Aesthetics and Modernity from Schiller to the Frankfurt

The essays during this ebook examine the advanced and sometimes contradictory relationships among aesthetics and modernity from the past due Enlightenment within the 1790s to the Frankfurt college within the Sixties and interact with the vintage German culture of socio-cultural and aesthetic thought that extends from Friedrich Schiller to Theodor W. Adorno. whereas modern discussions in aesthetics are usually ruled via summary philosophical ways, this booklet embeds aesthetic thought in broader social and cultural contexts and considers quite a lot of creative practices in literature, drama, tune and visible arts. Contributions comprise learn on Schiller’s writings and his paintings with regards to ethical sentimentalism, Romantic aesthetics, Friedrich Schlegel, Beethoven, Huizinga and Greenberg; philosophers comparable to Kierkegaard, Benjamin, Heidegger and Adorno; and thematic methods to Darwinism and Naturalism, smooth tragedy, postmodern realism and philosophical anthropology from the eighteenth century to the current day. This booklet is predicated on papers given at a global symposium held lower than the auspices of the college of Nottingham on the Institute of German and Romance stories, London, in September 2009.

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Smith’s argumentation here turns on the heterogony of ends so as to show why it is the case that, at the end of the day, morally dubious lapses of the individual as well as with wrong turnings in the history of the collective not only do not stand in the way of the infinite progress of humanity, but almost drive it onwards. Bernard Mandeville presents an exemplary application of this argument as early as 1714 in his Fable of the Bees, where ‘private vices’ always turn into ‘publick benefits’. And, just as beauty curtails negative features when the world of the senses is being represented, so too the heterogony of ends explains away the negative ef fects of human sensuality with reference to empirical experience.

Furthermore, with the onset of the Storm and Stress movement around 1770, its represented worlds begin to show how thoughts and concepts themselves are sensuously grounded in individuals led by their own interests, so that by the late Enlightenment its subject matter increasingly concerns the aporia of philosophy. In that respect, autonomous literature presenting illusionist imitations of nature and engaging critically with rationality should not be seen as a countermovement to the Enlightenment, but as bringing the Enlightenment’s basic principles to fruition in terms of form and content.

Failure to recognize this distinction frequently bedevils discussion of the aesthetic.  R. 15 His remark might seem to suggest hostility to the aesthetic on the part of a naïvely moralist and literalistic critic. But the opposite is the case. Leavis had a radical commitment to the specialness of the imaginative experience involved in a literary engagement with language and, by the 13 14 15 Nietzsche, Untimely Meditations, 168. Nietzsche, Twilight, 90, trans. modified. Leavis, The Common Pursuit, 89.

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