By Jerome Carroll, Steve Giles, Maike Oergel
The essays during this publication examine the advanced and infrequently contradictory relationships among aesthetics and modernity from the overdue Enlightenment within the 1790s to the Frankfurt college within the Nineteen Sixties and interact with the vintage German culture of socio-cultural and aesthetic conception that extends from Friedrich Schiller to Theodor W. Adorno. whereas modern discussions in aesthetics are usually ruled by means of summary philosophical techniques, this e-book embeds aesthetic concept in broader social and cultural contexts and considers a variety of inventive practices in literature, drama, song and visible arts. Contributions contain examine on Schiller’s writings and his paintings on the subject of ethical sentimentalism, Romantic aesthetics, Friedrich Schlegel, Beethoven, Huizinga and Greenberg; philosophers resembling Kierkegaard, Benjamin, Heidegger and Adorno; and thematic ways to Darwinism and Naturalism, smooth tragedy, postmodern realism and philosophical anthropology from the eighteenth century to the current day. This e-book relies on papers given at a global symposium held lower than the auspices of the college of Nottingham on the Institute of German and Romance experiences, London, in September 2009
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Additional info for Aesthetics and Modernity from Schiller to the Frankfurt School
46 Maike Oergel their thinking has received little consideration. While the strict notion that dialectics begins with Hegel no longer has much currency, researchers are hesitant to establish true dialectical structures for those who were thinking in the orbit of German Idealism before Hegel (which includes everybody associated with the Weimar or Jena circles in the last decade of the eighteenth century). 8 Fichte’s work itself is mainly analysed in terms of its thinking on the structures of consciousness, rather than any form of historical dialectics.
Only when he is in Venice is his life-story given a belated further impetus. The second noteworthy event in his biography involves his encounter with the Armenian, who seeks to gain inf luence on the Prince in a variety of disguises and with numerous accomplices whom the Prince fails to identify. This event consists in the fact that the Prince manages by his own ef forts to see through and tear asunder the web of intrigue that surrounds him. Because of his background, those plotting against the Prince had taken him to be a romancer.
S editing of the intellectually challenged F***’s letters how much of their content he communicates to the reader or on what basis he selected it, S’s explicit interventions into the manuscript singularly fail to clarify how the Prince’s story was actually transmitted. ’s assertion that the ‘invisible hand’ intervened directly in his life, we are also inclined to suspect that its agents are at work everywhere – another consequence of the paranoid narrated world. Ultimately, it remains quite unclear whether this entire narrative has been instigated by that same ‘invisible hand’ in order to disconcert Enlightened circles in Germany or inf luence them in other ways, by drawing them into an intricately interconnected intrigue of a similar complexity to the one enveloping the Prince.