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Classic and Romantic German Aesthetics

(ed.)
New York: Cambridge University Press (2002)

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  1. History or Counter-Tradition? The System of Freedom After Walter Benjamin.Wesley Phillips - 2010 - Critical Horizons 11 (1):99-118.
    I seek to interpret the work of Walter Benjamin in light of the "system programme" of German Idealism, in order to confront an antinomy of contemporary radical thought. Benjamin has been regarded as an anti-Hegelian thinker of the exception. Reading him against the grain, I draw out a concept of counter-tradition that eschews the opposition of intra-historical progress and extra-historical exception. The philological inspiration is a book by Franz Joseph Molitor, student of Schelling and "teacher" of Benjamin: The Philosophy of (...)
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  • The Potencies of Beauty: Schelling on the Question of Nature and Art.Kyriaki Goudeli - 2012 - Comparative and Continental Philosophy 4 (2):253 - 263.
    This article unfolds Schelling’s idea that artwork allows for infinite interpretations and condenses into an infinite meaning. This claim has been investigated by the double act of potentiation that occurs, in parallel ways, both in the artwork and in Nature writ large, as well as in the artist’s body. The questions of form, formation, and individuation in Nature are addressed along with the role of the expansive productive intuition in the body of the artist. Nature in Schelling’s thought consists in (...)
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  • Erich Przywara and Giorgio Agamben: Rhythm as a Space for Dialogue between Catholic Metaphysics and Postmodernism.Lexi Eikelboom - 2016 - Heythrop Journal 57 (4).
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  • Fernando Pessoa's Post-Romantic Sense of the World.James Corby - 2011 - Comparative and Continental Philosophy 3 (2):165-181.
    Why should philosophy, or even thinking, get in the way of seeing? In attempting to address this question, this paper identifies post-Romanticism as a phenomenologically inflected response to the failure of both pre-Romantic Reflexionsphilosophie and Hegelian speculative overcoming, one that seeks to express our relation to the world in a way that does not rely on a reflection model of consciousness and gives no support to the notion of a cognitively inaccessible absolute. It will be suggested that the poetry of (...)
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  • Defining Art and its Future.Zachary Isrow - 2017 - Journal of Arts and Humanities 6 (6):84-94.
    Art is a creative phenomenon which changes constantly, not just insofar as it is being created continually, but also in the very meaning of ‘art.’ Finding a suitable definition of art is no easy task and it has been the subject of much inquiry throughout artistic expression. This paper suggests a crucial distinction between ‘art forms’ and ‘forms of art’ is necessary in order to better understand art. The latter of these corresponds to that which we would typically call art (...)
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