Aesthetics and Subjectivity: From Kant to Nietzche

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Manchester University Press, Jul 18, 2003 - History - 345 pages
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Aesthetics and Modernity
Aesthetics and “Post-Modernity”
Part I: 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
Part II: German Idealism and Early German Romanticism
Thinking the Infinite
A “New Mythology”
Part III: Reflections on the Subject: Fichte, Holderlin and Novalis
Self and Other
Fichte
Holderlin
Novalis
Part IV: 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
Part V: 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
Part VI: 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”
Part VII: Music, Language and Literature
Language and Music
Hegel and Romanticism: Music, Logos, and Feeling
The “Presence” of Music
“Infinite Reflection” and Music
Part VIII: 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
The So-Called “Oldest System Programme of German Idealism”
 

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Contents

Aesthetics and postmodernity
8
Kant
16
German Idealism and early German Romanticism
49
Fichte Holderlin and Novalis
69
art as theorgan of philosophy
102
the beginning of aesthetic theory and the end of art
140
art and interpretation
183
Music language and literature
221
Nietzsche and the fate of Romantic thought
258
Conclusion
312
the socalled Oldest System Programme of German
334
Index
342

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References to this book

Digital Aesthetics
Sean Cubitt
Limited preview - 1998
The Radical Aesthetic
Isobel Armstrong
No preview available - 2000
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About the author (2003)

Andrew Bowie is Chair of German, Royal Holloway University of London.

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