Download e-book for kindle: Aesthetics and Subjectivity : From Kant to Nietzsche (2nd by Bowie

By Bowie

ISBN-10: 0719057388

ISBN-13: 9780719057380

ISBN-10: 1417577991

ISBN-13: 9781417577996

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 study and modern arguments in philosophy and idea within the humanities.

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

Sample text

Kant himself actually follows aspects of the Enlightenment tradition of understanding music and objects, by seeing music as a ‘language of emotions’ (CJ B p. 220, A p. 217). Music represents feelings, in much the same way as language supposedly represents ideas or objects. ’ (ed. Strunk 1998 p. 699). However, Kant does not adopt this literalist conception in every respect. Music also communicates aesthetic ideas, but these are ‘not concepts and determinate thoughts’, though their purpose is solely to ‘express the aesthetic idea of a coherent whole’ (CJ.

Can be circumvented. While reason must postulate the ‘unconditioned . . in all things in themselves for everything conditioned, so that the series of conditions should thus become complete’ (CPR B p. H. 10 However, the subject’s very ability to stop the regress in judging anything particular (which is the function of schematism) seems, as Fichte would soon argue, to give the subject itself the ‘unconditioned’ role in determining how nature is to be understood. This seems to be the case even though the ultimate nature of ‘things in themselves’ involves the whole grounding dimension of nature which is not accessible to our knowledge and though the nature of this subject is opaque in certain key respects.

Given his intention to link beauty and morality – beauty is a symbol of morality for Kant – his suspicion of music follows from the aims of the third Critique. However, even though the idea of aesthetic autonomy is not part of the argument of the CJ, the CJ does help open up the possibility of its emergence. Kant’s aesthetic ideas are non-conceptual, but this does not exclude them from consideration in philosophy: instead, they ‘strive towards something beyond the boundary of experience’ (B p. 194, A p.

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