Schopenhauer singles out Kant's theory of the sublime for high praise, calling it ‘by far the most excellent thing in the Critique of Aesthetic Judgement’, yet, in his main discussion of the sublime, he ridicules Kant's explanation as being in the grip of scholastic metaphysics. My first aim in this paper is to sort out Schopenhauer's apparently conflicted appraisal of Kant's theory of the sublime. Next, based on hisNachlaß,close readings of published texts and especially of his account of the experience (...) of tragic drama, I offer a reconstruction of Schopenhauer's theory of the sublime which understands it – against prevailing scholarly views – as atransformation ofrather than as a realdeparture fromthe Kantian explanation. Finally, I suggest that my interpretation of Schopenhauer's theory of the sublime has far-reaching consequences for a proper understanding of his views on freedom. (shrink)

This essay focuses on Schopenhauer’s aesthetics and philosophy of art, areas of his philosophy which have attracted the most philosophical attention in recent years. After discussing the subjective and objective aspects of aesthetic experience on his account, I shall offer interpretations of Schopenhauer’s theory of the sublime and solution to the problem of tragedy. In addition, I shall touch upon the liveliest interpretive debates concerning his aesthetic theory: the intelligibility of the “Platonic Ideas” as the objects of aesthetic experience and (...) the very possibility of aesthetic experience within Schopenhauer’s system. Another aim of this essay is to suggest how some of Schopenhauer’s aesthetic doctrines may be interpreted in a less metaphysically extravagant way. When understood in this manner, contemporary aestheticians might be inclined to take a closer look at Schopenhauer’s aesthetic theory and philosophy of art, for it is distinctive in the tradition of Western philosophical aesthetics in its attempt to highlight and balance the hedonic and cognitive importance of aesthetic experiences; in its sensitivity both to the aesthetic experience of nature as well as of art; in the high value placed on the experience of music ; and in the innovative solution to the problem of tragedy it offers. (shrink)

In this study, it will be my concern to examine the argument for a discontinuity between Nietzsche’s early and ‘middle’ period writings. Specifically, I will address the notion that these earlier works represent something that had, by 1878, become intolerable for Nietzsche: life-denial. The typical reading of The Birth of Tragedy presents it as a work of Schopenhauerian pessimism, which offers the art of beautifying illusion as the only possible means to escape the relentless horror of existence. Scholarship in the (...) last 20 years has worked against this interpretation, and yet no scholar – perhaps with the exception of Michele Haar5 - has been able to fully endorse the claim made by Nietzsche in his 1886 preface to the work, “An Attempt at Self Criticism”: that Birth offered aesthetics as a remedy to life-denial. It was in the name of opposing this ethos – which Nietzsche most famously aligned with Christian and Buddhist asceticism – that the Free Spirit works were to wage their war against metaphysics and to denounce the ‘afterworldsmen’ who turn their back on life and seek for meaning in the Beyond. Through a reading of Birth, as well as its draft texts – “The Dionysian Worldview” and “The Greek Music Drama”-, the works’ proposed follow up Philosophy in the Tragic Age of the Greeks, and the lectures series this latter was based on I will argue for an alternative interpretation. From a Naturalist reading of these early texts and their ‘Aesthetic interpretation of Life’, I seek to trace a line of continuity that extends into the Free Spirit works. (shrink)