Andrew Bowie
Aesthetics and subjectivity
Andrew Bowie
Aesthetics and subjectivity
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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. -- .
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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. -- .
Produktdetails
- Produktdetails
- Verlag: Manchester University Press
- 2 ed
- Seitenzahl: 354
- Erscheinungstermin: 31. Dezember 2013
- Englisch
- Abmessung: 234mm x 156mm x 19mm
- Gewicht: 536g
- ISBN-13: 9780719057380
- ISBN-10: 0719057388
- Artikelnr.: 21336611
- Verlag: Manchester University Press
- 2 ed
- Seitenzahl: 354
- Erscheinungstermin: 31. Dezember 2013
- Englisch
- Abmessung: 234mm x 156mm x 19mm
- Gewicht: 536g
- ISBN-13: 9780719057380
- ISBN-10: 0719057388
- Artikelnr.: 21336611
Andrew Bowie is Chair of German at Royal Holloway University of London
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
'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
'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