For many eighteenth-century European philosophers and writers, the "beautiful soul" was a symbol of enlightened humanity, carrying with it the possibility that aesthetic beauty and moral goodness would be fused in a new, indivisible unity. In the first book in English on the subject, Robert E. Norton follows the fortunes of this cultural icon, exploring the reasons for both its initial popularity and its subsequent decline as a cultural ideal during the Enlightenment.

Use of the word "Counter-Enlightenment" has become increasingly frequent in scholarly and journalistic writing. The word was almost certainly invented by the late Sir Isaiah Berlin, and it is owing to his enormous prestige and on-going influence that it has gained its current familiarity. In Berlin's view, two of the most important sources of the supposed Counter-Enlightenment are J. G. Hamann and J. G. Herder. But as I show, Berlin's numerous accounts of their thought are profoundly flawed and reflect not (...) Herder's or Hamann's own thought, but rather that of late nineteenth- and early twentieth-century German historians, who wished to legitimate their own anti-democratic, and hence anti-Enlightenment, ideology through the construction of a false historical genealogy. (shrink)

Introduction Herder's status within German intellectual history has largely rested on the premise that he, along with his friend Johann Georg Hamann, ...

Reply to Steven Lestition's article, "Countering, Transposing, or Negating the Enlightenment? A Response to Robert Norton," published in the Journal of the History of Ideas(2007), pp. 659-81.

Cooperative Learning. When you're in the presence of teachers you hear about it. When you pick up a professional journal, you read about it. When you see learners experiencing it, obviously, they are learning and having fun in the process. Yet, when I walk through the halls of schools and peep through the windows of the closed doors, I observe most learners seated, in rows, being taught individually, with lecture, work-book, and ditto sheets dominating the scene. Why is this so?

The most popular interpretation of musical meaning is stated generally as 'music is a tonal analogue of emotive life.' the article demonstrates the failure of the expression theory to provide adequate ground for a metalanguage of music. The theory's chief fault is that it attempts to make a science of musical signification and that this science is primarily psychological and secondarily musical. Musical signification lies in four areas rather than one: semantic, Symbolic, Figural, And behavioral (j.P. Guilford). A proper metalanguage (...) can only be built on methodology which demonstrates these mutually important modes of cognition. (shrink)

First published in 1918, Ernst Bertram's _Nietzsche: Attempt at a Mythology_ substantially shaped the image of Nietzsche for the generation between the wars. It won the Nietzsche Society's first prize and was admired by luminous contemporaries including André Gide, Hermann Hesse, Gottfried Benn, and Thomas Mann. Although translated into French in 1932, the book was never translated into English following the decline of Nietzsche's and Bertram's reputations after 1945. Now, with Nietzsche's importance for twentieth-century thought undisputed, the work by one (...) of his most influential interpreters can at last be read in English. Employing a perspectival technique inspired by Nietzsche himself, Bertram constructs a densely layered portrait of the thinker that shows him riven by deep and ultimately irresolvable cultural, historical, and psychological conflicts. At once lyrical and intensely probing, richly complex yet thematically coherent, Bertram's book is a masterpiece in a forgotten tradition of intellectual biography. (shrink)