This paper aims to pay tribute to Figal’s comprehensive and innovative analysis of the artwork and beauty, while challenging both his realist position on the immediacy of meaning and his monist stance that reduces sublimity to beauty. To enquire into the origin of aesthetic feelings and sense, and thus, to break the hermeneutic circle, we first trace the origin of this reduction to the reception of Burke’s concept of the sublime by Mendelssohn and Kant. We then recur to Husserl and (...) Dufrenne to trace the origin of the sense of the feeling of sublimity in the realm of affectivity or sensuousness. This genesis takes place in passive experience, where we identify an excess of sensuous sense over categorial meaning that is constitutive of the affective sense that our bodily sensations give to hyletic material. It is argued that this sensuous excess evokes a sublime experience in the phenomenological sense, involving an affective and disruptive bodily experience and an endless process of sense formation. Affective or sensuous sense is thus an event that irreversibly affects the bodily surface. To elucidate this phenomenon, we draw on the theoretical framework of Breton and Bataille, positing it as a form-transgressive ‘convulsive’ sublime, which we then illustrate in the architectural works of Tschumi and Eisenman. In short, we have retrieved the origin of aesthetic experience and redefined the feeling of the sublime as a phenomenological ‘convulsive’ sublimity. (shrink)

The word “romanticism” designates in German as in other European languages a broad movement in literature that originated at the beginning of the nineteenth century and has often been characterized as an opposition to the preceding age of rationalism and Enlightenment. Situated between the classicist schools of taste of the previous century and the realistic and naturalistic trends in literature of the later nineteenth century, Romanticism or romantic literature is the product of the creative power of the imagination; it (...) appeals to the emotions, has a preference for the mysterious aspects of nature, and shows a strong predilection for the past, the Middle Ages, and mythological traditions. With its strong affinity to the novel, romantic literature departs from the classical forms and the classicist canon of literature, but when these classical forms were nevertheless used by the authors of this movement, something new was created – the romantic tale, the romantic drama, and romantic poetry. The great romantic authors in Germany were E. T. A. Hoffmann, Eichendorff, Brentano, Arnim, and Fouqué. There is both a narrower and a broader notion of Romanticism in Germany, the broader also relating to painting (Friedrich, Runge) and music (Schumann, Schubert, Mendelssohn, Bartholdy, Wagner). Romanticism had a great impact on the general view of the world and was influential in the rise of the historical consciousness, the revival of a religious spirit, and the emergence of a conservative political attitude. As far as philosophy and the sciences are concerned, Romanticism is associated with figures such as Schelling and Schopenhauer, the development of a philosophy of art, of nature, and of the subconscious. On the whole, Romanticism is one of those movements that shaped an entire age and manifested itself down to the most particular features of popular belief and scientific interest. (shrink)

Friedrich Schiller’s significance for philosophy was established in an irrefutable way by the Neo-Kantians. Following Kuno Fischer’s brilliant lectures in Jena in 1858 under the title of “Schiller as Philosopher” and Friedrich Albert Lange’s development of the “standpoint of the ideal” from Schiller’s philosophic poetry in the last part of his Geschichte des Materialismus (1866, 2nd edition 1873/75), many thinkers including Karl Vorländer (1894), Eugen Kühnemann (1895), Bruno Bauch (1905), Wilhelm Windelband (1905) and Ernst Cassirer (1916, 1924) underscored the value (...) of Schiller’s philosophy and also made clear that his philosophy cannot be approached independently of his poetry and his dramatic work. While Rüdiger Safranski’s biography (2004) finds the vital impulse for the emergence of German idealism from this melding of Schiller’s philosophy and poetry, the seminal studies of Dieter Henrich (Grundlegung aus dem Ich, 2004) and Manfred Frank (“Unendliche Annäherung”. Die Anfänge der philosophischen Frühromantik, 1997) on the origins of German idealism did not indicate that Schiller had contributed in an essential way to German idealism. This contrast in the evaluation of Schiller’s credentials in this regard can be drawn back to the fact that the relationship between idealism and realism in Schiller is not determined, as with Kant, in relation to the concept of knowledge, but from the viewpoint of beauty and the sublime, which combine reason and nature in such a way that idealizes reality. The centrepiece of Schiller’s philosophy is the poetic imagination. To this extent, Schiller anticipates in a basic way the later movement of philosophical Romanticism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 478-480 [Access article in PDF] The German Aesthetic Tradition,by Kai Hammermeister; xv & 259 pp. Cambridge: Cambridge University Press, 2002; $60.00 cloth; $22.00 paper. In some ways, aesthetic theory has become a thing of the past. With the exception of a kind of fascination with works such as T. W. Adorno's Aesthetic Theory, as a project, as a tradition, aesthetics has surrendered its (...) once monolithic and grandiose position as the philosophical contemplation of art and the notion of artistic beauty to more diminutive fields such as literary theory, poetics and cultural studies. In some ways, this is due to the very function of aesthetics: the philosophical investigation not simply of what is beautiful, but the formulation of prescriptive ideas about works of art and the judgement them according to these prescriptive ideas. This, in turn, has been looked upon with a certain degree of scorn with the rise of a more pluralistic art world and the bold denial that art needs the guidance of philosophy let alone have any prescriptive function or be able to be classified as "good" or "bad."But Kai Hammermeister's The German Aesthetic Tradition takes a very different view. A bold and difficult project, Hammermeister traces the complex and oftentimes abstruse contours of German aesthetic philosophy from its inception with Baumgarten in the eighteenth century through Adorno in the twentieth. In the process, he not only provides us with an excellent historical-philosophical account of the development of German aesthetic philosophy, he also implicitly argues for the relevance of aesthetics as a way not only of comprehending art, but of understanding the cohesive links between art, society, culture and philosophy.The German aesthetic tradition, as Hammermeister refers to it, was a prolonged intellectual argumentation with classical conceptions of art and beauty inherited from classical Greek thought during the eighteenth century. Classical aesthetics was dominated by two opposing conceptions of art and its function. For Plato, art mirrored the outside world (mimesis) and the judgement of good works of art was based on how well this mirroring of the objective world was carried out. Aristotle's idea was that art served a purgatory function (katharsis), cleansing the emotions of the individual through the identification of the observer with the work of art. All of the thinkers in the German tradition wrestle with this dual conception of art in some form privileging one over the other or, more often than not, combining them and extending their explanatory reach. But as in any tradition, they also struggle with the ideas and philosophies of previous thinkers within the tradition itself making Hammermeister's task more complex, one that he handles with adroitness and precision.The book's overarching argument and structure is triadic. Hammermeister sees the eighteenth century through German Idealism and Romanticism as [End Page 478] articulating a set of different paradigms for interpreting art. These are subsequently attacked in post-Hegelian philosophy and are then revived in different ways in the twentieth century as a reaction to Nietzsche's aestheticization of philosophy. Two paradigms emerge as central for the subsequent unfolding of the tradition. First, there is Immanuel Kant's conception of art as wholly separate from epistemology and from morality. For Kant, the work of art is centered in the experience of the subject and, in terms of form, exists outside its social context. This Hammermeister calls the "first strong paradigm of aesthetics" (p. 40). Next, there is the position of Friedrich Schiller who sees a connection between the work of art with culture, thought and morality. "[T]he culture of beauty demonstrates the freedom of man to turn himself into whatever being he envisions while remaining under the law of morality" (p. 57). For Schiller, there exists a kind of spillover effect of art into other domains of human thought and action—specifically in morality and politics—and this represents a crucial deviation from Kant's paradigm and another tendency within the tradition of German aesthetics, i.e., the aestheticization of other domains of human existence.Schelling and Hegel represent two other... (shrink)

In her 2014 monograph, Sarah Broadie argues that Timaeus’s cosmology points to a radical Platonic insight: the full rationality of the cosmos requires the existence of individualized, autonomous, and finite beings like us. Only human life makes the cosmos truly complete. But can Timaeus do full justice to the uniquely human way of being and hence to his own insight? My paper argues that he cannot and that Plato means for us to see that he cannot, by showing how Timaeus (...) treats a famous Platonic theme: eros. Timaeus describes human perfection as assimilation to the mathematical proportions of the cosmos, but by comparing Timaeus with the Symposium I show that, given his deeply mathematized conception of reason, Timaeus cannot provide what Diotima can: a phenomenologically satisfactory account of how we come to identify ourselves with this perfection. Such identification is a transformation in our self-understanding explicable only because of the desirous and reflexive character of the soul. Expressing this character, however, requires combining the mathematical with a poetic, or even mantic, register. Only these sensibilities together grant access to Plato’s cosmology in its fullness. (shrink)

This book locates the paradoxical process of collecting (as an activity that necessarily involves displacement and dispersal) in the ways nineteenth- and twentieth-century German-language literature (and in one case, cinema) attempts to represent ephemeral, discarded, and trivial things.

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)

Previous chapter In German-speaking countries the rhythm became between 1785 and the very first years of 19th century, an explicit theme of philological, poetic and philosophical investigation. This is the second starting point in Modern Times of rhythm as rhuthmos, i.e. as “way of flowing”, the second time Platonic traditional definition was opposed by a re-actualized Heraclitean characterization. From Numerus to Rhythm in Poetry Clémence Couturier-Heinrich published in 2004 a - Sur le concept de rythme – Nouvel article.

Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience, he reads films by Sergei Eisenstein and Pedro Almodóvar, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society. Kappelhoff applies the Deleuzean practice of "thinking in images" to his analysis of films and incorporates the approaches of Jacques Rancière and Richard Rorty, who see (...) politics in the permanent reconfiguration of poetic forms. This enables him to conceptualize film as a medium that continually renews the audiovisual spaces and temporalities through which audiences confront reality. Revitalizing the reading of films by Visconti, Fassbinder, Kubrick, Friedkin, and others, Kappelhoff affirms cinema's historical significance while discovering its engagement with politics as a realm of experience. (shrink)

The academic community in the West tends to be suspicious of Russian philosophy, often relegating it to another category, such as “ideology” or “social thought.” But what is philosophy? There is no simple universal definition, and many thinkers consider it impossible to formulate one. The most credible attempt is nominalistic: philosophy is the practice in which Plato and Aristotle were involved. As Alfred North Whitehead wrote, “The safest general characterization of the European philosophical tradition is that it consists of a (...) series of footnotes to Plato.”If so, then Russian thought needs to be understood as an important part of the Western philosophical heritage, given that it offers perhaps the most elaborate set of footnotes to Plato's most mature and comprehensive dialogues: the Republic and the Laws. The status of ideas in Russian philosophy mirrors Plato's vision of them as ontological and political entities, “laws,” or ideal principles—as distinct from mere epistemic units or tools of cognition. The Platonic tendency to integrate and implement religious, philosophical, and political teachings culminated in twentieth-century Russia. In the Soviet state, perhaps more than anywhere else in history, philosophy became a supreme legal and political institution, acquiring the power of a suprapersonal, universal reason. Hence thought itself, in the moment of its triumph, became a prisoner in the social structures that Soviet ideocracy erected on a philosophical foundation. In discussing Russian philosophy, we inevitably consider the practical application of Platonic conceptions by the Soviet ideocracy to a state in which philosophy was called upon to rule.According to Sergei Averintsev, the emphasis on Platonism in the Russian intellectual tradition is nothing to be proud of; it should rather be lamented and repented. Despite the obvious Platonic preferences of Russian thinkers (from Ivan Kireyevsky to Aleksei Losev), Averintsev asks whether even now we might be able to reorient the tradition toward Aristotle instead—toward a more secular, tolerant, and analytic philosophy of human nature. “If Plato is the first utopian,” Averintsev writes, “Aristotle is the first thinker to look the spirit of utopia right in the eye and overcome it.... Aristotle's technique of thought is more neutral toward religion than is Plato's ecstasy.” Characteristically, the name index to the Palgrave Handbook of Russian Thought contains almost twice as many mentions of Plato as of Aristotle.Each national tradition has its own “strange attractor,” as they say now in complexity theory. English empiricism, French rationalism, German Idealism, American pragmatism... However stereotypical these generalizations are, they help to clarify the nations’ distinctive contributions to philosophy. Where does Russia stand in this row? I think that Caryl Emerson is correct to pinpoint, among the most distinctive features of the Russian intellectual tradition, the striving for “wholeness” (tselostnost’). Many Russian thinkers seem to evade definitive and particular “isms,” preferring to find ways of complementing (and thus diluting) those that are on offer. Faced with the claims for rationalism, for example, the Russian response tends to be that true rationality is or should be coupled with fullness of feeling. The characteristic Russian “ism” is at best “holism,” at worst “totalitarianism,” and is usually directed against Western thought. Kireyevsky declares: There [in the West] is a bifurcation [razdvoenie] of the spirit, a bifurcation of thoughts, a bifurcation of the sciences, a bifurcation of the state, a bifurcation of estates, a bifurcation of society, a bifurcation of family rights and duties, a bifurcation of morality and the heart.... In Russia, on the contrary, there is a predominant tendency toward the wholeness of the inner and the outer, of public and moral being.Vladimir Solovyov held that the goal of all knowledge was to comprehend “total unity” and to overcome all kinds of unilateralism, which he referred to as “abstract elements” (otvlechennye nachala). These one-sided elements included Realism, rationalism, empiricism, and positivism, all of which had been advanced by Western philosophical movements.Reading the Handbook, I was struck by how steadily, from one thinker to another, the concept of “unity” is reiterated in various synonyms and contexts: “all-unity,” “wholeness,” “totality,” “integrity,” “edinstvo,” “tsel'nost,’” “tselostnost,” “sobornost,” and so forth. Russian thinkers endeavor not to create something original and special but to unify everything that has already been done and known. Consider opponents, like the Slavophiles and Westernizers; take Petr Chaadaev and Vissarion Belinsky, Kireyevsky and Alexander Herzen, Dostoevsky and Solovyov—all are united by this “super-idea,” proclaiming its embodiment to be the all-embracing vocation of the Russian people. At the same time, they sharply reject all “private principles” and “trashy certainty” (Belinsky's driannaia opredelennost’)—anything that restricts and divides individuals or nations. All these forms of privacy and particularity must be overcome on the way to a universal whole that is even greater in scale than Western Catholicism. According to this logic of totality, we would be better off left with nothing than to be content with the particular and the limited. The first original Russian thinker, Chaadaev (1794–1856), makes the salto mortale of declaring Russia a country that has given nothing to the world, then proclaiming that Russia's destiny is to rise above the rest of the world and resolve all its contradictions. From nothing to everything: such are the philosophical foundations for the totalitarian aspiration of Russian thought, which eventually expressed itself in the revolutionary movements and communist experiments of the twentieth century.As is well known, Russian literature is considered in the West a far more powerful and original expression of philosophical ideas than Russian philosophy as such. Characteristically, then, almost half of the Handbook, its entire second part, is devoted to the dialogue of Russian philosophy with literature and art. As M. N. Forster remarks in the Handbook's concluding essay: “It is natural to wonder why this striking asymmetry between relatively modest achievements in pure philosophy and spectacularly high achievements in literature came about.” To the literary focus of Russian philosophy, we can add a political focus. At least a third of part one of the Handbook is devoted to Russian political and revolutionary philosophy, to Lenin and other Marxists, to Ivan Ilyin, and so on. In this context, both literature and politics assumed philosophical dimensions, often overshadowing philosophy itself.Bertrand Russell lamented that the system of philosophical categories in the West featured mostly nouns (being, consciousness, idea, matter, substance, and so forth), omitting adjectives, verbs, prefixes, and other parts of speech. This criticism should be applied to the category philosophy itself. Why the noun philosophy rather than the adjective philosophical, which can be applied to many areas of activity and creativity, including literature and politics?In Russian intellectual history, the philosophical, rather than philosophy, is the predominant category. The state, ideology, economics, politics and geopolitics, literature, art, warfare, space exploration—all these spheres in Russia and the USSR have been and remain abundantly philosophical, subordinated to certain philosophical tasks, though philosophy as such has never been as developed and sophisticated as in the West. As a discipline, Western philosophy “outsourced” itself to Russian disciples, leaving it to Dostoevsky and Tolstoy, Lenin and Trotsky, to test in literary and political practices a host of Western philosophical ideas, from those of Plato, Rousseau, and Hegel to those of Feuerbach, Marx, and Nietzsche.Likewise, the verb to philosophize is used in ways unusual and awkward in the West. “It is characteristic of the Russian people to philosophize [filosofstvovat'],” as Nikolai Berdyaev observed: “An illiterate Russian peasant likes to pose questions of a philosophical nature—about the meaning of life, about God, about eternal life, about evil and untruth, about how to realize the Kingdom of God.” The philosophical and philosophizing, as attributes and actions of the state and society, overpowered philosophy as a noun—as an academic discipline, if you will. Russian philosophy has had a very modest impact on the West, but the impact of the philosophical has been immense. Nineteenth-century Russian literature influenced Western culture with its philosophical interrogations and existential dilemmas, just as, in the twentieth century, the USSR influenced the West with the philosophical ideas (Marxism, materialism, dialectics, collectivism, socialism, communism) that determined Soviet ideology, politics, and economics.In the USSR of the 1920 and 1930s, for instance, philosophy as an independent academic subject was in a subdued position, as a servant of party ideology. But, meanwhile, the sphere of the philosophical spread to such distant domains as theater (Stanislavsky), physiology (Pavlov), and agriculture (Michurin), with all such activities glorified and sponsored by the state as “philosophically correct”—as faithful to “materialism” and “Realism.” Paradoxically, in the quintessentially philosophical state that was the USSR, the state of philosophy, with the repression of all independent thought and thinkers, was miserable. The fateful and often disastrous originality of Russian philosophy consisted precisely in its dissemination to other areas, in an act of kenosis or self-transcendence that can be viewed both as an aggressive philosophical appropriation of politics, economics, ideology, and literature—and as philosophy's sacrificial devotion to the world beyond its professional boundaries.So there are three features that make Russian thought relevant and dangerous: its Platonic utopian aspiration; its spirit of totality; and its tendency to transcend the boundaries of academic philosophy and to philosophize society, politics, and life in general. Russian philosophy has not been as good at explaining the world as at changing it, sometimes ethically and poetically, sometimes violently and aggressively. Teachers and students of Russian culture should be deeply motivated to draw more attention to the philosophical in Russia and to raise its status in the Western academy. In my view, we would do better service to Russian philosophy if we are frank enough to qualify it as dangerous, sometimes very toxic and addictive, fraught with totalistic tendencies. This philosophy is the voice of the “underground,” both in the Dostoevskian and Leninist senses.At the same time, however, the antidotes concocted in the Russian metaphysical laboratory are of enormous value: the Russian versions of personalism, existentialism, secular and religious liberalism, neorationalism, culturology, conceptualism, and postmodernism. These movements, which counteract totalization, need to be studied precisely because they were cooked up and tested under the same extreme conditions in which the most dangerous intellectual poisons have been produced. (shrink)

One of the very few accounts in English of German idealism, this ambitious work advances and revises our understanding of both the history and the thought of the classical period of German philosophy. As he traces the structure and evolution of idealism as a doctrine, Frederick Beiser exposes a strong objective, or realist, strain running from Kant to Hegel and identifies the crucial role of the early romantics—Hölderlin, Schlegel, and Novalis—as the founders of absolute idealism.

Early German Romanticism sought to respond to a comprehensive sense of spiritual crisis that characterised the late eighteenth century. The study demonstrates how the Romantics sought to bring together the new post-Kantian idealist philosophy with the inheritance of the realist Platonic-Christian tradition. With idealism they continued to champion the individual, while from Platonism they took the notion that all reality, including the self, participated in absolute being. This insight was expressed, not in the language of theology or philosophy, but (...) through aesthetics, which recognised the potentiality of all creation, including artistic creation, to disclose the divine. In explicating the religious vision of Romanticism, this study offers a new historical appreciation of the movement, and furthermore demonstrates its importance for our understanding of religion today. (shrink)

Dialoguing with, but going beyond the current history of realist thought in International Relations, the article reflects on how German émigrés contributed to the reception of Realpolitik in the Anglophone political discourse in the form of political realism. It pursues the origins of the concept in mid-nineteenth-century Germany, its first reception in the US by American-born intellectuals, and by German émigrés one century later. Focusing on the work of Hans Morgenthau, it suggests that the theory of political (...) realism stands as an inheritor of Realpolitik, as a phenomenon of cultural accommodation, though not without distortions and reinterpretations. Understanding Morgenthau’s experience in broader social, political, and academic contexts throughout this reception process may help to better understand his own contribution to the scientification of realism. (shrink)

The Poetics of Resistance: Heidegger's Line is a well-informed, carefully written, and detailed treatment of the political implications of Heidegger's philosophy in its Derridean acceptation. It argues that what Heidegger calls poetic dwelling--an element of Heidegger's later thinking often ignored by his more vehement critics--is at once disruptive (of the smooth functioning of technology) and community-founding. To engage in such thoughtful, poetic dwelling is to "cross the line."Roth argues, with Derrida against Heidegger, that crossing this line is not (...) a move into irrationalism (to say nothing of National Socialism); and he argues, with Heidegger against Derrida, that crossing the line, successful resistance, is possible. Grounded in the classics of German scholarship but reaching out to its creative appropriation in postmodernism, The Poetics of Resistance makes an important and timely contribution to the recuperation of a political philosophy from postmodernity. (shrink)

The article challenges the first premise of?speculative realism?, according to which, with Kant, the contact with the outside world was lost. Instead, it will be shown that the possibility of realism received its major impulse from two grand figures of German Idealism, from Kant as a precursor of the Romantic period and from Hegel as its, albeit critical, philosophical culmination. Based on three possible relations of knowledge to its outside, three ontologies will be distinguished, the ontology of (...) immediacy, stretching from rationalists to the last empiricists, Kant?s ontology of totalization, and, finally, Hegel?s?ontology of release? or?de-totalization?. As opposed to Descartes?s thing being constantly doubted in its existence, as opposed to Malebranche?s occasion being invariably induced by God, as opposed to Leibniz?s monad being an immediate embodiment of an idea, as opposed to Berkeley?s object vanishing when not perceived, and as opposed to Hume?s world lacking necessity, Kant philosophically warranted a world that does not have to be perpetually verified and can, hence, exist devoid of ideas produced by God and outside the constancy of the human gaze. Kant secured the normal and necessary existence of the world behind our backs and procured us with the common-sense normality of the world, but it was only Hegel?s absolute subjectivism that granted us the first glimpses into the radical meaninglesness of the facticity. It was not until Hegel?s logic of indifference of the notion to its immediate content that an egress of the circle of Kant?s totalization was made possible. nema. (shrink)

Novalis, the Early German Romantic poet and philosopher, had at the core of his work a mysterious depiction of the ‘absolute’. The absolute is Novalis’ name for a substance that defies precise knowledge yet calls for a tentative and sensitive speculation. How one asserts a truth, represents an object, and sets about encountering things in the world, is in the first instance the domain of the absolute, which diffuses through all things in the world. In this article, I begin (...) by describing the absolute in general and I outline its importance in Novalis’ works. I then speculate on its natural tendency to render an object mysterious and fundamentally unknowable. Although the absolute also allows us an insight into an object, my attention in this article is drawn to its concealment in mystery because, as Novalis was at pains to indicate, the Enlightenment has been more than generous to the clear perception of an object. I turn to consider the poet—a most important political character in Novalis’ works—and their Bildung of themselves and their communities. They bring their communities to continual maturation through their role in romanticising the ordinary world and through their need to consistently reflect on, and be aware of, the absolute. They also develop themselves in their ongoing state of mystery as they carry out their political and poetic responsibility. (shrink)

Abstract Robert Stern's Understanding Moral Obligation is a remarkable achievement, representing an original reading of Kant's contribution to modern moral philosophy and the legacy he bequeathed to his later-eighteenth- and early-nineteenth-century successors in the German tradition. On Stern's interpretation, it was not the threat to autonomy posed by value realism, but the threat to autonomy posed by the obligatory nature of morality that led Kant to develop his critical moral theory grounded in the concept of the self-legislating moral (...) agent. Accordingly, Stern contends that Kant was a moral realist of sorts, holding certain substantive views that are best characterized as realist commitments about value. In this paper, I raise two central objections to Stern's reading of Kant. The first objection concerns what Stern identifies as Kant's solution to the problem of moral obligation. Whereas Stern sees the distinction between the infinite will and the finite will as resolving the problem of moral obligation, I argue that this distinction merely explains why moral obligations necessarily take the form of imperatives for us imperfect human beings, but does not solve the deeper problem concerning the obligatory nature of morality: why we should take moral norms to be supremely authoritative laws that override all other norms based on our non-moral interests. The second objection addresses Stern's claim that Kantian autonomy is compatible with value realism. Although this is an idea with which many contemporary readers will be sympathetic, I suggest that the textual evidence actually weighs in favor of constructivism. (shrink)

Heidegger's interpretations of the poetry of Hölderlin are central to Heidegger's later philosophy and have determined the mainstream reception of Hölderlin's poetry. Gosetti-Ferencei argues that Heidegger has overlooked central elements in Hölderlin's poetics, such as a Kantian understanding of aesthetic subjectivity and a commitment to Enlightenment ideals. These elements, she argues, resist the more politically distressing aspects of Heidegger's interpretations, including Heidegger's nationalist valorization of the German language and sense of nationhood, or Heimat.In the context of Hölderlin's poetics of (...) alienation, exile, and wandering, Gosetti-Ferencei draws a different model of poetic subjectivity, which engages Heidegger's later philosophy of Gelassenheit, calmness, or letting be. In so doing, she is able to pose a phenomenologically sensitive theory of poetic language and a "new poetics of Dasein," or being there. (shrink)

The aim of the present paper is to show Novalis’ complete belonging to the history of transcendental philosophy by bringing out the connection between his conception of poetry and the issue of transcendental imagination in Kant and Fichte. Given that solving this problem is the main issue around which Novalisian thought is structured, an attempt is made to consider the writing style adopted by the author as necessary to fulfill this task, and not as an arbitrary rhetorical choice. The connection (...) between poetry and philosophy is then explored in the practical role it has to play among human beings, namely, that of revealing the meaning of the whole reality as a manifestation of the absolute. Thus, life itself is properly displayed by the singular existences as absolute creativity, such as that of poetical creations. (shrink)

Legal theory usually distinguishes only two kinds of legal realism: the American and the Scandinavian. Another school of this theoretical perspective is German legal realism, which refers to scholars like Ihering, Weber, and Schelsky. According to German legal realism, the author outlines what legal theory can do to persuade modern jurisprudence to face the social reality of law, conceived as institutionalized normative communication. The latter always occurs with reference to already valid and effectively operative legal (...) norms which are used in an established, normatively binding legal practice in a given regional society. (shrink)

This unusually accessible account of recent Anglo-American philosophy focuses on how that philosophy has challenged deeply held notions of subjectivity, mind, and language. The book is designed on a broad canvas in which recent arguments are placed in a historical context (in particular they are related to medieval philosophy and German idealism). The author then explores such topics as mental content, moral realism, realism and antirealism, and the character of subjectivity. Much of the book is devoted to (...) an investigation of Donald Davidson's philosophy, and there is also a sustained critique of the position of Richard Rorty. A final chapter defends the realist position against objections from postmodern thought. As a rigorous and historically sensitive account of recent philosophy, this book should enjoy a wide readership among philosophers of many different persuasions, literary theorists, and social scientists who have been influenced by postmodern thought. (shrink)

The article explores the connection between enlightenment and comedy, as well as its importance for German Jewry. Following Hegel, whose thoughts on ancient drama as well as modern society have shaped the German discourse on comedy until today, this article demonstrates that questions of self-formation, emancipation, and historical self-location are central to comedy. In Carl Sternheim’s comedy The Snob, the idea of self-formation resonates with the historic concept of “civic improvement” through “Bildung”: Jewish emancipation in Germany stood at (...) the end of an educational project that outlasted Jews’ achieving legal equality. The Snob is a comedy about Jewish acculturation and bourgeoisification and embodies Marx’s understanding of comedy as ambivalent: on the one hand, comedy helps people to part cheerfully from their past that was characterized by inequality, but, on the other, it indicates that a world-historic fact like Jewish emancipation may be prone to repeat itself as a farce. Sternheim’s comedy develops a poetic that embraces ambivalence, but also opens the genre of comedy to the question of therapy and healing. It depicts the struggle between autonomy and social formation – the dialectics of German “Bildung.”. (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)

This article investigates the functions of the kōmos-chorus in Menander"s comedies. It first reviews the evidence for the diminished role of the comic chorus in the fourth century and then considers Menander"s practice of deploying a kōmos instead of a chorus. It argues that the performance contexts of the kōmos allowed it to serve multiple functions. The association of the kōmos with symposia and aristocratic violence rendered it a realistic device for clearing the stage after the first act. In addition, (...) the conclusion of the romantic plot with a wedding or pre-wedding celebration created the occasion for receiving a wedding kōmos, suggesting that the kōmos may have finally been greeted or received at the end of the fifth act. (shrink)

This paper focuses on the origins of Polish Romanticism as born partially out of German idealist philosophy. I examine the influence exerted by the ideas of the most significant thinkers, such as Kant, Fichte and Schelling on both professors and students living in Vilnius at the beginning of the nineteenth century (particularly Jan Śniadecki, Józef Gołuchowski and Adam Mickiewicz). As an adherent of Enlightenment and empirical epistemology Śniadecki was critical towards Kant as well as Romantic poetics. On the contrary, (...) in the works of young Gołuchowski, who was well acquainted with German ideas, there are frequent references to Kant, Fichte, and Schelling’s philosophy of life. The same ideas—such as vital nature, feeling, and faith as opposed to “dead” knowledge based on “pure terms”—can be found in Mickiewicz’s early works. This convergence of motifs is due to the fact that they both have the same source of inspiration: German idealism. (shrink)

The European Stability Mechanism is the rescue fund that may grant loans to struggling euro zone governments by issuing bonds, collectively by the euro zone members. The implementation of the ESM spawned a lot of legal challenges brought to higher judicial authority in Ireland, Austria, Estonia, Germany and Poland. In the fall of 2012 the ESM was subject to legal analysis in the Estonian National Court, the German Constitutional Court, and in the European Court of Justice. Delivering much anticipated (...) rulings in legal challenges to the legal provisions establishing the ESM, courts avoided upsetting the complex arrangements in question by producing legal decision of direct political import and letting EU bailout measures go forward. In looking over different critical responses, we have seen an argument raised by media and legal scholars, according to which courts’ capitulation before the power of financial markets in the EMS rulings represents “a sign of judicial crisis” that marks the weakness of modern European jurisprudence. In light of their importance, we undertake a preliminary semiotic analysis of the ESM rulings of the Estonian National Court, the German Constitutional Court, and in the European Court of Justice. Our analysis aims at discerning the crucial aspects of those rulings is performed on the basis of different semiotic methodologies combined with the refined ideas of the Scandinavian analytical school of the doctrinal study of law. In traditional legal studies there seems to be a taken for granted assumption that there is one analytical way to dissect judicial reasoning of the supreme courts. This paper argues that the manner of analyzing the constitutional reasoning needs to be congruent with the particular research methodology. (shrink)

Postmodernism Rightly Understood is a dramatic return to realism—a poetic attempt to attain a true understanding of the capabilities and limitations of the postmodern predicament. Prominent political theorist Peter Augustine Lawler reflects on the flaws of postmodern thought, the futility of pragmatism, and the spiritual emptiness of existentialism.

The years of the Weimar Republic saw complex cultural change in Germany as well as political turmoil. Writing Weimar draws on the large amount of research done on the period since the 1980s in order to show how literary writers developed critical perspectives on the social and political issues of the time, and how those perspectives were related to longer-term developments in German culture which run beyond the watershed events of 1918 and 1933. Individual chapters discuss the dominant trends (...) in the poetry, the theatre, and the novel, as well as the literary representation of the city, of technology, and of the First World War. The book also sheds new light on one of the abiding mysteries of German culture in the 1920s: precisely what were the implications of the term Neue Sachlichkeit as it came to be applied to the cultural trends of the time? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.2 (2003) 278-279 [Access article in PDF] Frederick C. Beiser. German Idealism: The Struggle Against Subjectivism, 1781-1801. Cambridge, MA: Harvard University Press, 2002. Pp. xvi + 726. Cloth, $59.95. With German Idealism Frederick Beiser adds to his already impressive body of work on classical German Philosophy. The aim of his book is to provide a historical account of the various (...) forms the notion of "idealism" took on in the work of Kant, Fichte, Hölderlin, Novalis, Friederich Schlegel, and Schelling. While the ruling picture of the period presents German idealism as the "metaphysics of subjectivity" blown up into mythic proportions, Beiser argues steadily and convincingly that "the development of German idealism consists not in an increasing subjectivism but in the very opposite: a growing realism and naturalism" (3).Nearly two-thirds of the book is devoted to Kant and Fichte. The treatment of Kant weighs in at just under two hundred pages, and is devoted to tracing his struggles with idealism in the pre-critical writings, the Kritik der reinen Vernunft and the Opus postumum. Unresolved Kantian problems serve as the launching pad for Fichte's "practical idealism." Beiser concentrates on Fichte's battles with skepticism and nihilism, his turn to the "primacy of the practical," and his efforts to provide a moral and inter-subjective foundation [End Page 278] for self-consciousness. The rest of the book deals with the ways in which the Kant-Fichte legacy is taken up and transformed into "absolute idealism" by the early Romantics and Schelling. Among the absolute idealists, it is Schelling—"the most inventive, brilliant, and productive" of them all (467)—who receives the most attention.It is a virtue of German Idealism that the trees of interpretive controversy are never mistaken for the idealist forest. In the body of the text, Beiser sticks closely to the task at hand, introducing the reader to the main lines of argumentation and the major philosophical stakes with exceptional skill and clarity. Scholarly debates are carried out mostly in the endnotes. This approach moves things along at a brisk pace, and makes for a refreshingly readable academic tome. It is perhaps inevitable, however, that a book of this scope will crack a little under the strain of its own weight. Three problems stand out. First, rejecting Hegel's self-aggrandizing account of the period is one thing, but it is surely overstating the case to say that the history of German idealism shows us that Hegel "was not the creative and original thinker that his history suggests or that his disciples imply" (11). Beiser's history, at least, does not justify such a claim. Pointing out that Hegelian-sounding ideas were in the air before Hegel started publishing does not suffice. Plato inherited from Parmenides the concern with "being," but this hardly makes him less of a creative and original thinker. Second, Beiser does not live up to his methodological promise to bracket "contemporary philosophical concerns and concepts" (ix). The book is littered with anachronisms. Schlegel is presented as attacking the "myth of the Given" (445-6), for example, while Schelling gives a "transcendental argument" for the self-knowledge of the absolute (589). Beiser also regularly classifies philosophers from the period as either "foundationalist" or "anti-foundationalist" (6-9, 235-9, 444-6), thus putting to work an undeniably contemporary "-ism" for which German, to this day, does not have a direct equivalent.Third, Beiser's treatment of the early German Romantics is too weak to serve as a bridge from Kant and Fichte to Schelling. While he is certainly right to insist that the early Romantics played a crucial role in the development of German idealism, he repeatedly conflates this claim with the less-than-convincing claim that they were philosophers with systematic ambitions. As a result, he seems ill at ease with their work, and has trouble dealing with the form within which they made their contributions. Take Schlegel for example. "For perfectly plausible reasons," we are told, "Schlegel was very skeptical of much... (shrink)

Much recent critical theory has dismissed or failed to take seriously the question of the self. French theorists--such as Derrida, Barthes, Benveniste, Foucault, Lacan, and Lévi-Strauss--have in various ways proclaimed the death of the subject, often turning to German intellectual tradition to authorize their views. Stanley Corngold's heralded book, The Fate of the Self, published for the first time in paperback with a spirited new preface, appears at a time when the relationship between the self and literature is a (...) matter of renewed concern. Originally published in 1986 (Columbia University Press), the book examines the poetic self of German intellectual tradition in light of recent French and American critical theory. Focusing on seven major German writers--Hölderlin, Dilthey, Nietzsche, Mann, Kafka, Freud, and Heidegger--Corngold shows that their work does not support the desire to discredit the self as an origin of meaning and value but reconstructs the allegedly fragmented poetic self through effects of position and style. Offering new and subtle models of selfhood, The Fate of the Self is a source of rich insight into the work of these authors, refracted through poststructuralist critical perspectives. (shrink)

Mythopoesis must rescue Israel from its colonial crisis. YHWH and prophet achieve textual existence via multi-voiced figural realism. A poetics of voice lends them efficacious illusion and resilient generative appeal.

Introduction: Aristotle's phantasia and the ancient concept of imagination -- Visualization, vividness (enargeia) and realism -- Mathematical projection, copying and analogy -- Prophecy, inspiration and allegory -- Conclusion: ancient and modern imagination.

The paper examines the political ideas of founding figures of West German political science by engaging with formative texts from the post-war period of neo-Aristotelian (Dolf Sternberger and Siegfried Landshut), Critical Theory (Arcadius R.L. Gurland and Franz L. Neumann), ordoliberal (Alexander Rüstow) and catholic (Ferdinand Hermens) perspective. It is argued that these early German political scientists coincided in the diagnosis of living in a thoroughly politicized post-liberal age. They rejected the separation between empirical and normative political science and (...) devised heterogeneous disciplinary approaches that can be classified as republican, power-realist, and expertocratic. Although democracy was an important point of reference for some of them, it is not tenable, contrary to older historiography and contemporary self-image, to describe early West-German political science as a Demokratiewissenschaft (science of democracy) in overall terms. (shrink)

This investigation addresses a pressing anxiety of our time - that of homelessness. Tersely stated, the philosophical significance of homelessness in its more modern context can be understood to emerge with Nietzsche and his discourse on nihilism, which signals the loss of the highest values hitherto. Diverging from Nietzsche, Heidegger interprets homelessness as a symptom of the oblivion of being. The purpose of the present enquiry is to rigorously confront humanity's state of homelessness, and at the same time illumine the (...) extent to which Heidegger's thought engages with this pervasive phenomenon. In questioning the nature of homelessness, Heidegger's preoccupations with nihilism and modern technology prove crucial. Moreover, his attempts to overcome or prepare for the overcoming of this state of homelessness are also of great import to the current investigation. Adorno and Lèvinas offer scathing critiques of Heidegger's thought as it relates to the motifs of homelessness, homecoming (Heimkunft) and the German Heimat, for they associate it with provincialism, paganism, and a pernicious form of politics. In providing these critiques they bring to light the risks involved in undertaking a homecoming venture, and they also show how a great thinker can err greatly. While acknowledging the importance of these criticisms, the present study reveals how Heidegger's various discourses on homelessness and homecoming bear fruitful insights that can contribute not just to a Germanic sense of homecoming but to a sense of homecoming that humanity at large can relate to and be enriched by. (shrink)

The objective of this paper is to analyze the convergences and divergences between two conceptions of realism: Markus Gabriel’s “new realism” and Evandro Agazzi’s realism. Firstly, the main theses behind “new realism” will be presented, drawing on Gabriel’s text ‘_Why the World Does Not Exist’_ (2015), originally published in German as _Warum es die Welt nicht gibt_ in 2013. Secondly, the constitutive aspects of realism developed by Agazzi will be explored, primarily in works such (...) as ‘_Temas y problemas de filosofía de la física’_ (1978), ‘_Filosofia, scienza e verità’_, Rusconi, Milano (1989), ‘_El bien el mal y la ciencia_’ (1996), and ‘_Filosofía de la Naturaleza. Ciencia y Cosmología’_ (2000), among others. Finally, the convergences and divergences between these two conceptions of realism will be analyzed, allowing for an inference, based on sound reasoning, about the potential novelty of the so-called “new realism”. (shrink)

This paper considers the relation between mytho-poetic narrative and practical philosophy in an Idealist/Romantic fragment, usually attributed to Hegel, known as the ‘System-programme’. Like many works of the young Hegel, the text seeks political reform through a reform of religion and suggests that for politics to be truly motivating reason must be embedded in mytho-poetic discourse. This Hegelian ‘reform’ is in the service of a new, sensuous, practical rationality and a motivating political praxis. The paper places these issues (...) in the context of the religious thought of J.J. Rousseau, particularly his religious themes, as presented in The Social Contract . The paper also connects these issues to a political problem identified in recent work by Simon Critchley, the problem of practical or moral motivation. Critchley claims that while citizens of secular, liberal, democratic societies experience the political norms that shape their lives as externally binding, these norms are not internally compelling. Against this he claims that what are motivating are frameworks of belief that call the secular project into question. At least one of Critchley’s solutions to this problem is connected to the sphere of the religious. While accepting the idea that connecting social and political problems to religion can render them motivating, this paper will withhold from endorsing either the solution offered by the young Hegel in the ‘System-programme’ or Critchley’s, and raises doubts also about the Rousseauian response . It argues that these solutions fail to adequately address the problem they face: how to render contemporary political life internally compelling for modern political subjects? (shrink)

The Art of Being: Poetics of the Novel and Existential Philosophy offers an account of the poetics of the realist novel, based on how the novel reorients philosophy in the nineteenth and twentieth century. Philosophers such as Kierkegaard, Sartre, and Beauvoir not only read novels and use novelistic techniques of representation in their work, but also discover a radically new way of thinking about the relation between the form of the novel and the nature of self-knowledge, freedom, and world. Drawing (...) upon a rich archive of existentialists writing on the novel, Ong argues that for these thinkers the poetics of the novel in its classic phase - the nineteenth- and twentieth-century realist novel - discloses the conditions for thinking about the meaning of existence. Bringing together philosophy, novel theory, and intellectual history with groundbreaking readings of the novels of Tolstoy, Eliot, Austen, James, Flaubert, and Zola, this study reveals how the novel engages with philosophically rich notions of freedom, world, and the unfinished character of human life in its very form. (shrink)

From the perspective of a contemporary German reader, one consideration is particularly important from the start. Illumination of the political conduct of Martin Heidegger cannot and should not serve the purpose of a global depreciation of his thought. As a personality of recent history, Heidegger comes, like every other such personality, under the judgment of the historian. In Farias’ book as well, actions and courses of conduct are presented that suggest a detached evaluation of Heidegger’s character. But in general, (...) as members of a later generation who cannot know how we would have acted under conditions of a political dictatorship, we do well to refrain from moral judgments on actions and omissions from the Nazi era. Karl Jaspers, a friend and contemporary of Heidegger, was in a different position. In a report that the denazification committee of the University of Freiburg at the end of 1945, he passed judgment on Heidegger’s “mode of thinking”: it seemed to him “in its essence unfree, dictatorial, uncommunicative.”7 This judgment is itself no less informative about Jaspers than about Heidegger. In making evaluations of this sort Jaspers, as can be seen from his book on Friedrich Schelling, was guided by the strict maxim that whatever truth a philosophical doctrine contains must be mirrored in the mentality and lifestyle of the philosopher. This rigorous conception of the unity of work and person seems to me inadequate to the autonomy of thought and, indeed, to the general history of the reception and influence of philosophical thought. I do not mean by this to deny all internal connection between philosophical works and the biographical contexts from which they come—or to limit the responsibility attached to an author, who during his lifetime can always react to unintended consequences of his utterances. 7. Ott, “Martin Heidegger und der Nationalsozialismus,” p. 65. Jürgen Habermas is professor of philosophy at the University of Frankfurt. His most recent books include the two-volume work Theory of Communicative Action and The Philosophical Discourse of Modernity: Twelve Lectures . John McCumber is an associate professor of philosophy at Northwestern University. He is the author of Poetic Interaction: Language, Freedom, Reason. (shrink)

Bilingual English-German edition of second collection published by the German poet, dramatist, and philosopher Karoline von Günderrode (1780–1806). The second collection of writings by the German poet, dramatist, and philosopher Karoline von Günderrode (1780–1806), Poetic Fragments was published in 1805 under the pseudonym “Tian.” Günderrode’s work is an unmined source of insight into German Romanticism and Idealism, as well as into the reception of Indian, Persian, and Islamic thought in Europe. Anna C. Ezekiel’s introductions highlight (...) the philosophical significance of the texts, demonstrating their radical and original consideration of the nature of the universe, death, religion, power, and gender roles. The dramas “Hildgund” and “Muhammad, the Prophet of Mecca” are two of Günderrode’s most important works for her accounts of agency, recognition, and the status of women. The three poems included in the collection, “Piedro,” “The Pilgrims,” and “The Kiss in the Dream,” represent the wide range of forms in which Günderrode wrote. They reflect themes of erotic longing and union with the divine, and point to her radical reimagining of death. This bilingual English-German edition is the first volume of Günderrode’s work to appear in English, and will help unearth this rich, complex, and innovative writer for English readers. Anna C. Ezekiel is an independent scholar living in Singapore. (shrink)

This concluding chapter to the handbook contains the editors’ reflections on the state of the relationship between theory and German Idealism by way of a narrative from the founding of “French theory” in the 1960s, through recent post-poststructuralisms, to conjectures about the future of the relationship. In particular, the editors describe the role of Nietzsche and the various returns to Kant in constituting the traditional image of German Idealism in theory and the recent splintering within theory among competing (...) post-poststructuralisms, including the “speculative realist” movement and the “new materialisms.” The chapter ends with the idea that the relationship between theory and German Idealism will endure, first, because of the constitutive role of reading in any study of idealist philosophies and, second, because of the significance of German Idealism to the constitution of a “new humanities.”. (shrink)

The late 19th century debate among German-speaking physicists about theoretical entities is often regarded as foreshadowing the scientific realism debate. This paper brings out differences between them by concentrating on the part of the earlier debate that was concerned with the conceptual consistency of the competing conceptions of matter---{}mainly, but not exclusively, of atomism. Philosophical antinomies of atomism were taken up by Emil Du Bois-Reymond in an influential lecture in 1872. Such challenges to the consistency of atomism had (...) repercussions within the physics community, as can be shown for the examples of Heinrich Hertz and Ludwig Boltzmann. The latter developed a series of counter-arguments, culminating in an ingenious attempt to turn the tables on the critics of atomism and prove the inconsistency of non-atomistic conceptions of nature. Underlying this controversy is a disagreement over specific goals of physical research which was considered crucially relevant to the further course of physical inquiry. It thereby exemplifies an attitude towards the realism issue that can be contrasted with a different, more neutral attitude of construing the realism issue as merely philosophical and indifferent with respect to concrete research programs in physics, which one also occasionally finds expressed in the 19th century controversy and which may be seen as the prevailing attitude of the 20th century debate. (shrink)

This book studies how poetic structure transforms verbal imitations of religious experience into concepts. The book investigates how such a conceptual language can convey such non-conceptual experiences as meditation, ecstasy or mystic insights. Briefly, it explores how the poet, by using words, can express the ‘ineffable’. It submits to close reading English, French, German, Spanish, Italian, Armenian and Hebrew texts, from the Bible, through medieval, renaissance, metaphysical, and baroque poetry, to romantic and symbolistic poetry.

Of the scholarly work that has been done in the last twenty years on the medieval French and German prologue, most falls into one of two classes. On the one hand are those studies that investigate a prologue for what it reveals of its author or of the work that follows. What, for instance, does Chrétien mean by “une molt bele conjointure,” and what does this imply about his Erec et Enide? What might Hartmann mean by “rehtiu güete,” and (...) how can our understanding of his meaning improve our understanding of Iwein? The second kind of study of medieval prologues pursues the opposite course, detaching the prologues from the works that follow and treating them separately, as members of an independent tradition, almost a genre. This second group, as it seeks to discover the poetics of the prologue, has not unreasonably turned to the poetic theory that might have been known to French and German authors of the twelfth and thirteenth centuries. What, scholars of this second group have asked, can the classical rhetorical treatises teach us about Chrétien's prologues? And what help might the medieval artes poetriae offer in studying the German prologues of the thirteenth century? The substantial body of work produced by scholars who ask these types of questions suggests that they have found the classical and medieval treatises of considerable use in sketching out the poetics of the medieval prologue. As far as I can see, however, they are mistaken. For, as I hope to show below, neither the classical rhetoricians nor the medieval poetic theorists wrote with the prologues to written narrative in mind, nor can the precepts they propose come close to accommodating the great variety of actual medieval prologues. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Poetic Justice: The Literary Imagination and Public LifeDavid GormanPoetic Justice: The Literary Imagination and Public Life, by Martha C. Nussbaum; xii & 143 pp. Boston: Beacon Press, 1995, $20.00.This volume, a revision of lectures given in 1991, is a philosophical study comparing aspects of law and literature. The law in question is contemporary American case law (hence the reference to “Public Life” in the book’s subtitle). The (...) literature to which it is juxtaposed consists primarily of “realist social novels” (p. 87), represented chiefly by Dickens’s Hard Times, though with some attention also given to E. M. Forster’s Maurice, Richard Wright’s Native Son, and to passages from Whitman’s poetry (quoted, characteristically, at some length). Nussbaum’s thesis is that both this kind of legal discourse and this kind—or kinds—of literary discourse constitute, involve, or otherwise rely upon an imaginative vision of human life and its possibilities. Thus lawyers have a great deal to learn from literature, insofar as contact with the capacious imaginations of a Dickens or a Whitman can only enlarge the sensibilities of those who read them in a sufficiently open-minded, reflective way.It may be both too kind and overly reductive to ascribe to Poetic Justice such a thing as a thesis. On the contrary, this compact book, like all of Nussbaum’s writings, teems with theories and theses. This is the main reason, I suppose, for the dichotomy of responses to Nussbaum: some find this pullulating quality of her work exhilarating, while others just find it annoying. One advantage that I think both parties will recognize in the compactness of Poetic Justice (due to the constraints of the lecture format) is that it inhibits the author’s native prolixity, which makes her previous books—The Fragility of Goodness (1986), Love’s Knowledge (1990), and The Therapy of Desire (1994)—something of an effort even for Nussbaum’s biggest fans to stay with through every last qualification, tertiary argument, and cross-reference. [End Page 196]The opening pages of these lectures seem, if anything, all too simple. Nussbaum’s initial target is the economistic, deterministic school of social analysis associated with the University of Chicago generally and with Richard Posner in particular, which has lately exercised a disproportionate influence in American jurisprudence and—especially during the Reagan-Bush era—in public policymaking. Against this kind of thinking, which attempts to treat human beings and their actions and decisions as much as possible in terms of quantifiable, statistical measures, Nussbaum emphasizes the autonomy, the irreducible singularity of each human being and the qualitative aspects of each person’s experience, which is the kind of cautionary lesson that she sees literary works as driving home—hence their value as a counterweight, or even a vaccine, against reductive economism. Thus readers will tend to assume from the first lecture (“The Literary Imagination”) that what they are in for, pretty much, is something like Bob Cratchit’s comeback to Ebenezer Scrooge. The Dickensian comparison is not fortuitous, of course, because although the text of reference is Hard Times and not A Christmas Carol, the moral antithesis is familiar enough: a coldly, blindly all-embracing utilitarianism versus a warm, empathetic humanism.Yet, as Nussbaum develops her account, things are not so simple. What emerges is that her aim is not simply to mount an attack on the economic-determinist approach to analyzing (and thus judging) human behavior, but in the first place to understand it, to get inside this worldview. This empathetic response to Chicago-style social analysis, in turn, weaves itself into the texture of Nussbaum’s book in two ways. For one thing, it supports her call to treat literature as making a potentially significant contribution to public life, since what better path can there be to understanding neo-utilitarians like Posner than via imaginative portrayals of such paleo-utilitarians as Mr. Gradgrind? For another thing, moreover, the very gesture of trying to empathize with economic determinism rather than trying to bury it serves the purpose of showing up the latter’s limitations, because this kind of other-directed response is just what the utilitarian approach is least... (shrink)