By J. M. Bernstein
Vintage and Romantic German Aesthetics. Edited via: J. M. Bernstein. Cambridge college Press, 2002. 356 pages (Cambridge Texts within the heritage of Philosophy). ISBN: 9780521001113
This 2002 quantity brings jointly significant works via German thinkers, writing simply ahead of and after Kant, who have been drastically influential during this an important interval of aesthetics. those texts contain the 1st translation into English of Schiller's Kallias Letters and Moritz's at the inventive Imitation of the gorgeous, including translations of a few of Hölderlin's most vital theoretical writings and works by means of Hamann, Lessing, Novalis and Schlegel. In a philosophical advent J. M. Bernstein strains the advance of aesthetics from its nonetheless rationalist and mimetic building in Lessing, throughout the confident construal of artwork and/or good looks because the visual appeal of human freedom within the paintings of Schiller, to Hölderlin's darker imaginative and prescient of artwork because the reminiscence of a misplaced team spirit, and the diversities of that topic - of an very unlikely striving after the misplaced excellent - that are present in the paintings of Schlegel and Novalis.
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Additional resources for Classic and Romantic German Aesthetics (Cambridge Texts in the History of Philosophy)
Pettegrove (Princeton: Princeton University Press, ). Jane Kneller’s ‘Imaginative Freedom and the German Enlightenment’, Journal of the History of Ideas (), elegantly defends the inner connecting of freedom and aesthetics in Lessing and Kant. ), Essays in Kant’s Aesthetics (Chicago: University of Chicago Press, ) locates the ‘Kallias Letters’ in the context of the development of Schiller’s aesthetic theory. A wide range of useful material is to be found in L. Sharpe, Schiller’s Aesthetic Essays: Two Centuries of Criticism (Columbia, SC: Camden House, ).
If, however, only works are the reﬂective bearers of the Idea of art in romanticism, and this Idea entails that romanticism is forever becoming, then a self-sufﬁcient work transparently belies the Idea. For a work to fully exemplify and reﬂectively articulate the Idea of poetry as inﬁnite becoming, it would have to cancel itself as work, bracket itself as work for the sake of the indeterminate Idea, unwork its being as work, forfeit its status as material presence in favour of art’s ‘not yet’, be itself and always beyond itself.
This distemper has principally grown up in the school of Paracelsus and some others; but the beginnings thereof came from the Rabbis and Cabalists. But these men do not gain their object; and instead of giving honour to the Scriptures as they suppose, they rather embase and pollute them . . and as to seek divinity in philosophy is to seek the living among the dead, so to seek philosophy in divinity is to seek the dead among the living. The other method of interpretation which I set down as an excess, appears at the ﬁrst glance sober and modest, yet in reality it both dishonours the Scriptures themselves, and is very injurious to the Church.
Classic and Romantic German Aesthetics (Cambridge Texts in the History of Philosophy) by J. M. Bernstein