Reconsiders the path of German philosophy from Kant to Nietzsche, in relation to consciousness, aesthetics and language. The book traces the beginning of modern debates on aesthetics and politics, as well as hermeneutics, paying attention to the significance of music in modern philosophy. -- .
Reconsiders the path of German philosophy from Kant to Nietzsche, in relation to consciousness, aesthetics and language. The book traces the beginning of modern debates on aesthetics and politics, as well as hermeneutics, paying attention to the significance of music in modern philosophy. -- .
Andrew Bowie is Chair of German at Royal Holloway University of London
Inhaltsangabe
Preface Introduction Aesthetics and modernity Aesthetics and 'post-modernity' 1. Modern Philosophy and the Emergence of Aesthetic Theory: Kant Self-consciousness, knowledge and freedom The unification of nature The purpose of beauty The limits of beauty 2. German Idealism and Early German Romanticism Thinking the Infinite A 'new mythology' 3. Reflections on the Subject: Fichte, Holderlin and Novalis Self and Other Fichte Holderlin Novalis 4. Schelling: Art and the 'Organ of Philosophy' Nature and philosophy The development of consciousness Intuition and concept The 'organ of philosophy' Mythology, art and modernity Mythology, language and being 5. Hegel: the beginning of Aesthetic Theory and the end of Art Which Hegel? Self-recognition Music and the Idea Language, consciousness and being The Idea as sensuous appearance The prose of the modern world Philosophy and art after Hegel 6. Schleiermacher: Art and Interpretation Linguistic The 'art of disagreement' Immediate self-consciousness Art as free production: 'individual' and 'identical' activity Hemeneutics as art Literature and the 'musical' 7. Music, Language and Literature Language and music Hegel and Romanticism: music, logos, and feeling The 'presence' of music 'Infinite reflection' and music 8. Nietzsche and the Fate of Romantic Thought The Old and the New Nietzsches Schopenhauer: Music as Metaphysics Marx, mythology, and art Art, myth, and music in 'The Birth of Tragedy' Myth, music, and language The illusion of truth Music and metaphysics Aesthetics , 'interpretation', and subjectivity Conclusion The so-called 'Oldest System Programme of German Idealism' References
Preface Introduction Aesthetics and modernity Aesthetics and 'post-modernity' 1. Modern Philosophy and the Emergence of Aesthetic Theory: Kant Self-consciousness, knowledge and freedom The unification of nature The purpose of beauty The limits of beauty 2. German Idealism and Early German Romanticism Thinking the Infinite A 'new mythology' 3. Reflections on the Subject: Fichte, Holderlin and Novalis Self and Other Fichte Holderlin Novalis 4. Schelling: Art and the 'Organ of Philosophy' Nature and philosophy The development of consciousness Intuition and concept The 'organ of philosophy' Mythology, art and modernity Mythology, language and being 5. Hegel: the beginning of Aesthetic Theory and the end of Art Which Hegel? Self-recognition Music and the Idea Language, consciousness and being The Idea as sensuous appearance The prose of the modern world Philosophy and art after Hegel 6. Schleiermacher: Art and Interpretation Linguistic The 'art of disagreement' Immediate self-consciousness Art as free production: 'individual' and 'identical' activity Hemeneutics as art Literature and the 'musical' 7. Music, Language and Literature Language and music Hegel and Romanticism: music, logos, and feeling The 'presence' of music 'Infinite reflection' and music 8. Nietzsche and the Fate of Romantic Thought The Old and the New Nietzsches Schopenhauer: Music as Metaphysics Marx, mythology, and art Art, myth, and music in 'The Birth of Tragedy' Myth, music, and language The illusion of truth Music and metaphysics Aesthetics , 'interpretation', and subjectivity Conclusion The so-called 'Oldest System Programme of German Idealism' References
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