skeptics might (...) wonder: What now? Is the posthuman turn so deprived of originality that it now returns to the old humanistic notion of "mimesis," traditionally restricted to all-too-human forms of artistic representation? This first impression is partially justified. At first sight, what we group under the rubric of mimetic posthumanism appears to look in two diametrically opposed directions: the mimetic side looks back to the past origins of aesthetic and philosophical theories attentive to the ways humans are uniquely endowed with a capacity to copy, represent and, in this restricted sense, imitate the world; the posthuman side looks ahead to technological developments that go beyond the human and are characterized by posthumanist difference rather than humanistic sameness, innovation instead of repetition, creativity and originality rather than copying or imitation. Given the long shadow mimesis casts on the very idea of technological innovation that drives posthuman studies, mimetic posthumanism might thus not only seem deprived of originality, it may also appear to generate a performative contradiction that a genealogy of philosophers informing posthuman studies has long trained us to critique, unmask, and deconstruct. And yet, precisely if we adopt genealogical lenses, the opposition between mimesis and posthumanism reveals itself to be less stable than it appears to be, generating mirroring inversions of perspective that open up new possibilities for alternative reconstructions. Convoking the ancient philosophical and aesthetic concept of "mimēsis" should at least remind thinkers of the posthuman that first appearances tend to be deceiving. A second look, in fact, shows that if the two perspectives look in opposed directions, they can be joined to compose a Janus-faced conceptual figure. As we shall see, a plurality of posthuman figurations, configurations, or, better still, transfigurations open up creative, strikingly metamorphic, and even original directions of inquiry to further a "mimetic turn or re-turn to mimesis" in the twenty-first century. After all, the same genealogists that paved the way for the supplementary "post" that now destabilizes the anthropocentric concept of the "human," rendering it "posthuman," started by troubling the hierarchical metaphysical binaries on which humanism relied. Such binaries were often structured on much-iterated oppositions such as inside/outside, nature/culture, mind/body, self/other, male/female, dominant/subaltern, and human/nonhuman. They also rested on an idealist metaphysics that opposed the "copy" to the "original," the material "phenomenon" to the ideal "Form," the "imitation" to the "model." Despite their multiple iterations that traverse the history of western thought, ultimately, such binary oppositions rested on a dominant conception of mimesis that, at least since Plato, was predicated on the mirroring logic of the Same, a vertical mimetic logic that has long been deconstructed, overturned, and unmasked as a metaphysical fiction. In the wake of Nietzsche's critique of metaphysics, humans revealed themselves to be far removed from being mere debased imitations of a divine, transcendental, and ideal model posited in an imaginary world behind the world. Rather, the very idea of a divine model, ideal, or phantom turned out to be given form by all-too-human drives constitutive of our evolutionary history in general and modernist critiques of that history in particular. As a period characterized by technological innovations and accelerations, modernist thinkers were thus quick to diagnose a change in human character or subjectivity that turned the ego into a copy, simulacrum, or, to use Nietzsche's phrase, a "phantom of the ego." Over a century later, in the wake of recent developments in robotics and algorithmic reason, and especially the artificial intelligence (AI) revolutions that increasingly blur the frontier between human and artificial intelligence, it is thus tempting to repeat modernist claims on radical changes or transformations. (shrink)

A study of the psychology of demoralization affecting university faculty in the liberal arts. This form of demoralization is not adequately understood in terms of the concept of career burnout. Instead, demoralization that affects university faculty in the liberal arts requires a broadened understanding of the historical and psychological situation in which these professors find themselves today.

Since Hegel, the idea of an end of art has become a staple of aesthetic theory. This book analyzes its role and its rhetoric in Hegel, Nietzsche, Benjamin, Adorno, and Heidegger in order to account for the topic's enduring persistence. In addition to providing a general overview of the main thinkers of post-Idealist German aesthetics, the book explores the relationship between tradition and modernity. For despite the differences that distinguish one philosopher's end of art from another's, all authors treated here (...) turn the end of art into an occasion to thematize and to reflect on the very thing that modernism cannot or should not be: tradition. As a discourse, the end of art is one of our modern traditions. (shrink)

Since Hegel, the idea of an end of art has become a staple of aesthetic theory. This book analyzes its role and its rhetoric in Hegel, Nietzsche, Benjamin, Adorno, and Heidegger in order to account for the topic's enduring persistence. In addition to providing a general overview of the main thinkers of post-Idealist German aesthetics, the book explores the relationship between tradition and modernity. For despite the differences that distinguish one philosopher's end of art from another's, all authors treated here (...) turn the end of art into an occasion to thematize and to reflect on the very thing that modernism cannot or should not be: tradition. As a discourse, the end of art is one of our modern traditions. (shrink)

Two events, apparently distant one from the other and without any direct link between them, but nevertheless strictly connected by a common spiritual legacy, constitute the subject of this paper. The first one, took place in 1971, when a very special «ecumenical chapel» opened its doors to the public. It is known under the name of «Rothko Chapel», due to the general project, undertaken by the painter Mark Rothko. Since that time, it has become one of the most precious artworks (...) that represent the contemporary religious aesthetics. The black Rothko’s paintings, the Greek-cross building designed by the architect Philip Johnson, the Broken Obelisk of the artist Barnett Newman standing right out of the Chapel and the music composed for this ambient by the composer Morton Feldman, have replaced what traditionally has been called an «imago templi»; but contrary to all Christian tradition they represent (literally) no-thing. The second event, took place in 1795, when two young friends, Hegel and Schelling, were making a kind of oath under the sign of an Invisible Church, actualizing an ambiguous concept that, even if rooted in the Holy Scriptures, it had been condemned for its consequences as heretical. The relationship between these two events is given by contemporary art historians which have established that modern abstract painting, from a formal point of view, is rooted in the Romantic tradition. With this paper I would like to contribute to the establishment of this connection, not only by formal means, but by showing a common spiritual attitude towards images. Christianity, essentially figurative in its religious aesthetics, has always had to deal with the Jewish prohibition of image-making. This difficulty has been inherited to contemporary debates in which artist with classical readings and education, often of Jewish origins but active in Christian societies, try to create a new kind of art, above all traditions and free of dogmas. According to my suggestion, Rothko Chapel should be considered as the realization of a fragile balance in which both «aniconism» and «need of images» have simultaneously sublated their one-sidedness, producing a higher spiritual stage. Thus, such a chapel would not be a simple space where all religions could only meet and undertake a dialog, but should be considered as something more surprising: a unique realization of what logically appears as a pure contradiction: the realization of an Imago Templi for an Invisible Church. (shrink)

The course of German Idealism, which lasted from Kant to Schelling, is one of the most important and influential periods in the history of philosophy. _The Routledge Handbook of German Idealism_ is a superb resource for all students and scholars of the movement. Its twelve specially commissioned thematic chapters, all written by experts in the area, cover the essential aspects of German idealism, including Knowledge, nature, freedom and morality, law, history, religion, art and the European legacy of German (...) idealism. In addition to providing essential background to the thought of the period’s most important philosophers, Kant, Hegel, Fichte and Schelling, it also covers philosophers such as Herder, Holderlin, and Schleiermacher. Clearly written, it is accessible to any student of philosophy as well as those in other disciplines with an interest in German idealism, nineteenth century philosophy and continental philosophy. (shrink)

In La filosofia dell’arte, Giovanni Gentile assigned a prominent new role to the sentiments. This change struck some critics as a major departure from the earlier, classic accounts of actual idealism, in which Gentile argued that thought and language comprise the entirety of reality. Sentiments do not fit cleanly into a theory so narrowly concerned with thought and thinking. Their introduction, runs the objection, only compounds certain existing ambiguities in Gentile’s conception of the relation between mind and world. This (...) article describes and criticizes Gentile’s attempts to integrate feeling into actual idealism. It is argued that the appearance of feeling in his mature theory does not undermine but instead clarifies his views on the relation between thought and the act of thinking. Yet it also shows the strain under which idealist language was being put by the late 1920s. Gentile’s attempts to lay out a comprehensive and phenomenologically accurate account of how thinkers actually experience... (shrink)

My intention is to show that, starting from an empiricist philosophy of mind, it is possible to give a systematic account of aesthetic experience. I argue that empiricism involves a certain theory of meaning and truth; one problem is to show how this theory is compatible with the activity of aesthetic judgment. I investigate and reject two attempts to delimit the realm of the aesthetic: one in terms of the individuality of the aesthetic object, and the other in terms of (...) 'aesthetic properties'. I go on to argue that aesthetic descriptions must not be thought to ascribe properties to their objects, and I show how the suggestion that they are non-descriptive need not conflict with the empiricist view of meaning. The problem is then seen to lie with the analysis of the 'acceptance-conditions' of aesthetic descriptions. I counter certain idealist objections to this approach, and then present a theory of imagination, in terms of which the acceptance conditions of aesthetic judgments may be described. This theory attempts to explain how the element of thought in aesthetic appreciation may become inseparable from an experience of its object, and how the aesthetic emotions are both like and unlike their equivalents in life. The first part concludes with an analysis of the general conditions of aesthetic experience. I try to show that aesthetic experience can be described in terms of certain 'formal' properties, independently of its material object. In the second part I am concerned to show that this empiricist theory of aesthetics does not, like most empiricist theories, make nonsense of our appreciation of art. First, I attempt to show that 'understanding' art is not merely a cognitive process, but involves certain experiences that can be accounted for in terms of the previous theory. I then analyse the concepts of representation and expression, and in the course of this analysis I attempt to refute what I take to be the most serious rival analysis of our appreciation of art - the semantic theory. (shrink)

According to a widespread view, Hegel holds that beauty cannot be found in the creatures and objects of the natural world, but is strictly limited to works of art. I argue in this paper that Hegel’s restriction of beauty to works of art is not as straightforward as it is often taken to be, by showing that the phenomenon of beauty has anthropological roots in Hegel. Juxtaposing the Lectures on Aesthetics with sections from Hegel’s Anthropology in the Encyclopedia of Philosophical (...) Sciences, I demonstrate that the living human individual has considerable aesthetic potential in Hegel’s view. According to the interpretation developed in the paper, Hegel holds that artistic beauty—at least in its classical form—is inspired by the beauty of the living human individual. This interpretation makes emerge a strong, ambitious conception of artistic beauty according to which beautiful art not only stands in continuity with human nature, but also makes normative claims pertaining to the living human individual. (shrink)

In particular, as we shall see, Collingwood is often dismissed as having held an indefensible, outmoded ‘ideal’ theory, according to which the work of art is primarily ‘mental’, while his potential role in current debates is simply ignored. I will argue that this view is largely mistaken.

A literary and philosophical examination of art's relation to the absolute as it is explicitly addressed in the works of Kant, Fichte, Schelling, Hegel, Schopenhauer, and Nietzsche.

This volume comprises systematic as well as historical essays, including contributions intended to give comprehensive overviews of such areas as genetic phenomenology, transcendental phenomenology, philosophy and history of logic and mathematics, Kant, hermeneutics, Hegel, and philosophy of language. The book is addressed to phenomenologists, particularly those who are interested in some or all of the areas mentioned. In his introduction Joseph J. Kockelmans indicates that these diverse areas enter into dialogue in the work of Thomas M. Seebohm, whom the editors (...) and authors wish to honor, and the systematic papers mirror the state of the art of research in the above-mentioned disciplines. (shrink)

German Idealism is arguably the most influential force in philosophy over the past two hundred years. This major four-volume work is the first comprehensive survey of its impact on science, religion, sociology and the humanities, and brings together fifty-two leading scholars from across Europe and North America. Each essay discusses an idea or theme from Kant, Hegel, Schelling, Fichte, or another key figure, shows how this influenced a thinker or field of study in the subsequent two centuries, and how (...) that influence is felt in contemporary thought. Crossing established scholarly divides, the volumes deal with fields as varied as feminism, architectural history, psychoanalysis, Christology and museum curation, and subjects as diverse as love, evolution, the public sphere, the art of Andy Warhol, the music of Palestrina, the philosophy of Husserl, the literature of Jane Austen, the political thought of fascism and the foundations of international law. (shrink)

The Library of Scottish Philosophy: Volumes 1 – 6, Exeter: Imprint Academic, 2004 James Otteson , ed. Adam Smith: Selected Philosophical Writings, 247pp. Paperback £12.95. ISBN 184540-001-1 James Harris , ed. James Beattie: Selected Philosophical Writings, 204pp. Paperback £12.95. ISBN 0907845-711 David Boucher , ed. The Scottish Idealists: Selected Philosophical Writings, 201pp. Paperback £12.95. ISBN 0907845-72X Jonathan Friday , ed. Art and Enlightenment: Scottish Aesthetics in the 18th century, 212pp. Paperback £12.95. ISBN 0907845-762 Gordon Graham , ed. Scottish Philosophy: Selected (...) Writings 1690–1960, 253pp. Paperback £12.95. ISBN 0907845-746 Esther McIntosh , ed. John Macmurray: Selected Philosophical Writings, 198pp. Paperback £12.95. ISBN 0907845-738. (shrink)

In his article, "The End of Aesthetic Experience" (1997) Richard Shusterman studies the contemporary fate of aesthetic experience, which has long been regarded as one of the core concepts of Western aesthetics till the last half century. It has then expanded into an umbrella concept for aesthetic notions such as the sublime and the picturesque. I agree with Shusterman that aesthetic experience has become the island of freedom, beauty, and idealistic meaning in an otherwise cold materialistic and law-determined world. My (...) paper starts from the main dimensions of aesthetic experience in the history of Western aesthetics as concluded by Shusterman. In terms of our experiential practices in the fragmentation of modern life and the disjointed sensationalism of the media, I also agree with Shusterman that people are losing the capacity for deep experience and feeling, especially when we are undergoing various extensive series of informational revolutions. My paper is also a response to Shusterman's claim that the concept of aesthetic experience is worth recalling, not for formal definition but for art's reorientation toward values and populations that could restore its vitality and sense of purpose. I mention the recent calls for values and life concerns in art in the Anglo-American aesthetics circles, which has also turned to the possible strength of aesthetic experience, claiming that "Aesthetics is the Mother of Ethics." Amidst the discourse is the review of John Dewey's notion of "aesthetic experience," which claims to support a transcultural view and common patterns, as the relationship is structured around human needs. A basic question posed in the article is whether this Deweyan notion still remains equally influential as in the past and whether it really provides a satisfying answer to the problem of art and value? The discussion will turn then to neo-Confucian aesthetic models for reference, and to point out some meaningful comparative revelations. (shrink)

Collingwood’s ‘art-proper’ definition has been controversial. Wollheim argues that his Theory of Imagination assumes that the nature of the artwork exists solely in the mind, committing him to the Ideal Theory. Consequently, when Collingwood states that the audience is essential for the artist and the artwork, he is being inconsistent. In contrast, Ridley claims that Collingwood’s Expression Theory saves him from Wollheim’s accusations; hence he is consistent and does not support the Ideal Theory. I demonstrate that Collingwood both adheres to (...) the Ideal Theory and is consistent in his art theory. I show that imagination is the sufficient condition of art and expression is the process of art’s coming into existence. I argue that Collingwood is consistent in his theory because the audience and the externalization of the work are needed for an appreciation and understanding of the artwork as either good or bad, as either a work of a corrupt consciousness or not. Hence, an account of the role of externalization is a contribution to the epistemology, not the ontology, of art. (shrink)

The main subject of this research is the specificity of I. E. Repin's perception of the dynamics of artistic-aesthetic tasks formed under the influence of changing modernity. In view of this, one of the compositional centers of the research is the history of relationship that developed between I. E. Repin and the artists of the “first wave of symbolism” – members of the association “The World of Art”. Special attention is given to the question of perception of I. E. Repin (...) by certain representatives of the avant-garde in 1910s. Developing in the range “attraction – negation”, full of dramatic and comic moments, the dialogue between Repin and younger generation indicates the hastiness of univocal view of realism and Art Nouveau as opposing imagery systems. For the first time, on the current level of scientific comprehension of the aesthetics of symbolism and neo-romanticism, the article analyzes the attitude of I. E. Repin towards the innovative imagery pursuits of the Art Nouveau artists. At the same time, the very concept of Art Nouveau is interpreted in two dimensions: as a certain milestone in the context of the development of the history of art of the late XIX – early XX century; and as an inner dynamic potential embedded by I. E. Repin in his works since the beginning of his creative path. Based on systematization of the artistic and documentary sources and the method of complex reconstruction of the views of Peredvizhniki and symbolist artists upon the objectives and nature of art, the author concludes that the poetics of art of Ilya Repin, synthesizing the ideas of time, tends to reflect a complicated and distinctive artistic image formed by realistic and idealistic principles. (shrink)

With the aim of teaching and practicing art for the good or moreover the better, Josef Albers proves to be an idealist. At the same time, he confirms with this conviction that art can also arouse the opposite. This conviction is already evident in the grammatical form of the term, which proves that art is functional or a technique for socio-cultural applications, whether good or bad. In the presentation of the political and philosophical background of this idea as well as (...) in the analysis of Josef Albers´s ´artistic research´ on the artistic means as cultural techniques, this assumption is to be proved by the essay. (shrink)

In recent years, it has become widely accepted that linguistic questions were much more central to the philosophical tradition of German idealism than had been previously thought. However, most of the key texts for this discussion remain largely unknown. The present work makes available, for the first time in English, what is the seminal work for this issue: Johann Gottlieb Fichte's monograph of 1795 entitled On the Linguistic Capacity and the Origin of Language, together with other closely related essays. (...) The translations are accompanied by a detailed interpretive essay that seeks to place these materials in their historical context, relate them to the systematic concerns of German idealism, and evaluate them in relation to later approaches to language, especially those of semiotics and poststructuralism. It also explores the role played by the linguistic thought of the German idealists in the emergance of modern "scientific linguistics" with wilhelm von Humboldt, as well as its connections with the origins of German romanticism. While the book draws upon state-of-the-art scholarship in these areas, it is written in such a way as to be accessible to any serious student of philosophy, intellectual and literary history, and linguistics. (shrink)

Cet article développe l’argument initialement présenté dans mon livre Hegel’s Aesthetics: The Art of Idealism, en prêtant plus d’attention aux termes mêmes de Hegel dans la troisième partie de ses leçons sur l’art. La troisième partie contient l’argument de Hegel selon lequel l’architecture, la sculpture, la peinture, la musique et la poésie nous permettent de contempler le statut ontologique de concepts cruciaux tels que l’espace, le temps, la personnalité et le sentiment. En particulier, j’explore comment le concept de jeu (...) pourrait être utilisé pour saisir comment Hegel comprend chacun des arts. Étant donnée la prédominance du jeu dans les philosophies esthétiques de Kant et de Schiller, le relatif oubli de ce concept chez Hegel est surprenant. Reprenant une suggestion de Georg Bertram selon laquelle les humains se mettent toujours « en jeu » dans l’expérience esthétique, je propose d’interpréter chacun des arts, de l’architecture à la poésie, nous permet de jouer en attirant notre attention sur la manière dont notre monde se forme avec ce que nous entendons, voyons ou ressentons. Je me tourne en particulier vers la différenciation hégelienne entre les différents types de poésie, en tant que plus haute manifestation de l’art, en considérant les différences entre la poésie épique, lyrique et dramatique et leurs ramifications respectives dans la formation du soi. Je conclus en analysant la capacité du drame à mettre en jeu notre idée de nous-mêmes en tant qu’agents, et soutiens que notre plaisir dans ce type de jeu explique, dans une certaine mesure, notre amour de l’art. (shrink)

Graham Harman describes the allure of art as the tension and fusion of a real object to sensual qualities so that it makes it seem that the inwardness of reality is opened to us. Yet real objects are withdrawn; how are we aware of their fusion? Since Harman’s ontology mandates that contact between real objects occurs only through sensual objects, this essay explores the idea that art’s allure must be a tension between sensual objects that draw the experiencer to believe, (...) or alieve, they are in contact with the withdrawn real. By looking at the examples in representational painting and sleight of hand magic, we see that ontographic art objects use at least four, carefully separated sensual objects to produce their aesthetic effect. The conclusion summarises allure as a sensual object process, speculates on art’s dialetheic confusion of sensual and real objects giving an enduring allure to idealism, and notes potential motifs of an infra-realist resistance. (shrink)

Danto's discussion of site‐related and site‐specific art opens up perspectives on both his conception of the ethics and politics of public art and on his ultimately idealistic ontology of art. Danto's analysis of the Vietnam Veterans Memorial involves an important distinction between monuments and memorials that is highly relevant to current controversies, like those about Confederate statues. His differing responses to two site‐related public art works by Richard Serra exhibit a nuanced sensibility to the taste of the public audience and (...) the aesthetics of genius loci. Danto's enthusiastic account of several site‐specific works involving minimal interventions on the ground (some of which remained in the planning stage) disclose his inclination to reduce art to its idea, prescinding from its material presence. (shrink)

Aaron Ridley has concluded that “Collingwood’s global Idealism is really only a distraction from the much more important and interesting ideas that constitute his aesthetics.” My paper takes issue with this conclusion. Collingwood’s idealism is an integral part of his aesthetics, and it simply cannot be shucked off, leaving his aesthetics untouched and intact. A careful reading of Collingwood’s oeuvre in aesthetics reveals that it is his long-standing antipathy to realism that grounds both his critique of pseudo-art and (...) his own theory of art, particularly his idealist theory of the imagination. If Collingwood’s aesthetics are interesting and important, so is the idealism that grounds them. (shrink)

"Kant, Kantianism and Idealism" presents an overview of German Idealism, the major movement in philosophy from the late 18th to the middle of the 19th Century. The period was dominated by Kant, Fichte, Schelling and Hegel, whose work influenced not just philosophy, but also art, theology and politics. The volume covers not only these major figures but also their main followers and interpreters. These include Kant's younger contemporary Herder, his early critics such as Jacobi, Reinhold, and Maimon, and (...) his readers Schiller and Schlegel - who shaped much of the subsequent reception of Kant in art, literature and aesthetics - as well as Schopenhauer, whose unique appropriation and criticism of theories of cognition later had a decisive influence on Nietzsche. The "Young Hegelians" - such as Bruno Bauer, Ludwig Feuerbach, and David Friedrich Strauss, whose writings would influence Engels and Marx - are also discussed. The influence of Kant and German Idealism also extended into France, shaping the thought of such figures as Saint-Simon, Fourier, and Proudhon, whose work would prove decisive for subsequent philosophical, political, and economic thinking in Europe in the second half of the 19th century. (shrink)

To date, critical engagement with Arnold Hauser’s sociology of art has been confined to the field of art history. This perspective has ignored Hauser’s interest in literary history, which I argue is essential to his project. Hauser’s dialectical model, composed of conflicting realist and formalist tendencies, extends to the literary sphere. In The Social History of Art, these two traditions are epitomised by the Russian social novel and German idealism. Anti-enlightenment tendencies in German intellectual culture provide Hauser with evidence (...) of idealism’s propensity for escapism and reaction. Conversely, he extols the Russian social novel as the naturalistic art form par excellence. Because the intelligentsia is central to Hauser’s understanding of the formation of literary culture, this paper provides an outline of his sociology of intellectuals. Through a comparison of the German and Russian literary intelligentsia, this paper shows that Hauser’s analysis of literature is often more complex than his sociological interpretations of the visual arts. (shrink)

In his well-known Art & Illusion, E. H. Gombrich reproduces a brush and ink drawing entitled “Cows in Derwentwater” of a scene in the English Lake Country. The drawing was done by a certain Chiang Yee, whom Gombrich describes as “a Chinese writer and painter of great gifts and charm”. On the page opposite this reproduction Gombrich reproduces a lithograph of a similar scene in the Lake Country, this one an anonymous “‘picturesque’ rendering from the Romantic period” and dated 1826. (...) The differences, as one would guess, are striking—and utterly typical of these two traditions of painting and drawing. (shrink)

Excerpt from The New Idealism The aim of this book is twofold: to examine the foundations of realism more critically, and to outline a reconstruction of idealism more closely than was possible five years ago. The latest developments of philosophy demand a revision of the whole problem, from a shifted standpoint. Since 1917 realism has gained in solidity and a certain intricate precision. The Critical Realists have discovered a flaw in its theory of perception and tried to mend (...) it (not, I think, with conspicuous success); Professor Whitehead has laid down its first principles once for all; and Professor Alexander has built it up into a system among systems. Realism is ten times more formidable than it was in 1917. And since 1917 the issue has been narrowed down to the field of Space and Time, and it is there that the battle between realism and idealism must be fought. That issue is very clear. For, however realists may differ among themselves, whether they say with Professor Alexander that Space-Time is the ultimate reality, or with Professor Whitehead that the ultimate entities are events, they are all agreed that mind is not the ultimate entity and must be kept out of the problem. "Nature," Professor Whitehead says, "is closed to mind." About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (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)

Many recent discussions of aesthetics have suggested that a genuine dialogue between philosophy and art is impossible. This essay aims to countersuch claims by arguing that philosophical thinking about art need not be either dismissive or domineering. The authors argue that a model for a productive dialogue between philosophy and art can be found by means of a comparative reading of two seemingly very different philosophies of art: those of Schopenhauer and Heidegger. The overall philosophical positions of these two thinkers (...) are often at odds with each other. However, a careful examination of their views of art reveals a fundamental connection between art and truth, a connection that makes artworks indispensable counterparts for philosophical thinking, without at the same time undermining their autonomy. (shrink)

The main notion of this article is that the blurring of the limits between offline and online dimensions of knowledge and experience, in addition to the manipulation of genes, neurons, atoms and bits, is dissolving the distinction between subjectivism (i.e. idealism) and materialism (i.e. objectivism and realism). As a consequence, in the moistmedia (from Ascott) ecology in which we are increasingly immersed, a radical kind of experience of matter, time, space and self is emerging. In this form of experience, (...) the blending of subjectivist and materialist approaches help in overcoming the classical Cartesian polarity: we feel part of an extended reality, and we feel this extended reality in ourselves by combining bodies, points of view and multiple senses with digital layers of everything. The article proposes these research questions: Which are the main factors that shape the change toward a moistmedia ecology resulting from the impact of the manipulation of genes, neurons, bits and atoms? Which transformation is being shaped in relation to the previous model of experience? What are the features of the new forms of materiality, sensitivity and action? How artists are putting themselves at risk in the moistmedia ecology? The hypothesis is that a hybrid kind of interval is opening between different layers of reality: analogue versus digital; nature versus culture; here versus there; past versus future; I versus others; and human versus non-human. In this recombination process, a third dimension of reality – that I call ‘radical reality’ – emerges in the moistmedia ecology. This article will analyse the radical experience (Wilson) in moistmedia environments by crossing the five dimensions (matter, space, time, identity and action) with the practices of manipulation of genes, atoms and bits using examples from art and design. This crossing shows the basic dimensions and sub-dimensions of the ‘Model of Radical Experience’ to reveal the nature of this third dimension between subjectivism and materialism, which is explored by artists who put themselves at risk in the turbulent zone between the physical and the digital. (shrink)

This volume is devoted to a critical discussion and re-appraisal of the work of Anglo-American Idealists of the nineteenth and twentieth centuries. Idealism was the dominant philosophy in Britain and the entire English-speaking world during the last decades of the nineteenth century and the beginning of the twentieth. The British Idealists made important contributions to logic, metaphysics, aesthetics, ethics, social and political philosophy, philosophy of history, philosophy of religion and philosophy of mind. Their legacy awaits further exploration and reassessment, (...) and this book is a contribution to this task. The essays in this collection display many aspects of contemporary concern with idealistic philosophy: they range from treatments of logic to consideration of the Absolute, personal idealism, the philosophy of religion, philosophy of art, philosophy of action, and moral and political philosophy. During the first decade of the twenty-first century, the work of the Anglo-American Idealists has once again been widely discussed and re-considered, and new pathways of research and investigation have been opened. (shrink)

This contribution analyses the importance of the State Academy of the Study of Arts in the appropriation of Hegel's aesthetics in Russia. In immediate connection to this discussion at the GAKhN is Gustav Špet’s conception of the ontology of art. This concept represents an attempt of a non-metaphysical interpretation of Hegel’s aesthetics. There, art is interpreted as an autonomous mode of the cultural existence as “aesthetic reality.” In this interpretation of art Špet refers to two of Hegel's theses in which (...) art is determined as “appearance” which stands as a "quasi-reality" and the aesthetic object gets its ontological status because of “recognition” by humans. These theses help Špet to develop an alternative to Marxist aesthetics. (shrink)

The reception of phenomenology in art criticism reached its apex in the mid-1960s in its application to Minimalism in the United States. The focus was on the embodied, direct perceptual experience of Minimalist sculpture, but in light of Conceptual art’s ‘dematerialised’ practices which developed as the decade progressed, the interest in phenomenology waned. This paper looks at the history of this reception and presents Merleau-Ponty’s late ontological work as a corrective to an inadequate understanding of phenomenology in critical discourses on (...) art at the time. It argues that the late Merleau-Ponty offers tools for an effective critique of early conceptualism’s idealism, as well as a basis on which the ‘dematerialised’ and dispersed ontology of the art work shared by both Conceptual and more recent Post-Conceptual practices can be investigated. (shrink)