This chapter contains sections titled: Resented Relations Back to Fichte Schopenhauer Hears and Reads Fichte A Fairy Tale A Fairy Tale in a Leaden Age From the Freedom of the Will to the Freedom of Non‐Willing Notes References.

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.

Der Begriff »Klassische Deutsche Philosophie« setzt sich zusehends gegenüber der alten Bestimmung »Deutscher Idealismus« durch. Dies geschieht vollkommen zu Recht, denn letztere führt in die Irre. Tatsächlich verfolgen Fichte, Schelling und Hegel zusammen mit Kant das Anliegen, Idealismus und Realismus als einseitige Positionen zu überwinden. Ausgehend von diesem gemeinsamen Vorhaben entspinnt sich zwischen ihnen eine Kontroverse, die in unterschiedlichen Lösungskonzepten mündet. Die vorliegende Arbeit stellt die unterschiedlichen Ansätze zur Vermittlung von Idealismus und Realismus, die in der Forschung bisher eher (...) vage präsent sind, erstmals systematisch anhand ihrer historischen Entwicklung dar. Ein Anhang zur Analytischen Philosophie belegt die Relevanz der Fragestellung auch für die Philosophie der Gegenwart. (shrink)

This book provides a detailed reconstruction of the origins of Schopenhauer's philosophy and its inherent aporias. It is divided into four parts. The first section delves into the pietistic upbringing of young Schopenhauer and his introduction to philosophy through the teachings of G.E. Schulze, as well as his study of Plato, Schelling, and Kant. Faced with the "negative" outcomes of Kant's criticism, particularly the unknowability of the thing-in-itself, young Schopenhauer initially engaged with Fichte and Schelling (this is covered (...) in the second part of the volume). However, Schopenhauer formed the opinion that these two philosophers, instead of upholding and expanding upon Kant's ideas, ultimately diverge from them. That notwithstanding, he implicitly inherited certain pivotal concepts from Fichte and Schelling. The third part explores Schopenhauer's initial endeavor to formulate a new metaphysics after Kant, known as the theory of "better consciousness." In the fourth part, the book demonstrates how the internal contradictions within that theory and Schopenhauer's transformative encounter with Indian wisdom (Hinduism and Buddhism) lead him to abandon his first attempt at a system and develop his metaphysics of will. The last and most substantial chapter of the book focuses on the author's analysis of the inherent aporias within Schopenhauer's mature system, approaching them from a genetic perspective. (shrink)

Arthur Schopenhauer (born 1788 in Danzig, died 1860 in Frankfurt am Main), was the son of Heinrich Floris Schopenhauer, a wealthy merchant, and Johanna Trosiener, who was later to become a well‐known member of Goethe's circle in Weimar and, subsequently, a popular novelist whose collected works, published in 1831, filled twenty‐four volumes. The death of his father (a probable suicide) in 1805 led to the future philosopher's ultimate abandonment of the plan that he should enter business. After further study, he (...) attended the University of Göttingen in 1809 where he studied with G. E. Schulze, whose Aenisidisumus (1796), with its critique of Kant's conception of the thing‐in‐itself, had played a crucial role in the early development of Fichte's Wissenschaftslehre. It was through Schulze that he became acquainted, not only with Kant, but with Plato and Schelling (see Hübscher 1989, pp. 159ff). The connection between Plato and Kant, a crucial thesis of his philosophy as a whole, is the subject of some of his earliest and most penetrating notebook entries (Schopenhauer 1988, vol. I, nos 17, 228, 442). Schopenhauer left Göttingen for Berlin to attend Fichte's lectures. Despite apparently serious attempts, testified by his voluminous notebooks (preserved in Schopenhauer 1988, vol. II), Schopenhauer found himself deeply out of sympathy with the Fichtean philosophy of reflection, and his distaste for German idealism, which only increased with the years, dates from this encounter. On the heels of Napoleon's invasion of Berlin, Schopenhauer retired to a small town outside of Weimar, where (June‐November 1813) he wrote his dissertation On the Fourfold Root of the Principle of Sufficient Reason, whose simplification and transformation of the Kantian doctrine of the concepts of the understanding into a third “form of intuition” next to space and time forms the basis of his distinctive epistemology and its difference from Kant's. (This difference is most clearly expressed in §21; see also the “Critique of Kantian Philosophy”, the Appendix to The World as Will and Representation, vol. I, pp. 437–451). The “ideality of sensation” is the theme of On Vision and Colors, written in 1815 under the influence of his encounter with Goethe's Farbenlehre (a sympathy not reciprocated by Goethe for the younger man's contribution). At this time, Schopenhauer moved to Dresden, where for four years he worked out The World as Will and Representation in intellectual isolation. In addition to the dual influence of Plato and Kant, Schopenhauer had also been introduced to doctrines of Eastern religion by F. Meyer in Weimar (1813), and is often said to be the first Western philosopher seriously to incorporate Eastern thought into his system (see Schopenhauer 1988, vol. I, no. 564). The “work” is announced in a note that is even earlier, from 1813, which begins. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 485 consent to suffer or die? Consent, contractual obligations, and free acts of commitment certainly have a place in a complete ethical theory. But do they have the only place? If Wolff has consigned certain of Kant's central theses to the deep, he also has managed to salvage and restore others. In The Right and the Good, for instance, Ross argues that it is logically absurd to (...) suppose that we ought to act from a sense of duty. But Wolff argues convincinglythat "what Kant actually says is that our acts have moral worth only insofar as they are done from a certain motive (namely, respect for the law). Their rightness is quite independent of their motive. We have, according to Kant, an obligation to do what is right. We do not have an obligation to perform morally meritorious acts" (p. 81). Wolff also manages to shed light on Kant's analysis of rational agency and the nature of will. He enables us to see more clearly than Kant himself does that "will" does not name a faculty but rather has a home in such phrases as "to have a will" which, in turn, "simply means to be capable of being moved by reason rather than by natural causes.... To be free is simply to be moved by reason" (p. 216). Despite its flaws as a commentary, The Autonomy of Reason contributes significantly to our understanding of Kant and the problems he addresses. Wolff's critique is especially valuable because it attempts to relate Kant's ethics to his metaphysics and epistemology in more than a superficial manner. If it does not always succeed, it never ceases to be provocative, imaginative, and well-argued. The Autonomy of Reason offers us a flesh opportunity not only to grapple with the central problems of Kantian ethics but to face the central issues of contemporary ethics as well. HANS OBERDIEK Swarthmore College Philosophic als System bei Fichte Schelling und Hegel. By Adolf Schurr. (Stuttgart-Bad Cannstatt: Friedrich Frommann, 1974, Pp. 192. DM 58) Fichte and Schelling often seem to have existed merely to serve as a bridge between the genius of Kant and Hegel. Whether or not they deserve better can here be left unanswered, but in any case Schurr's study has supported this common conception. It begins with a "Kantian" Fichte, passes through a confused Schelling, and ends with a young and confident Hegel. The particular topic developed by Schurr is the attempts made by Fichte and Schelling to forge a unitary system from the brilliant yet fundamentally unresolved conceptions of the Kantian legacy. The study was initiallyprepared as Schurr's Habilitationschrift at Regensburg University, and it evidences all of the virtues and vices of these advanced forms of doctoral dissertations: it is orderly and firmly documented, virtues that when pressed pass into the vices of a deadening style and an uninspired recital of textual references. Perhaps the best single term encompassing these virtues and vices is "conscientiousness." The study should arouse neither speculative enthusiasm nor scholarly disdain, being principally a direct and uncomplicated exposition of some central principles found in the philosophy of Fichte, the thought of young Schelling, and a single text of Hegel. It covers the brief historical period from Fichte's review of Schulze's Aenesidemus in 1794 to the appearance of Hegel's 1801 study Differenz des Fichteschen und Sehellingsehen Systems der Philosophic. The work, then, is naturally divided into three chapters of uneven length. Were the reader to rely upon pagination alone to determine importance, Fichte leads by far, and Hegel is the least, being granted only nineteen pages. Insofar as each philosopher is confined to his chapter, the length allowed seems more than usually significant. In this regard, as the final chapter on Hegel can hardly be said to touch directly upon Hegel's own conception of a system, the title of Schurr's work could be misleading to anyone more closely interested in Hegel. 486 HISTORY OF PHILOSOPHY The work lacks both a general introduction and a conclusion, not only as separate sections but in any form whatsoever. Certainly the reader is prepared, for whatever unspoken necessity, to surrender such amenities... (shrink)

Among philosophers of religion working prior to the nineteenth century, Immanuel Kant is preeminently useful to understand. For it is his statement of the problems and his lines of solution which are most widely known, and taken as the point of departure for subsequent criticisms and new interpretations of religion, It is natural for Fichte and Schleiermacher to build out from him and often against him, just as it is his treatment of ethics and religion that most excites the new (...) generation of university students, notably Schelling, Hegel, and then Schopenhauer. Directly or indirectly, Kant’s impact continues to be felt by such diverse minds as Kierkegaard and the Marxists, Feuerbach and the positivists, Nietzsche and the so-called British Hegelians. Since Kant furnishes the closest approximation to a joint historical reference field for these nineteenth-century philosophers of religion, to study him is already to gain some comprehension of what they are doing and why they think as they do in this area. (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)

Die Nähe der Philosophie Schopenhauers zu derjenigen Schellings wurden oft beschworen und bereits zu Schopenhauers Lebzeiten häufig – bis hin zum Plagiatsvorwurf gegen Schopenhauer – thematisiert. Besonders auffällig werden die Ähnlichkeiten, wenn man sich den Naturkonzeptionen beider Denker zuwendet: Beide Philosophen versuchen auf je eigene Weise die Natur als selbsttätig zu denken. Ausgehend von diesen Überlegungen werden im vorliegenden Band die Naturphilosophie Schellings und Naturmetaphysik Schopenhauers ausführlich vor dem Hintergrund einer in ihrer Selbsttätigkeit als prozessual gedachten Natur gegenübergestellt und diskutiert. (...) Dabei versteht sich diese Arbeit als systematisch-komparatistischer Beitrag zur Schelling- und Schopenhauer-Forschung, indem sie erstmals einen detaillierten Vergleich der Naturkonzeptionen anstellt und zugleich für eine prozessphilosophische Interpretation – sowohl der Naturphilosophien, als auch der gesamtphilosophischen Systeme argumentiert. (shrink)

Schopenhauer's claim that the essence of the world consists inWilleencounters well-known difficulties. Of particular importance is the conflict of this metaphysical claim with his restrictive account of conceptuality. This paper attempts to make sense of Schopenhauer's position by restoring him to the context of post-Kantian debate, with special attention to the early notebooks andFourfold Root of the Principle of Sufficient Reason. On the reconstruction suggested here, Schopenhauer's philosophical project should be understood in light of his rejection of post-Kantian metaphilosophy and (...) his opposition to German Idealism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.2 (2001) 304-305 [Access article in PDF] Wildfeuer, Armin G. Praktische Vernunft und System. Entwicklungsgeschichtliche Untersuchungen zur ursprünglichen Kant-Rezeption Johann Gottlieb Fichtes. Stuttgart-Bad/Cannstatt : Frommann-Holzboog, 1999. Pp. 596. Cloth, DM 168. The subtitle of this book, a slightly revised dissertation from the University of Bonn (1994), reads: "Investigations into the developmental history of Johann Gottlieb Fichte's original reception of Kant." The work comes (...) to almost 600 pages. The main text is heavily overlaid with detailed footnotes, extensive quotations and supplementary material in smaller print and narrow line spacing. To the reader who is patient enough to face this scholastic mode of presentation, there emerges behind it a valuable contribution to our overall understanding of Fichte's philosophical work in general and its core discipline, the Wissenschaftslehre or first, transcendental philosophy, in particular.In the grand narrative about the development of German idealism Fichte is placed between Kant and Schelling. More precisely, he is typically portrayed as continuing but also revising Kant's work under the double influence of the leading early post-Kantian, Karl Leonhard Reinhold (1758-1823), and the skeptical anti-Kantian and anti-Reinholdian, Gottlob Ernst Schulze (1761-1833), called "Aenesidemus" after the title of his anonymous main work.Wildfeuer's investigations supplement this picture with a detailed consideration of what could be called "Fichte before Fichte": the early development of Fichte's thought, prior to his encounter with Reinhold and prior even to his encounter with Kant (1790). To be sure, Wildfeuer also deals with Fichte's continued philosophical development up through 1794, and he has many interesting things to say about the lasting presence of Fichte's earliest concerns in his more mature work. But the chief merit of the book is the sustained attention it pays to the very beginnings of Fichte's thought.Much of the prehistory of Fichtean philosophy has to be conjectured, given the scarcity of documents about Fichte's years of study (1780-84) and of his work as itinerant tutor (1785-1793). From Fichte's own testimony in his correspondence it is clear that prior to encountering Kant's three Critiques he held a determinist position regarding nature as well as human conduct. Based on some indications in Fichte's later works, Wildfeuer identifies as the chief source of Fichte's determinism the work of Karl Ferdinand Hommel (1722-1781), a professor of law at Leipzig, whom Fichte could have heard as a student and whose pseudonymous treatise Alexander von Joch... On Reward and Punishment According to Turkish Laws (1770) Fichte cites. Hommel (alias von Joch) maintains a deterministic view of human action, while justifying the social practice of punishment and reward. In particular, he maintains the dependence of the will on the intellect and of the latter on sensations or sensory impressions. Wildfeuer refers to this position, as it was temporarily adopted by Fichte, as that of the primacy of the understanding over the will.But Wildfeuer also shows that from early on Fichte's determinist leanings in speculation were counterbalanced by the conviction that feeling, especially feeling in religious matters, is an equally valid source of truth. For Wildfeuer, this early duality of speculation and feeling is the lasting basis of Fichte's life-long concern with reconciling the competing demands of head and heart. In particular this pre-Kantian key concern [End Page 304] in Fichte informs the latter's central systematic occupation with the unity of the mind amidst its differentiation into faculties or kinds of mental activity.Further texts which Wildfeuer examines in pursuit of the pre-Kantian Fichte are his Latin Valedictory Address, given upon graduating from one of Germany's finest secondary schools at the time, the Princely College of Pforta (1780), and the "Aphorisms on Religion and Deism" (1790).On the basis of this material Wildfeuer goes on to reconstruct the distinct reception that each of Kant's three Critiques received by Fichte. According to Wildfeuer, the Critique of Pure Reason originally was read by... (shrink)

The problem of knowledge in German Idealism has drawn increasing attention. This is the first attempt at a systematic critique that covers all four major figures, Kant, Fichte, Schelling, and Hegel. The book offers a fresh and challenging analysis.

True to its title, this is a book with a plot. True to its subtitle, it is also a tightly focussed scholarly monograph, one which will undoubtedly serve as an authoritative reference work in its field for many years to come and which deserves to be read by anyone interested in the history of German philosophy “after Kant.” As readers of The Owl of Minerva are well aware, recent decades have witnessed an explosive revival of interest in classical German philosophy. (...) Kant and Hegel studies now constitute full-scale cottage industries, and even long-neglected figures like Fichte and Schelling have recently become objects of new interest. What has remained lacking is any general appreciation or even awareness of the quite specific philosophical milieu out of which the “giants” of post-Kantian philosophy arose. Beyond a familiarity with Kant’s Critiques, contemporary readers, especially English language readers, have remained almost entirely ignorant of the theoretical context within which the great systematic works of Fichte, Schelling, and Hegel first appeared. Nor has this ignorance been unexpected or inexcusable, since it concerns an unusually confused and confusing period in the history of philosophy and since the obscure texts involved have seldom been reprinted and almost never translated. (shrink)

Die philosophiegeschichtliche Studie zu Schelling hat nicht dessen Stellung zur gesamten Tradition im Auge, sondern - wie der Untertitel genauer ausweist - vorrangig seinen Umgang mit der antiken Tradition. Auch wenn Schelling darunter keineswegs nur die griechische Philosophie versteht, sondern in einem weiteren Sinn die orientalische Philosophie, so kann im Hinblick auf die Griechen doch gesagt werden, daß auch diese Tradition immer noch ein Desiderat der Schellingforschung darstellt, dessen Aufarbeitung mit der Mailänder Tagung der Internationalen Schelling-Gesellschaft - (...) deren Materialien in der Reihe Schellingiana veröffentlicht sind - erst einen Anfang gefunden hat. Der Begriff der Tradition ist auch in anderer Hinsicht hier nicht sehr präzise verwandt, denn ganz offenkundig sind verschiedene und keineswegs homogene philosophiegeschichtliche Bezugspunkte gemeint. Zwingende systematische Gründe für die Kombination von griechischer Antike und Kant lassen sich nicht anführen. Die im Untertitel genannten Namen der hier untersuchten philosophischen Tradition sind nicht gleichgewichtig behandelt; die Arbeit untergliedert sich in drei Teile, der erste Teil ist Platon gewidmet, der zweite und umfangreichste Teil Aristoteles, der dritte Teil schließlich Kant, Plotin wird exkursorisch im ersten Teil behandelt. (shrink)

Le Schopenhauer de Théodore Ruyssen est paru en 1911 chez Félix Alcan dans la série "Les Grands Philosophes" où figuraient d'autres bonnes études comme le Schelling de Bréhier ou encore le Fichte (1902) de Xavier Léon. Ruyssen avait déjà fait paraître dans la même collection un Kant qui connut plusieurs rééditions. Tous ceux qu'intéresse l'œuvre de Schopenhauer ne pourront que se réjouir de la réimpression de ce titre depuis longtemps épuisé.

Why Fichte? I wondered, when the six-day Fichte Tagung was announced for Zwettl, Austria. Hegel and Kant and Hume had had their festivals. I expected that. But in spite of some party spirit for Fichte there is hardly a competitive passion on the part of Fichte people against Kant and Hegel and Hume people that would prompt a world congress. There is no International Society for the study of Fichte. There is indeed intense interest in his work, witnessed in the (...) new and carefully edited collection of his works, which is still in progress, the numerous, excellent and recently published studies, and the number of excellent Fichte articles appearing in leading journals. There is particular and growing interest in his revisions of his Wissenschaftslehre, in which his notion of intuition develops remarkably. His fully developed position does indeed offer a subtle and profound option to Hegel’s interpretation of consciousness. His influence on nineteenth century figures in literature as well as in philosophy is striking and important. But that has been so for a century and a half, and the same can be said of Schelling’s later work and influence, which is much less studied. (shrink)

The Cambridge Critical Guides series offers cutting-edge research volumes on some of the most important works of philosophy. Each volume presents newly-commissioned essays by an international team of contributors, and will appeal to a scholarly and graduate-level audience. One of the themes that this volume brings out is the endurance and contemporary relevance of some of Schopenhauer’s most pressing concerns. In a sense, he is right to be ahistorical: is it not this reaching out of its time that makes a (...) work a classic, eternal even? Principal among these concerns of course is the question of how to respond as plagues overwhelm us (which is Schopenhauer’s description of existence in a normal state, the plague of existence rather than a plague within existence). His famous answer involves the negation of the will, the ascetic denial and rejection of desire. Of course, this response is more striking than it is clear, and several of the essays tackle the question of what is meant, entailed, and achieved by negation of the will. (shrink)

Through skepticism and dialectics, German idealism transformed our understanding of the world and ourselves. This book shows how Kant, Fichte, Schelling, and Hegel revolutionized reason and made possible the critical reversal of values present in 20th-century philosophy.

The dissertation contrasts Kant's epistemological assertiveness with his ontological skepticism as a central issue in the development of the discourse in German Idealism. Fichte's phenomenological demarche essentially amplifies this problem but, at the same time, allows him to advance a path breaking critique of formal logic and to stress the importance of contradiction. Schelling, by restoring metaphysics, attempts to overcome Fichte's contrast between ontological dualism and epistemological monism. Finally, it is Hegel who directly addresses the need for a non-formal (...) cognitive logic. The author analyzes Hegel's deduction in the Phenomenology, invokes current genetic epistemology, and reads the Science of Logic as a genetic theory of systematic knowledge and as circular epistemology. Emphasizing the unity between the logical and the historical, the distinction between intellectual and rational explanation, and the cognitive importance of contradiction, the dissertation argues for the possibility a coming-to-be totality of reflective scientific reason. (shrink)

Schopenhauer's philosophy was formed during the years 1810–18. This chapter looks at the influences that shaped it, principally Kant, but also Plato, and the Upanishads. Schopenhauer aimed at a synthesis of these influences. Although indebted to Kant for the framework of his thought, he developed a conception of metaphysics and a ‘better consciousness’ of objective reality that would be free from the limitations imposed by Kant. Schopenhauer's antagonistic relationship with Fichte, Schelling, and Hegel is also mentioned.

In dem vorliegenden Buch wird auf den Anfang einer Ethik des Selbstbewußtseins im zentralen Gedankengang der idealistischen Philosophie aufmerksam zu machen gesucht: für die Kantische Philosophie mit Hilfe systematischer Überlegungen und bei Fichte, Schelling und Hegel anhand ausgewählter Texte. In dieser Ethik ist das Desiderat einer Wahrung der Eigenheit des Anderen erfüllt, indem sie als integraler Bestandteil einer Strukturexplikation des Selbstbewußtseins in der Aufklärung der Verständlichkeit der Welt für uns mit ethischen Konzepten entwickelt wird.Das Bewußtsein von sich selbst enthält (...) eine Unbestimmtheit in sich, die allein durch die ethische Beziehung zum Anderen so strukturiert zu denken ist, daß das Selbstbewußtsein weder seine interne Differenz verliert, noch in eine Beziehung extern bestimmter Relata transformiert wird. Das Ethische und das Sollen werden damit nicht als Phänomene in der Welt aufgenommen, sondern aus jener Bestimmungslosigkeit des Selbstbewußtseins entwickelt, aus der verständliche Bestimmtheiten der Welt auszuarbeiten sich die idealistische Philosophie zur genuinen Aufgabe gemacht hatte.Indem die idealistische Subjektphilosophie die Untrennbarkeit ihres tragenden Gedankens eines bewußten Selbstverhältnisses von seiner Explikation in ethischen Konzepten denkt, nimmt die Subjektivität auf der Grundlage des Selbstbewußtseins eo ipso den Status ethischer Verpflichtetheit an. In dieser ethischen Beziehung wird der Andere in einer Bestimmtheit anerkannt, die er sich nur selbst geben kann, so daß sie seine Selbstexplikation bleibt. Das Eigene des Anderen kommt deshalb im Innersten des als Selbstbewußtsein gedachten Subjekts in Gestalt der ethischen Verantwortlichkeit vor der und für die Freiheit des Anderen zur Geltung.Die idealistische Subjektphilosophie denkt das absolut Andere also bereits an ihrem Anfang in der keiner exogenen Bestimmtheit zugänglichen Selbstbestimmtheit des Selbstbewußtseins. Ein Bewußtsein des Anderen läßt sich demnach direkt im Zentrum der Philosophie des Selbstbewußtseins entdecken: als Ethik, die allein die Struktur des Selbstbewußtseins in seiner Identität und Differenz verständlich machen kann. (shrink)

La historia del idealismo alemán se articula en torno a una serie de encuentros y desencuentros entre quienes pretenden completar una obra que habría quedado inacabada, y que conduciría a una suerte de constitución definitiva de la filosofía. La correspondencia intercambiada entre I. Kant, J. G. Fic..

The flowering of creative and speculative philosophy that emerged in modern Europe--particularly in Germany--is a thrilling adventure story as well as an essential chapter in the history of philosophy. In this integrative narrative, Solomon provides an accessible introduction to the major authors and movements of modern European philosophy, including the Enlightenment and Romanticism, Rousseau, German Idealism, Kant, Fichte, Schelling and the Romantics, Hegel, Schopenhauer, Kierkegaard, Feuerbach, Max Brentano, Meinong, Frege, Dilthey, Bergson, Nietzsche, Husserl, Freud, Wittgenstein, Heidegger, hermeneutics, Sartre, Postmodernism, (...) Structuralism, Foucault, and Derrida. (shrink)

A groundbreaking text for the account of the problem of evil in German idealism. Here is a brief review for the German audience.

English summary: Philosophy of history is a comparatively young discipline. Beginning with the Enlightenment the historical is viewed as a philosophic topic. Through German Idealism it is emphatically placed at the centre of attention. The idealistic perspective on history was important for further development. The author presents the integral components of Kant's, Fichte's, Schelling's and Hegel's philosophy of history. He explains Kant's regulative idea on advancement, Fichte's model of the development of reason in five main eras, Schelling's three (...) steps in the absolute, speculative and revelation and Hegel's historical conception of a comprehensive Weltgeist. The most important opposing positions to an idealistic philosophy of history are described in the final chapter - reaching from new Kantianism, hermeneutics and science theory to the recent narratological approaches. German description: Geschichtsphilosophie, d. h. die bewusste Reflexion des Historischen als eines besonderen Gegenstands fur das menschliche Erkennen und Handeln, ist eine vergleichsweise junge Disziplin. Erst mit der Aufklarung wird Geschichte ernsthaft als eigenstandiges Thema wahrgenommen, und erst im deutschen Idealismus ruckt sie nachdrucklich ins Zentrum des philosophischen Interesses. Dabei ist die idealistische Sicht auf das Historische fur die weitere Entwicklung der Geschichtsphilosophie uberaus pragend gewesen - sei es indem ihre spekulativen Fortschrittsszenarien ubernommen und fur ahnlich umfassende Geschichtsbilder zugrunde gelegt wurden, sei es indem abweichende Geschichtsauffassungen in ihr das wesentliche Gegenkonzept fanden. Das Buch stellt die Hauptaspekte der Geschichtsphilosophie bei Kant, Fichte, Schelling und Hegel dar. Dabei wird besonderes Augenmerk darauf gelegt, wie diese Geschichtsentwurfe in die jeweilige philosophische Gesamtarchitektur der vier Autoren eingebettet sind. Zudem werden die wichtigsten Gegenpositionen zur idealistischen Geschichtssicht skizziert - von der Historikerschule und dem Neukantianismus uber die Hermeneutik und die Wissenschaftstheorie bis hin zu den narratologischen Ansatzen der jungeren Zeit. (shrink)

1. Bacon, Newton, Descartes, Spinoza, Leibniz, Hobbes, Berkeley, Hume, Lock, Voltaire, Condillac, Rousseau, Kant, Fichte, Schelling, Hegel -- 2. Schopenhauer, Comte, Feuerbach, Kierkegaard, Marx, Engels, Nietzsche.

This volume collects thirteen original essays that address the concept of will in Classical German Philosophy from Kant to Schopenhauer. During this short, but prolific period, the concept of will underwent various transformations. While Kant identifies the will with pure practical reason, Fichte introduces, in the wake of Reinhold, an originally biological concept of drive into his ethical theory, thereby expanding on the Kantian notion of the will. Schelling, Hegel, and Schopenhauer take a step further and conceive the will (...) either as a primal being, as a socio-ontological entity, or as a blindly striving, non-rational force. Thus, the history of the will is marked by a complex set of tensions between rational and non-rational aspects of practical volition. The book outlines these transformations from a historical and systematic point of view. It offers an overview of the most important theories of the will by the major figures of Classical German Philosophy, but also includes interpretations of conceptions developed by lesser-studied philosophers such as Maimon, Jacobi, Reinhold, and Bouterwek. (shrink)

Inhalt: Vorwort. Rolf AHLERS: Fichte, Jacobi und Reinhold über Spekulation und LebenTeil I Prinzipen des transzendentalen IdealismusHeinz EIDAM: Die Identität von Ideal- und Realgrund im Begriff der Wirksamkeit. Fichtes Begründung des kritischen Idealismus und ihr Problemzusammenhang. Katsuaki OKADA: Fichte und Schelling. Robert MARZAŁEK: Das Poetische in der späten Wissenschaftslehre aus dem Blickpunkt von Schellings Philosophie der Mythologie. Hitoshi MINOBE: Die Stellung des Seins bei Fichte, Schelling und Nishida. Yoichi KUBO: Transformation der Deduktion der Kategorien. Fichte in Hegel. Gottlieb (...) FLORSCHÜTZ: Mystik und Aufklärung – Kant, Swedenborg und Fichte. Teil II Philosophie und LebenArkadij V. LUKJANOW: Die Beziehung zwischen Geist und System bei Fichte und Reinhold. Susanna KAHLEFELD: Standpunkt des Lebens und Standpunkt der Philosophie. Jacobis Brief an Fichte aus dem Jahr 1799. Hartmut TRAUB: J.G. Fichte, der König der Juden spekulativer Vernunft – Überlegungen zum spekulativen Anti-Judaismus. Claus DIERKSMEIER: Fichtes kritischer Schüler. Zur Fichtekritik K.C.F. Krauses. Matthias KOßLER: Phantasie und Einbildungskraft. Zur Rolle der Einbildungskraft bei Fichte und Solger. Elvira GAREEVA: Die Bedeutung der Populärphilosophie: J.G. Fichte und A. Schopenhauer. Zur DiskussionKlaus HAMMACHER: Hartmut Traub: J.G. Fichte, der König der Juden spekulativer Vernunft – Überlegungen zum spekulativen Anti-Judaismus.Rezensionen. (shrink)

This major study of Hegel's intellectual development up to the writing of The Phenomonology of Spirit argues that his work is best understood in the context of the liberalisation of German Protestantism in the eighteenth century. 'The scholarship with which Dickey presents his case is remarkable for both its depth and its range: his account of German protestantism, for example, involves a discussion of the theological doctrines of St Clement, St Augustine and Pelagius, and, despite his scepticism about the Kant-Fichte- (...) class='Hi'>Schelling-Hegel succession, these philosophers, among others, all receive their due. Dickey also reflects continuously on his own intellectual procedures, and provides much insightful discussion of historical methodology. Yet despite all this, he never loses his sense of direction or lapses into unreadability. His book is a remarkable one and will prove indispensable to Hegel specialists, but also of great interest to historians of ideas in general.' -- Michael Inwood, The Times Literary Supplement. (shrink)

One of the scandals of Anglo-American philosophical scholarship is its neglect of the German Idealist tradition. Even in the case of Hegel himself, many important works are either untranslated or have received only inadequate or outdated renderings and suffer from a lack of first-rate, full-length commentaries. The situation is much worse, when one turns to Schelling and Fichte. Lachs and Heath have rendered a real service in providing us with a new translation, available in a well-bound papercover edition, of (...) Fichte's major work, the Wissenschaftslehre of 1794, to supplant the very objectionable Kroeger translation which is, in any case, long since out of print. This is an essential work for comprehending the development of European philosophy in the short but extraordinarily productive period from 1781 to 1807. Along with Schelling's System des transzendentalen Idealismus, Fichte's Wissenschaftslehre constitutes the bridge between Kant's three Critique's and Hegel's Phenomenology. Both of the famous "Introductions" are translated in the current edition. Despite their torturous text, their renderings are clearer than one might expect. There is an extremely helpful introduction by Lachs (who also translated the "First Introduction of 1797," a German-English glossary, and a detailed index. The translators also supply the standard marginal pagination from the Gesamtausgabe of 1834-1846. In all, the work is professionally done, a permanent and much needed contribution of the study of Fichte for English-reading students.--J. D. C. (shrink)

In his quest to solve 'the ever-disquieting riddle of existence', Schopenhauer explored almost every dimension of human existence, developing a darkly compelling worldview that found deep resonance in contemporary literature, music, philosophy, and psychology. This is the first comprehensive biography of Schopenhauer written in English. Placing him in his historical and philosophical contexts, David E. Cartwright tells the story of Schopenhauer's life to convey the full range of his philosophy. He offers a fully documented portrait in which he explores Schopenhauer's (...) fractured family life, his early formative influences, his critical loyalty to Kant, his personal interactions with Fichte and Goethe, his ambivalent relationship with Schelling, his contempt for Hegel, his struggle to make his philosophy known, and his reaction to his late-arriving fame. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

This volume gathers a collection of fourteen original articles discussing the concept of drive in classical German philosophy. Its aim is to offer a comprehensive historical overview of the concept of drive at the turn of the 19th century and to discuss it both historically and systematically. From the 18th century onward, the concept of drive started to play an important role in emerging disciplines such as biology, anthropology, and psychology. In these fields, the concept of drive was used to (...) describe the inner forces of organic nature, or, more particularly, human urges and desires. But it was in the period of classical German philosophy that this concept developed into an important philosophical concept crucial to Kant’s and post-Kantian idealistic systems. Reflecting the complexity of this concept, the volume first discusses historical sources of drive theories in Leibniz, Reimarus, and Blumenbach. Afterwards, the volume presents the philosophical accounts of drives in Kant, Fichte, Schelling, and Hegel, and also gives a systematic overview of other important drive theories that were formed around 1800 by Herder, Goethe, Jacobi, Novalis, Reinhold, Schiller, and Schopenhauer. (shrink)

Performativity plays a significant role avant la lettre in Classical German Philosophy. It is, among other things, a central component of original interpretations of the Absolute, the Subject, and Knowledge. Since the 2010s, there has been an increasing number of studies examining the performative in Kant, Fichte, Schelling, Hegel, Kierkegaard, Hölderlin, Novalis, Schliermacher, and Schlegel. This anthology picks up on this development. Through interdisciplinary contributions, performativity within Classical German Philosophy is explained and discussed, highlighting the hermeneutic and systematic insights (...) gained from performative interpretations. [In German: Performativität spielt avant la lettre in der Klassischen Deutschen Philosophie eine bedeutende Rolle. Sie ist u.a. ein zentraler Bestandteil originärer Interpretationen des Absoluten, des Subjekts oder auch des Wissens. Seit den 2010er Jahren mehren sich daher Untersuchungen, die dem Performativen bei Kant, Fichte, Schelling, Hegel, Kierkegaard, Hölderlin, Novalis, Schliermacher, und Schlegel. Dieser Sammelband greift diese Entwicklung auf. Anhand interdisziplinärer Beiträge wird Performativität innerhalb der Klassischen Deutschen Philosophie erläutert und diskutiert. Dabei wird der hermeneutische und systematische Ertrag performativer Interpretationen dargestellt.]. (shrink)

This collection of essays provides an exemplary overview of the diversity and relevance of current scholarship on German Idealism. The importance of German Idealism for contemporary philosophy has received growing attention and acknowledgment throughout competing fields of contemporary philosophy. Part of the growing interest rests on the claim that the works of Kant, Fichte, Schelling, Hegel remain of considerable interest for cultural studies, sociology, theology, aesthetics and other areas of interest. In the domain of philosophy, the renaissance of innovative (...) readings of German Idealism has taken scholarly debates beyond merely antiquarian perspectives. This renaissance has been a major factor of current efforts to bridge the gap between so-called “analytic” and so-called “continental” philosophy. The volume provides a selection of well-chosen examples of readings that contribute to systematic treatments of philosophical problems. It contains contributions by Markus Gabriel, Robert Pippin, Anders Moe Rasmussen, Sebastian Rödl. (shrink)

Mock interviews with Kant, Hegel, Fichte, Schelling, Reinhold, Jacobi, Schlegel, and a letter from Schopenhauer.

In this thesis I investigate the notion of experience in German Idealist Philosophy. I focus on the exploration of an alternative to the transcendental model notion of experience through Schelling's insight into the notion of logogrif. The structural division of this project into two sections reflects the two theoretical standpoints of this project, namely the logic and the logogrif of experience. The first section - the logic of experience - explores the notion of experience provided in Kant's Critique of (...) Pure Reason, Critique of Judgement and Fichte's Science of Knowledge. I argue that Kant's fundamental question about the possibility of synthetic a priori judgements succeeds in thematising the aporia of cognitive experience but results in a subject-oriented, representational model which radically confines the notion of experience to the constitutive laws of the understanding or to the normative precepts of Reason. Experience is founded upon a sharp division between faith and knowledge, will and logic, desire and reflection, absolute and finitude. Fichte's endeavour to articulate a non-representational account of experience, does not succeed in extricating itself from the representational model, so long as experience is reduced to the ever-producing deeds of the self-positing ego. Despite the serious differences between Kant's and Fichte's notions of experience, both accounts, so long as they unfold from a transcendental standpoint, attempt to resolve experience into conceptual laws or determinations of the ego's absolute will. Experience is transformed into an object of the subject's cognitive or volitional faculties. The paradoxes of man's interaction with the world are intended to be accommodated either by the law-giving spontaneity of the understanding and the Architectonic of Pure Reason or by the overpowerful primordial act of the self-positing ego. This implies the conceptualisation of the self in terms of constant identity-through-time, or sheer self-determination. However, this conceptualisation remains at the normative or prescriptive level, which in turn is projected upon the world. The latter, though appears as the subject's property, essentially remains alien and opaque, confirming the radical limitations of the ego rather than its order-giving authority. Moreover, this notion of experience is ultimately founded upon a radical expulsion of the divine from the world, the de-spiritualisation of the sensual and the de-sensualisation of the spiritual, the sharp juxtaposition between absolute and finitude. This results in a self-defeating subjectivity, whose firm identity and rule-giving authority does not rescue it from its perennial unattainability to 'organise the conditioned' or 'conquer the unconditioned'. In Kant's and Fichte's thought, however, I detect elements that potentially transgress their transcendental account of experience. These are found in Kant's concept of spontaneity and free play between understanding and imagination, and Fichte's concept of productivity. I argue that these elements lose their potential dynamism, so long as they are absorbed by the transcendental demands for the solution of the aporias of logic. However, these elements point to the need for a radical re-conceptualisation of the notion of experience. This is provided by means of Schelling's logogriflic approach, which constitutes the theme of the second section. The second section - the logogrif of experience - attempts to articulate a different approach towards the notion of experience, through an exploration of Schelling's versatile and provocative thought. This section focuses on Schelling's original insight into the notion and act of logogrif, which opens the dialogue between logos and mythos, cosmic becoming and human soul, cosmic imagination and human reflection, faith and knowledge. This section attempts to illuminate Schelling's fascinating philosophical investigations and discoveries that have been rather overlooked, possibly, due to Hegel's overwhelming critique. This section, after a brief critical examination of the Identity Philosophy, attempts to elucidate Schelling's notion of experience through his middle works, Of Human Freedom, Ages of the World, The Deities of Samothrace, which are treated as a self-developing trilogy. Schelling re-addresses the aporias of logic not as part of Reason's self-interrogation but as part of the cosmic paradoxes and living experiences. In this way, Schelling resets the scene of the debate on the conditions of possibility for cognitive experience by putting on the stage the enigmas of the cosmos and life rather than the Tribunal of Reason. Logic itself is conceived as a potency in the cosmic becoming, and consequently can no longer attempt to establish the transcendental conditions for the possibility of cognitive experience. Cosmic becoming, in which man is an active part, is conceived as the process of the movement, the interaction, the transformations and transmutations of multiple potencies. These, far beyond any mechanical conceptualisation, appear as self-moving and yet interdependent, unknown yet familiar, inscrutable and yet manifest powers, describing the mystery of life itself. The latter is depicted as an ever-recurrent act of longing for self-expression as active unity. Experience is conceived as the lived process of a network of living potencies, which may not only resist rational powers but may also puzzle and seize them. In this context, reflection acquires a plastic dimension, as opposed to its rigidity in the representational model of experience. Reflection depicts cosmic longing's self-formation, whose man is part. This self-bending formation partially illuminates the nature of longing, and from this standpoint is the logic of the longing. However, this formation is movable, transmutable and mostly ineffable, and from this standpoint is the logic of a riddle: a logogrif. Logogrif is the transitive term that attempts to describe the transition of experience from its enacted phase to its allusive conceptual utterance, and in this sense the term itself participates in both phases, as both form of thought and form of life. The logogrific approach to experience in turn transposes us as from the realm of pure concepts to the realm of the mystery of life, from pure thought to acts of longing, from the Architectonic of Pure Reason to Cosmic Theurgy. The latter term attempts to grasp the paradox and dynamism of cosmic and non-cosmic becoming by means of multiple, vanishing and ever-recurring, transmutable potencies, or in Schelling's terms 'the magic of insoluble life'. Schelling's logogrific account consists in a powerful voice for the re-enchantment of the world, the introduction into the notion of experience of the imminence of the divine. This is not suggested in terms of the adoption of old religious doctrines but by means of the discovery and re-discovery of the theurgy of life, through the intensification of our artistic mood, the creative expansion of our deeds. This notion of experience allows for the reconsideration of the notion of the self, in terms of a dynamic, conflictual process between conscious and unconscious powers and the critical revaluation of the accounts of subjectivity which reduce it to the sphere of self-consciousness. The thesis concludes with the need for an investigation into the relation between logos and mythos, which only tangentially has been introduced by the present project. In this context it will be possible to re-appraise the potential that the logogrific approach opens for an alternative to both logical and traditional mythological patterns of thinking. (shrink)

Questions could and should be raised about the political profile of English Romanticism both in particular and in general. Wordsworth’s poetry is especially useful to me here because of the way in which, through formal discontinuities, it dramatizes political conflicts. Reacting against these discontinuities, aesthetically minded critics have simply tended to leave out of the canon those poems which have the greatest capacity to help us become aware of a political poetics. In this respect it may well be that Wordsworth (...) is the most stylistically perverse of the Romantic poets. Not the most difficult to read, necessarily—Percy Bysshe Shelley’s breath-suspending songs and William Blake’s determination to produce “variety in every line” with the aim of unfettering poetry surely make more aggressive and obvious demands on the reader.1 But in these cases we can be reasonably sure that the difficulties are part of a conscious and coherent intention to set imagination to work in kindling sparks from ashes. Wordsworth also set out to do this, and we can agree that he did so with some success in some poems. But critics from Samuel Taylor Coleridge onward have rightly questioned the unity of Wordsworth’s canon in this respect. In Biographia Literaria, Coleridge notices the “inconstancy of the style,” an unevenness and a general inability to satisfy the demands of “good poetry” conceived as something possessing an organic form.2 This concern with a wholeness and consistency of artifice is more Coleridge’s than Wordsworth’s, and it seems to me that it is precisely the disjunctions in the poems that embody some of their most original and historically urgent meanings. The blemishes recorded by Coleridge—alternating and dissimilar states of feeling, overminuteness in description, and obsession with “accidental circumstances” , overuse of the dramatic mode, disproportion of thought to event, and so forth—can in fact serve as eloquent signals for discerning the complexities of the poems as they address a historical crisis in consensus embodied exactly in the unstable vehicle of the Wordsworthian speaker.3 3. I have explored the “formal” implications of this crisis in Irony and Authority in Romantic Poetry , and the terms of its historical discourse in Wordsworth and the Figurings of the Real . David Simpson is professor of English at Northwestern University. He is the author of Irony and Authority in Romantic Poetry , Wordsworth and the Figurings of the Real , and Fetishism and Imagination: Dickens, Melville, Conrad and editor of German Aesthetic and Literary Criticism: Kant, Fichte, Schelling, Schopenhauer, Hegel. (shrink)

German Idealism as Constructivism is the culmination of many years of research by distinguished philosopher Tom Rockmore—it is his definitive statement on the debate about German idealism between proponents of representationalism and those of constructivism that still plagues our grasp of the history of German idealism and the whole epistemological project today. Rockmore argues that German idealism—which includes iconic thinkers such as Kant, Fichte, Schelling, and Hegel—can best be understood as a constructivist project, one that asserts that we cannot (...) know the mind-independent world as it is but only our own mental construction of it. Since ancient Greece philosophers have tried to know the world in itself, an effort that Kant believed had failed. His alternative strategy—which came to be known as the Copernican revolution—was that the world as we experience and know it depends on the mind. Rockmore shows that this project was central to Kant’s critical philosophy and the later German idealists who would follow him. He traces the different ways philosophers like Fichte, Schelling, and Hegel formulated their own versions of constructivism. Offering a sweeping but deeply attuned analysis of a crucial part of the legacy of German idealism, Rockmore reinvigorates this school of philosophy and opens up promising new avenues for its study. (shrink)