Andrew Bowie's book is the first introduction in English to present F W J Schelling as a major European philospher in his own right. _Schelling and Modern European Philosophy_, surveys the whole of Schelling's philosophical career, lucidly reconstructing his key arguments, particularly those against Hegel, and relating them to contemporary philosophical discussion. Dr Bowie traces how central ideas and conceptual strategies in the work of philosophers as diverse as Nietzsche, Heidegger, Derrida and Davidson relate closely to Schelling's often misunderstood philosophy (...) and focuses on Schelling's work as an alternative to, and critique of aspects of Hegel's thinking. (shrink)
This new, completely revised and re-written edition of Aesthetics and subjectivity brings up to date the original book's account of the path of German philosophy from Kant, via Fichte and Holderlin, the early Romantis, Schelling, Hegel, Schleimacher, to Nietzsche, in view of recent historical research and contemporary arguments in philosophy and theory in the humanities.
Theodor Adorno’s reputation as a cultural critic has been well-established for some time, but his status as a philosopher remains unclear. In _Adorno and the Ends of Philosophy_ Andrew Bowie seeks to establish what Adorno can contribute to philosophy today. Adorno’s published texts are notably difficult and have tended to hinder his reception by a broad philosophical audience. His main influence as a philosopher when he was alive was, though, often based on his very lucid public lectures. Drawing on these (...) lectures, both published and unpublished, Bowie argues that important recent interpretations of Hegel, and related developments in pragmatism, echo key ideas in Adorno’s thought. At the same time, Adorno’s insistence that philosophy should make the Holocaust central to the assessment of modern rationality suggests ways in which these approaches should be complemented by his preparedness to confront some of the most disturbing aspects of modern history. What emerges is a remarkably clear and engaging re-interpretation of Adorno’s thought, as well as an illuminating and original review of the state of contemporary philosophy. _Adorno and the Ends of Philosophy_ will be indispensable to students of Adorno’s work at all levels. This compelling book is also set to ignite debate surrounding the reception of Adorno’s philosophy and bring him into the mainstream of philosophical debate at a time when the divisions between analytical and European philosophy are increasingly breaking down. (shrink)
_From Romanticism to Critical Theory_ explores the philosophical origins of literary theory via the tradition of German philosophy that began with the Romantic reaction to Kant. It traces the continuation of the Romantic tradition of Novalis, Friedrich Schlegel and Schleiermacher, in Heidegger's approaches to art and thruth, and in the Critical Theory of Benjamin and Adorno. Andrew Bowie argues, against many current assumptions, that the key aspect of literary theory is not the demonstration of how meaning can be deconstructed, but (...) rather the relevation of how questions of language and literature change modern philosophical conceptions of thruth. He shows how the dialogue between literary theory, hermeneutics and analytical philosophy can profit from a re-examination of the understanding of language, thruth and literature in modern German philosophy. _From Romanticism to Critical Theory_ will provide a vital new introduction to central theoretical questions for students of philosophy, literature, German studies, cultural and social theory. (shrink)
_Introduction to German Philosophy_ is the only book in English to provide a comprehensive account of the key ideas and arguments of modern German philosophy from Kant to the present. the first book in English to provide a comprehensive account of the key ideas and arguments of modern German philosophy from Kant to the present. offers an accessible introduction to the work, among others, of Kant, Fichte, the Romantics, Hegel, Marx, Nietzsche, Wittgenstein, the Vienna Circle, Husserl, Heidegger, Benjamin, Adorno, Gadamer, (...) and Habermas. considers how German philosophy reacts to revolutionary changes in modern science, society, and culture; ideal for anyone wanting to know more about the role of the German tradition within philosophy and literature as a whole. (shrink)
Modern philosophers generally assume that music is a problem to which philosophy ought to offer an answer. Andrew Bowie’s Music, Philosophy, and Modernity suggests, in contrast, that music might offer ways of responding to some central questions in modern philosophy. Bowie looks at key philosophical approaches to music ranging from Kant, through the German Romantics and Wagner, to Wittgenstein, Heidegger and Adorno. He uses music to re-examine many current ideas about language, subjectivity, metaphysics, truth, and ethics, and he suggests that (...) music can show how the predominant images of language, communication, and meaning in contemporary philosophy may be lacking in essential ways. His book will be of interest to philosophers, musicologists, and all who are interested in the relation between music and philosophy. (shrink)
In the light of the remarkable changes of political colour which Aeschylus has undergone in the hands of scholars, there is a certain amusing irony about the fact that the satyr-play which followed the Oresteia was the Proteus. Sadly, we know too little of the Proteus to say whether it would have resolved this debate about the Oresteid's political stance, though one may have one's doubts.
T. W. Adorno's philosophy of music aims to show that music is a source of important insights into the nature of modern society. This position leads, though, to a series of methodological difficulties, some of which can be alleviated by using resources from Heidegger's hermeneutics. The essay takes the key notion of `judgementless synthesis' from Adorno's unfinished book on Beethoven and connects it to Heidegger's account of pre-propositional under-standing and to Kant's notion of schematism. This connection is shown to have (...) consequences for how we conceive of both the meaning of music and meaning in more general terms, especially with regard to analytical philosophy. The essay argues that, despite its many important insights, Adorno's account of the meaning of music in modernity depends too much on his analogy between Hegel's claim to achieve the final philosophy and Beethoven's establishment of new forms of integration for musical material. (shrink)
In this article, an introduction to a proposed more comprehensive treatment of the subject, I wish to discuss the contribution that the parabasis makes to the understanding and interpretation of Aristophanes’ comedies. The study of this part of the plays has in the past concentrated upon two main areas: firstly, its role in the development of comedy, including questions about its original position in the dramatic structure and its relationship to other elements such as the parodos and agon; and secondly, (...) its role as the repository of Aristophanes’ personal views.1 I shall touch but incidentally on the first of these, though my argument will have some bearing on it; to the second I shall return at the end. My aim is to consider an aspect of the parabasis that has not so much been neglected as dismissed as non-existent: the relation between the contents of the parabasis and those of the rest of the play. It is generally agreed that the parabasis deals with matters that are irrelevant to the dramatic action, but I wish to argue that it has a significant role as the focus of the most important themes in the play: far from breaking up the unity of the play, the parabasis provides indications as to where that unity is to be found, besides giving hints about the meaning of the play and the nature of Aristophanic comedy generally.2. (shrink)
In his Notes on Philosophy , which he began writing in 1796, Friedrich Schlegel asserts that ‘The fact that one person understands the other is philosophically incomprehensible, but it is certainly magical.’ In the interim a large amount of philosophical effort has been expended on trying to refute Schlegel's first claim. The fact is, though, that what Michael Dummett calls a ‘fullblooded theory of meaning’ is now looking less and less like a really feasible philosophical enterprise, so Schlegel may have (...) actually been right. Dummett maintains that a ‘full-blooded theory of meaning’ ‘must give an explicit account, not only of what anyone must know in order to know the meaning of any given expression, but of what constitutes having such knowledge’. However, as I shall try to show via aspects of the hermeneutic tradition, it is precisely this way of talking about meaning and understanding that renders them incomprehensible. The differences between approaching the issue of understanding from the hermeneutic tradition and approaching it from the analytical tradition can, I want to suggest, tell us something important about the state of philosophy today. My aim is eventually to suggest that we need to understand the analytical version of the ‘linguistic turn’ in modern philosophy as a perhaps rather questionable aspect of a much more important ‘hermeneutic turn’, whose implications are now becoming apparent in more and more diverse areas of contemporary philosophy. (shrink)
The notion of the 'philosophy of x', which has recently tended to become part of many subjects, from music to management, tends to obscure a range of important issues. The idea behind it seems to be that, by designating one's reflections on a subject as the ‘philosophy’ of whatever it is one is reflecting about, one achieves some kind of higher insight. Such an approach arguably grants too much to a subject whose main manifestation is actually endless disagreement on fundamental (...) issues. In the light of this less flattering view of philosophy I want to suggest that we may sometimes achieve more by thinking of some of our practices, particularly in the aesthetic domain, as manifestations of what philosophy might become, rather than just thinking of those practices as objects of philosophical analysis. (shrink)
In his essay On the History of Religion and Philosophy in Germany, of 1834, Heinrich Heine suggested to his French audience that the German propensity for ‘metaphysical abstractions’ had led many people to condemn philosophy for its failure to have a practical effect, Germany having only had its revolution in thought, while France had its in reality. Heine, albeit somewhat ironically, refuses to join those who condemn philosophy: ‘German philosophy is an important matter, which concerns the whole of humanity, and (...) only the last grandchildren will be able to judge whether we should be blamed or praised for working out our philosophy before our revolution.’ He then makes the following prognosis: the German revolution will not be more mild and more gentle because it was preceded by Kantian critique, Fichtean transcendental idealism and even philosophy of nature. Revolutionary forces have developed via these doctrines which are just waiting for the day when they can break out and fill the world with horror and admiration. … Don't smile at my advice, the advice of a dreamer who warns you about Kantians, Fichteans and philosophers of nature. Don't smile at the fantast who expects the same revolution in the realm of appearance as took place in the realm of spirit. … A play will be performed in Germany in comparison with which the French Revolution could appear just as a harmless idyll. (shrink)
he true relation between these scenes and historic fact is more mysterious and less simple. The metamorphosis takes place on a higher plane. Historic events and the poet's inner experience are stripped of everything accidental and actual. They are removed from time and transported into the large and distant land of Myth. There, on a higher plane of life, they are developed in symbolic and poetic shapes having a right to an existence of their own. The fact, therefore, that the (...) subjection of the storm is described in a simile for a moment highlighting a very important sphere of the poem is more decisive than a possible allusion to the younger Cato. (shrink)
On the History of Modern Philosophy is a key transitional text in the history of European philosophy. In it, F. W. J. Schelling surveys philosophy from Descartes to German Idealism and shows why the Idealist project is ultimately doomed to failure. The lectures trace the path of philosophy from Descartes through Spinoza, Leibniz, Kant, Fichte, Jacobi, to Hegel and Schelling's own work. The extensive critiques of Hegel prefigure many of the arguments to be found in Feuerbach, Kierkegaard, Marx, Nietzsche, Heidegger, (...) and Derrida. This is the first English translation of On the History of Modern Philosophy. In his introduction Andrew Bowie sets the work in the context of Schelling's career and clarifies its philosophical issues. The translation will be of special interest to philosophers, intellectual historians, literary theorists, and theologians. (shrink)
The founding text of modern hermeneutics. Written by the philosopher and theologian Friedrich Schleiermacher as a method for the interpretation and textual criticism of the New Testament, it develops ideas about language and the interpretation of texts that are in many respects still unsurpassed and are becoming current in the contemporary philosophy of language. Contrary to the traditional view of Schleiermacher as a theorist of empathetic interpretation, in this text he offers a view of understanding that acknowledges both the structurally (...) and historically determined aspects of language and the need to take account of the activity of the individual subject in the constitution of meaning. This volume offers the text in a new translation by Andrew Bowie, together with related writings on secular hermeneutics and on language, and an introduction that places the texts in the context of Schleiermacher's philosophy as a whole. (shrink)
Schleiermacher rarely features in the now widespread discussion of the relevance of the German Idealist and Romantic traditions for contemporary philosophy because he has mainly been regarded as a theologian and theorist of textual interpretation. This essay shows that his most important philosophical work, the Dialectic, involves many ideas concerning truth and language which are generally regarded as belonging to what Habermas terms 'post-metaphysical thinking'. Schleiermacher's views of truth and language are contrasted with those of Habermas and Rorty, and are (...) seen as being of more than merely historical interest. His reflections on self-consciousness are shown to raise important questions for contemporary accounts of the relationship of the subject to language. (shrink)