Aesthetics and Subjectivity : From Kant to Nietzsche (2nd by Bowie

By Bowie

This new, thoroughly revised and re-written variation of Aesthetics and subjectivity brings brand new the unique book's account of the trail of German philosophy from Kant, through Fichte and Holderlin, the early Romantis, Schelling, Hegel, Schleimacher, to Nietzsche, in view of contemporary historic examine and modern arguments in philosophy and thought within the humanities.

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Extra resources for Aesthetics and Subjectivity : From Kant to Nietzsche (2nd edition)

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If we were to have philosophical access to this principle we would know the value of knowledge. The second Critique introduced a further spontaneity, which again pointed, beyond anything we can know, to a higher purpose than can be described in terms of a nature legislated by the understanding: why is it that we can contradict natural causation in ourselves in the name of ‘ideas’ and Modern philosophy and aesthetic theory 29 of the moral law? The third Critique tries to link this sense of the higher purpose of rational beings to the sensuously based experience of both natural and artistic beauty.

Furthermore, Kant introduces a notion, freedom, which for him belongs in the realm of the supersensuous, into our sensuous relations to the world. The very fact that Kant now begins to use the term ‘aesthetic ideas’ suggests how far he has moved beyond key restrictions in the CPR. The ‘Aesthetic’ there provided the ‘rules of sensuousness’, which constituted the framework for the intuitions judged by the understanding. ‘Ideas’ were the basis of reason’s attempts to unify the endless diversity of the products of the understanding into a whole, and could not be available to intuition because they would then have to be objects of the understanding.

167, A p. 165) of the object pleases, independently of any appeal to the senses or to any purpose of the object. The next stage of Kant’s argument, where he introduces the notorious concept of ‘genius’, is perhaps the most instructive. Gadamer claims that genius is introduced into the CJ simply in order to give works of art the same status as natural products. This would make the link between aesthetics and teleology constitutive, but Kant is often more circumspect than Gadamer’s claim would imply.

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