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Freedom and Nature in Schelling's Philosophy of Art

New York, NY, USA: Bloomsbury (2010)

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  1. 'From Time into Eternity': Schelling on Intellectual Intuition.G. Anthony Bruno - 2023 - Philosophy Compass 1 (4):e12903.
    Throughout his career, Schelling assigns knowledge of the absolute first principle of philosophy to intellectual intuition. Schelling's doctrine of intellectual intuition raises two important questions for interpreters. First, given that his doctrine undergoes several changes before and after his identity philosophy, to what extent can he be said to “hold onto” the same “sense” of it by the 1830s, as he claims? Second, given that his doctrine of intellectual intuition restricts absolute idealism to what he calls a “science of reason”, (...)
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  • Books Received: The following books have been received and many of them are still available for review. Interested reviewers please contact the reviews editor: [email protected]. [REVIEW][author unknown] - 2012 - International Journal of Philosophical Studies 20 (1):149-162.
    Abensour, M., Democracy Against the State: Marx and the Machiavellian Moment.. Polity, 2011. Pbk £15.99. Acampora, C. D. and Pearson, K.A., Nietzsche’s Beyo...
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  • Philosophy and the History of Art: Reconsidering Schelling’s Philosophy of Art from the Perspective of Works of Art.Mildred Galland-Szymkowiak - 2013 - Critical Horizons 14 (3):296-320.
    Schelling’s philosophy of art between 1801 and 1807 can be defined as metaphysics of art. The object of that metaphysics is to deploy the absolute as the being of art and of the arts. Schelling has been criticized on the basis that this metaphysics of art represses the infinite diversity of existing works of art, while overlooking concrete aesthetic experience. Based on Schelling’s definition of the “philosophical construction” of art as an inseparably speculative and historical construction, the aim of this (...)
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  • Adorno and Schelling on the art–nature relation.Camilla Flodin - 2018 - British Journal for the History of Philosophy 26 (1):176-196.
    When it comes to the relationship between art and nature, research on Adorno’s aesthetics usually centres on his discussion of Kant and Hegel. While this reflects Adorno’s own position – his comprehension of this relationship is to a large extent developed through a critical re-reading of both the Kantian and the Hegelian position – I argue that we are able to gain important insights into Adorno’s aesthetics and the central art–nature relation by reading his ideas in the light of Schelling’s (...)
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  • The Unquiet Spirit of Idealism: Fichte's Drive to Freedom and the Paradoxes of Finite Subjectivity.Matthew Christopher Altman - 2001 - Dissertation, The University of Chicago
    This dissertation examines Fichte's critical idealism in an effort to formulate a compelling model of how we can be said to be free, despite our subjection to both rational and nonrational constraints. ;Fichte grounds idealism in a "drive to freedom" that involves two disparate strands of thought: the standpoint of idealism is said to be both the result of an absolutely free adoption of the principle of self-determination and conditioned by reason, to which the finite I is necessarily subject. However, (...)
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