This eloquent 1757 treatise examines how interactions with the physical world affect formulation of ideals related to beauty and art. Tremendously influential on the development of aesthetic theory, this formative dissertation was among the first explorations of the concept of the sublime and remains a thought-provoking study for modern readers.

Die Geburt der Tragödie and Weimar classicism -- The formative influence of Weimar classicism in the genesis of Zarathustra -- The aesthetic gospel of Nietzsche's Zarathustra -- From Leucippus to Cassirer : toward a genealogy of "sincere semblance".

Fred Beiser, renowned as one of the world's leading historians of German philosophy, presents a brilliant new study of Friedrich von Schiller (1759-1805), rehabilitating him as a philosopher worthy of serious attention. Beiser shows, in particular, that Schiller's engagement with Kant is far more subtle and rewarding than is often portrayed. Promising to be a landmark in the study of German thought, Schiller as Philosopher will be compulsory reading for any philosopher, historian, or literary scholar engaged with the key developments (...) of this fertile period. (shrink)

“Supposing that truth is a women-what then?” This is the very first sentence in Nietzsche’s Beyond Good and Evil . Not very often are philosophers so disarmingly explicit in their intention to discomfort the reader. In fact, one might say that the natural state of Nietzsche’s reader is one of perplexity. Yet it is in the process of overcoming the perplexity that one realizes how rewarding to have one’s ideas challenged. In Beyond Good and Evil, Nietzsche critiques the mediocre in (...) modernity and challenges the reader to accept their state of becoming and accept improvisation and creativity of the process. Nietzsche’s book is carefully designed to disorient the reader, to systematically provoke and tease her to the point of stealing away her certainties. It is challenging yet rewarding to overcome the perplexities of Nietzsche’s teachings. (shrink)

Arsic unpacks Ralph Waldo Emerson's repeated assertion that our reality and our minds are in constant flux. Her readings of a broad range of Emerson's writings are guided by a central question: what does it really mean to maintain that everything fluctuates, is relational, and so changes its identity?

This collection of essays by one of the preeminent Kant scholars of our time transforms our understanding of both Kant's aesthetics and his ethics. Guyer shows that at the very core of Kant's aesthetic theory, disinterestedness of taste becomes an experience of freedom and thus an essential accompaniment to morality itself. At the same time he reveals how Kant's moral theory includes a distinctive place for the cultivation of both general moral sentiments and particular attachments on the basis of the (...) most rigorous principle of duty. Kant's thought is placed in a rich historical context including such figures as Shaftesbury, Hutcheson, Hume, Burke, Kames, as well as Baumgarten, Mendelssohn, Schiller, and Hegel. Other topics treated are the sublime, natural versus artistic beauty, genius and art history, and duty and inclination. These essays extend and enrich the account of Kant's aesthetics in the author's earlier book, Kant and the Claims of Taste. (shrink)

The library of America is dedicated to publishing America's best and most significant writing in handsome, enduring volumes, featuring authoritative texts. Hailed as the "finest-looking, longest-lasting editions ever made", Library of America volumes make a fine gift for any occasion. Now, with exactly one hundred volumes to choose from, there is a perfect gift for everyone.

The first comprehensive study of Nietzsche's earliest book, The Birth of Tragedy, this important volume by M. S. Silk and J. P. Stern examines the work in detail: its place in Nietzsche's philosophical career; its value as an account of ancient Greek culture; its place in the history of German ideas, and its value as a theory of tragedy and music. Presented in a fresh twenty-first-century series livery, and including a specially commissioned preface written by Lesley Chamberlain, illuminating its enduring (...) importance and relevance to philosophical enquiry, this accessible study has been revived for a new generation of readers. (shrink)

'Pain and pleasure are simple ideas, incapable of definition.'In 1757 the 27-year-old Edmund Burke argued that our aesthetic responses are experienced as pure emotional arousal, unencumbered by intellectual considerations. In so doing he overturned the Platonic tradition in aesthetics that had prevailed from antiquity until the eighteenth century, and replaced metaphysics with psychology and even physiology as the basis for the subject. Burke's theory of beauty encompasses the female form, nature, art, and poetry, and he analyses our delight in sublime (...) effects that thrill and excite us. His revolution in method continues to have repercussions in the aesthetic theories of today, and his revolution in sensibility has paved the way for literary and artistic movements from the Gothic novel through Romanticism, twentieth-century painting, and beyond. In this new edition Paul Guyer conducts the reader through Burke's Enquiry, focusing on its place in the history of aesthetics and highlighting its innovations, as well as its influence on many subsequent authors from Kant and Schiller to Ruskin and Nietzsche. (shrink)

`Anyone who wants to gain a quick idea of how before me everything was topsy-turvy should make a start with this work. That which is called idol on the title-page is quite simply that which was called truth hitherto. Twilight of the Idols - in plain words: the old truth is coming to an end...' Nietzsche intended Twilight of the Idols to serve as a short introduction to his philosophy, and as a result it is the most synoptic of all (...) his books. Continuing in the spirit of its immediate predecessors On The Genealogy of Morals and The Wagner Case, it is a masterpiece of polemic, targeting not only `eternal idols' like Socratic rationality and Christian morality but also their contemporary counterparts, as Nietzsche the `untimely man' goes roaming in the gloaming of nineteenth-century European culture. He allies philosophy with psychology and physiology, relentlessly diagnozing the symptoms of decadence, and his stylistic virtuosity is such that the sheer delight he takes in his 'demonic' mischief-making communicates itself on every page. A brilliant new translation, this edition provides detailed commentary on a highly condensed and allusive work. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

Embodying Ambiguity traces the shifts in the representation of the androgyny myth in the literature and aesthetics of the late eighteenth century and nineteenth century. Catriona MacLeod examines important pedagogic implications of the androgyny ideal for Classical, Romantic, and Realist texts, beginning with Aristophane's narrative of the origin of human sexuality in Plato's Symposium and including the hermaphroditic androgyny proposed by Winckelmann and the heterosexual complementary model found in Schiller and Schlegel.

In his Aesthetics Hegel gives full expression to his seminal theory of art. He surveys the history of art from ancient India, Egypt, and Greece through to the Romantic movement of his own time, criticizes major works, and probes their meaning and significance; his rich array of examples gives broad scope for his judgement and makes vivid his exposition of his theory. The substantial Introduction is Hegel's best exposition of hisgeneral philosophy of art, and provides the ideal way into his (...) Aesthetics. In Part I he considers the general nature of art: he distinguishes art, as a spiritual experience, from religion and philosophy; he discussesthe beauty of art and differentiates it from the beauty of nature; and he examines artistic genius and originality. Part II provides a sort of history of art, divded into three periods called Symbolic, Classical, and Romantic. Part III deals individually with architecture, scuplture, painting, music, and literature. (shrink)

"All art should become science and all science art; poetry and philosophy should be made one." Friedrich Schlegel's words perfectly capture the project of the German Romantics, who believed that the aesthetic approaches of art and literature could reveal patterns and meaning in nature that couldn't be uncovered through rationalistic philosophy and science alone. In this wide-ranging work, Robert J. Richards shows how the Romantic conception of the world influenced (and was influenced by) both the lives of the people who (...) held it and the development of nineteenth-century science. Integrating Romantic literature, science, and philosophy with an intimate knowledge of the individuals involved—from Goethe and the brothers Schlegel to Humboldt and Friedrich and Caroline Schelling—Richards demonstrates how their tempestuous lives shaped their ideas as profoundly as their intellectual and cultural heritage. He focuses especially on how Romantic concepts of the self, as well as aesthetic and moral considerations—all tempered by personal relationships—altered scientific representations of nature. Although historians have long considered Romanticism at best a minor tributary to scientific thought, Richards moves it to the center of the main currents of nineteenth-century biology, culminating in the conception of nature that underlies Darwin's evolutionary theory. Uniting the personal and poetic aspects of philosophy and science in a way that the German Romantics themselves would have honored, The Romantic Conception of Life alters how we look at Romanticism and nineteenth-century biology. (shrink)

Provides insight into Nietzsche's philosophical thought on the death of God and the eternal recurrence in this translation of one if his major works. Bibliogs.

"The two books in this volume belong together in theme. The Birth of Tragedy, Nietzsche's first book, ends with a lengthy panegyric on the rebirth of tragedy in Wagner's opera's. In his "Attempt at a Self-Criticism," added as a preface to the "new edition" of 1886, Nietzsche regretted that he had "spoiled the grandiose Greek problem ... by introducing the most modern problems," and he explained that he had meanwhile come to see Wagner in a very different light. Two years (...) later, in 1888, Nietzsche brought out the last book whose publication he himself experienced: The Case of Wagner."--From book's preface. (shrink)

Friedrich Nietzsche was immensely influential and, counter to most expectations, also very well read. An essential new reference tool for those interested in his thinking, Nietzsche’s Philosophical Context identifies the chronology and huge range of philosophical books that engaged him. Rigorously examining the scope of this reading, Thomas H. Brobjer consulted over two thousand volumes in Nietzsche’s personal library, as well as his book bills, library records, journals, letters, and publications. This meticulous investigation also considers many of the annotations in (...) his books. In arguing that Nietzsche’s reading often constituted the starting point for, or counterpoint to, much of his own thinking and writing, Brobjer’s study provides scholars with fresh insight into how Nietzsche worked and thought; to which questions and thinkers he responded; and by which of them he was influenced. The result is a new and much more contextual understanding of Nietzsche's life and thinking. (shrink)

His introduction offers a comprehensive chapter-by-chapter survey of the work, and there are also explanatory notes.

"The three works in this collection, all dating from Nietzsche's last lucid months, show him at his most stimulating and controversial: the portentous ...

"The world is my representation" is, like the axioms of Euclid, a proposition which everyone must recognize as true as soon as he understands it, ...

A classic of 18th-century thought, Schiller’s treatise on the role of art in society ranks among German philosophy’s most profound works. An important contribution to the history of ideas, it employs a political analysis of contemporary society—and of the French Revolution, in particular—to define the relationship between beauty and art. Schiller’s proposal of art as fundamental to the development of society and the individual remains an influential concept, and this volume offers his philosophy’s clearest, most relevant expression. Translated and with (...) an introduction by Reginald Snell. (shrink)

This book argues, against recent interpretations, that Nietzsche does in fact have a metaphysical system--but that this is to his credit. Rather than renouncing philosophy's traditional project, he still aspires to find and state essential truths, both descriptive and valuative, about us and the world. These basic thoughts organize and inform everything he writes; by examining them closely we can find the larger structure and unifying sense of his strikingly diverse views. With rigor and conceptual specificity, Richardson examines the will-to-power (...) ontology and maps the values that emerge from it. He also considers the significance of Nietzsche's famous break with Plato--replacing the concept of "being" with that of "becoming." By its conservative method, this book tries to do better justice to the truly radical force of Nietzsche's ideas--to demonstrate more exactly their novelty and interest. (shrink)

Written in 1888, while Nietzsche was at the height of his brilliance, these two polemics blaze with provocative, inflammatory rhetoric. Nietzsche's "grand declaration of war," Twilight of the Idol s examines what we worship and why. Intended by the author as a general introduction to his philosophy, it assails "idols" of Western philosophy and culture (Socratic rationality and Christian morality among them) and sets the scene for The Antichrist . In addition to its full-scale attack on Christianity and Jesus Christ, (...) The Antichrist denounces organized religion as a whole. Students of philosophy, history, and German literature will find both works essential reading. (shrink)

Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness, Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and desire, (...) and to show that the values of art, independently of their moral worth, are equally crucial to the rest of life.Nehamas makes his case with characteristic grace, sensitivity, and philosophical depth, supporting his arguments with searching studies of art and literature, high and low, from Thomas Mann's Death in Venice and Manet's Olympia to television. Throughout, the discussion of artworks is generously illustrated.Beauty, Nehamas concludes, may depend on appearance, but this does not make it superficial. The perception of beauty manifests a hope that life would be better if the object of beauty were part of it. This hope can shape and direct our lives for better or worse. We may discover misery in pursuit of beauty, or find that beauty offers no more than a tantalizing promise of happiness. But if beauty is always dangerous, it is also a pressing human concern that we must seek to understand, and not suppress. (shrink)

This is the first comparative study of Nietzsche's Birth of Tragedy and Schiller's Aesthetic Letters, two crucial texts in aesthetic and cultural theory. Martin's scrupulous examination and comparison reveals the common ground shared by the two writers, who are usually regarded as being poles apart. In addition, Martin shows how this common ground mutually illuminates both texts.

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...) introduction to the work; the only English edition notes to the many differences between the first (1790) and second (1793) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this new edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)

Nietzsche's aims and targets -- Reading Nietzsche's preface -- Naturalism and genealogy -- Selflessness : the struggle with Schopenhauer -- Nietzsche and Paul Rée on the origins of moral feelings -- Good and evil : affect, artistry, and revaluation -- Free will, autonomy, and the sovereign individual -- Guilt, bad conscience, and self-punishment -- Will to power in the Genealogy -- Nietzsche's illustration of the art of exegesis -- Disinterestedness and objectivity -- Perspectival knowing and the affects -- The ascetic (...) ideal, meaning, and truth -- Beyond selflessness. (shrink)

British writers of the eighteenth century such as Shaftesbury and Hutcheson are widely thought to have used the notion of disinterestedness to distinguish an aesthetic mode of perception from all other kinds. This historical view originates in the work of Jerome Stolnitz. Through a re-examination of the texts cited by Stolnitz, I argue that none of the writers in question possessed the notion of disinterestedness that has been used in later aesthetic theory, but only the ordinary, non-technical concept, and that (...) they did not use this notion to define a specifically aesthetic mode of perception or a specifically aesthetic mode of anything else. The nearest thing that they had to the Stolnitzian conception of “the aesthetic” was their conception of taste, which differs from the former in some essential respects. (shrink)