By Jerome Carroll, Steve Giles, Maike Oergel
The essays during this booklet examine the advanced and infrequently contradictory relationships among aesthetics and modernity from the past due Enlightenment within the 1790s to the Frankfurt institution within the Sixties and interact with the vintage German culture of socio-cultural and aesthetic idea that extends from Friedrich Schiller to Theodor W. Adorno. whereas modern discussions in aesthetics are frequently ruled through summary philosophical methods, this booklet embeds aesthetic thought in broader social and cultural contexts and considers a variety of creative practices in literature, drama, track and visible arts. Contributions comprise examine on Schiller’s writings and his paintings in terms of ethical sentimentalism, Romantic aesthetics, Friedrich Schlegel, Beethoven, Huizinga and Greenberg; philosophers reminiscent of Kierkegaard, Benjamin, Heidegger and Adorno; and thematic methods to Darwinism and Naturalism, glossy tragedy, postmodern realism and philosophical anthropology from the eighteenth century to the current day. This publication relies on papers given at a global symposium held below the auspices of the collage of Nottingham on the Institute of German and Romance reviews, London, in September 2009
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Additional resources for Aesthetics and Modernity from Schiller to the Frankfurt School
This is because neither breaking free from ‘enthusiastic’ and hypocritical orthodoxy nor rational control of external nature are themselves suf ficient to ground an irreversible process of attaining autonomy. Ultimately, science and knowledge of nature must be complemented above all else by morality, the correct – in other words, Enlightened – religion. The Prince fails to take this crucial third step, which involves engaging in suitable social activity and choosing a suitable spouse. This is the point at which the second plot is instigated by the group associated with the Armenian, and this time they manage to catch the Prince by exploiting his uncontrolled sensuality.
Porombka and S. Scharnowski, eds, Übersetzen, Übertragen. Überreden. Festschrift für Klaus Laermann (Würzburg: Königshausen & Neumann, 1999), 173–184. Dilthey, W. ‘Das 18. Jahrhundert und die geschichtliche Welt’, in Dilthey, Gesammelte Schriften, Vol. 3, Leipzig: Teubner, 1927, 207–268, first published in: Deutsche Rundschau 108 (1901), 241–262, 350–380. Frank, G. ‘Sturm und Drang: Towards a New Logic of Passion as Logic of German Counter-cultures’, in S. Giles and M. Oergel, eds, From Sturm und Drang to Baader-Meinhof: Counter-Cultures in Germany and Central Europe 1770–1990 (Oxford: Peter Lang, 2003), 25–42.
It might be supposed that his late work Twilight of the Idols (1888) elides the distinction between art and life values in the opposite direction from Schiller for it seems to define the aesthetic through a simple, almost biological, invocation of life, thereby erasing the complex ontological model of the aesthetic in Birth of Tragedy (1872): ‘Nothing is beautiful, only man: on this piece of naivety rests all aesthetics, it is the first truth of aesthetics. ’14 But the dif ference between the two works is that whereas the Birth of Tragedy is centered on a philosophical definition of the aesthetic, Twilight of the Idols is more concerned with passing judgement on a quality of life through its culture.