Neo-Aristotelian virtue ethics applied to work and business theory have received increasing attention due to Alasdair MacIntyre's philosophy. At the same time, this approach has been accused of being inapplicable, a romantic nostalgia for an ideal world far from the reality of today's markets. Moreover, the more this theory evolves, the bigger the gap seems to become, as if good work were at odds with its economic dimension. This paper aims to address this gap by explaining how MacIntyre's neo-Aristotelianism conceives (...) of the economic dimension of good work. In particular, we claim that it is consistent with MacIntyre's philosophy that said economic dimension of work can be defined in terms of excellence and virtue, particularly in accordance with the virtues of justice and unity of life. However, for these virtues of good work to be practicable, a reconsideration of market practices performed under the logic of giving and receiving is needed. Hence, defining and sustaining an economic dimension of good work in MacIntyre also depend on the possibility of market practices being defined as excellent. (shrink)

Neo‐Aristotelian virtue ethics applied to work and business theory have received increasing attention due to Alasdair MacIntyre's philosophy. At the same time, this approach has been accused of being inapplicable, a romantic nostalgia for an ideal world far from the reality of today's markets. Moreover, the more this theory evolves, the bigger the gap seems to become, as if good work were at odds with its economic dimension. This paper aims to address this gap by explaining how MacIntyre's neo‐Aristotelianism conceives (...) of the economic dimension of good work. In particular, we claim that it is consistent with MacIntyre's philosophy that said economic dimension of work can be defined in terms of excellence and virtue, particularly in accordance with the virtues of justice and unity of life. However, for these virtues of good work to be practicable, a reconsideration of market practices performed under the logic of giving and receiving is needed. Hence, defining and sustaining an economic dimension of good work in MacIntyre also depend on the possibility of market practices being defined as excellent. (shrink)

Professor Behler provides a view of the literary work and the artistic process developed in the German Romantic period.

Scholars are finally fully appreciating the philosophical significance of early German Romanticism. Brill’s Companion to German Romantic Philosophy is a collection of original essays showcasing not only the philosophical achievements of romantic writers such as Schlegel and Novalis, but the sophistication, relevance, and influence of romanticism today.

The following dissertation shows how German Literature negotiates the relationship between language and the visual arts, particularly in Romantic narratives. In contrast with authors of the Enlightenment, the Romantics tend to deny specificity to visual experience and in so doing dedifferentiate visual experience from the textual. ;The initial, methodological, chapter explicates perceptual models informed by the interplay of the philosophical approaches of Kant and Wittgenstein with the psychoanalytic discourse of Freud. In Chapter Two, I turn to Lessing's Laokoon (...) Uder uber die Grenzen der Malerei und Poesie , in which he divides the arts into pictoral and linguistic signs. While the boundary between the two appears quite clear in Laokoon, his play Emilia Galotti reveals Lessing's anxiety that the difference cannot be so easily maintained. ;The subsequent chapter explores the representation of the visual arts in Tieck's Franz Sternbalds Wanderungen . After a discussion of Wackenroder's Herzensergiessungen eines kunstliebenden Klosterbruders , 1 turn to Tieck's novel about a young student of Albrecht Durer. The novel responds to the ostensible binary between language and the visual arts by transmuting the distinction into one between readable landscape paintings and phantasmatic images that guide the protagonist. ;As another example of this Romantic viewpoint, I analyze Brentano's Godwi oder das steinerne Bild der Mutter . Here I use the distinction between symbol and allegory to point out the ways in which the text turns the difference between the arts into one between rhetorical figures. A similar manifestation of the problem occurs in Eichendorff's Das Marmorbild , discussed in Chapter Five. The novella follows the same lines as Lessing's Laokoon, thematizing the materiality of its eponymous marble statue. My final chapter concerns Kleist's model of visual perception, which is closely bound to his theology in his tales "Die heilige Cacilie" and "Der Findling" . ;Writing Images interprets the role of visuality in German Romantic literature in order to understand an unresolved problematic of late eighteenth and early nineteenth-century thought for those who would too quickly either differentiate between or conflate the visual and the written. (shrink)

Schiller’s importance for the Romantic generation is discussed in relation to three writers and thinkers whose work arose in close connection—and by no means always consonance—with Schiller’s thought. The authors discussed—Friedrich Hölderlin, Heinrich von Kleist, and Johann Wolfgang Goethe—were writers of a broadly Romantic disposition who, nevertheless, often stood apart from the Romantic mainstream. Of the three, Hölderlin and Kleist give prominence to philosophical concerns, absorbing key influences from Kant as well as Schiller. Goethe, by contrast, drew writerly influences from (...) Schiller rather than philosophical ones, though it is also true that his acceptance of a philosophical objection Schiller had raised brought about the literary experiment that was to achieve fabled significance in German letters under the heading of Weimar Classicism. (shrink)

Scholars are finally fully appreciating the philosophical significance of early German Romanticism. _Brill’s Companion to German Romantic Philosophy_ is a collection of original essays showcasing not only the philosophical achievements of romantic writers such as Schlegel and Novalis, but the sophistication, relevance, and influence of romanticism today.

Around 1800, print culture became a particularly rich source for metaphors about thinking as well as writing, nowhere more so than in the German tradition of _Dichter und Denker_. Goethe, Jean Paul, and Hegel used the _preface_ in order to reflect on the problems of writing itself, and its interpretation. If Sterne teaches us that a material book enables mind games as much as it gives expression to them, the Germans made these games more theoretical still. Weaving in authors (...) from Antiquity to Agamben, Williams shows how European–and, above all, German–Romanticism was a watershed in the history of the preface. The playful, paradoxical strategies that Romantic writers invented are later played out in continental philosophy, and in post-Structuralist literature. The preface is a prompt for playful thinking with texts, as much as it is conventionally the prosaic product of such an exercise. (shrink)

Issue number 4 of "SYMPHILOSOPHIE: International Journal of Philosophical Romanticism" is devoted to the Dutch philosopher François Hemsterhuis and 250th anniversary of the birth of the German romantics Novalis and Friedrich Schlegel. This fourth issue of the journal contains nearly 600 pages of new research articles, translations, review-essays, and book reviews. The main section on Hemsterhuis among the German Romantics was guest edited by Daniel Whistler (Royal Holloway, University of London).

The absolute was one of the most significant philosophical concepts in the early nineteenth century, particularly for the German romantics. Its exact meaning and its role within philosophical romanticism remain, however, a highly contested topic among contemporary scholars. In The Romantic Absolute, I offer a new assessment of the romantics and their understanding of the absolute, filling an important gap in the history of philosophy, especially with respect to the crucial period between Kant and Hegel.

Since the early 1990s, there has been a resurgence of interest in philosophy between “Kant and Hegel,” and in early German romanticism in particular. Philosophers have come to recognize that, in spite of significant differences between the contemporary and romantic contexts, romanticism continues to “persist,” and the questions which the Romantics raised remain relevant today. The Relevance of Romanticism: Essays on Early German Romantic Philosophy is the first collection of essays that offers an in-depth analysis of the (...) reasons why philosophers are (and should be) concerned with romanticism. Through historical and systematic reconstructions, the collection offers a deeper understanding and more encompassing picture of romanticism as a philosophical movement than has been presented thus far, and explicates the role that romanticism plays—or can play—in contemporary philosophical debates. (shrink)

Recent interest in early German Romantic philosophy can be linked to other approaches, such as that of John Dewey, which are critical of the dominant direction of modern philosophy. The Romantics rethink the relationship between philosophy and art as a way of questioning modern philosophy’s focus on epistemology and scepticism that leads to a lack of attention to the diverse other ways in which human beings make sense of things.

SummaryIn his doctoral dissertation—The Concept of Criticism in German Romanticism, finished in 1919 and published as a book in 1920—Walter Benjamin explores the epistemological and aesthetic foundations of the concept of criticism expounded by the early German Romantics Friedrich Schlegel and Novalis. Many of the themes in the dissertation recur in his later work, which has led scholars to believe that much of Benjamin's thought is directly influenced by the Romantics. However, a detailed investigation of the (...) origins and development of the dissertation reveals that the picture is much more complicated. Reading the dissertation alongside the biographical material now available, this article argues that the major themes which preoccupy Benjamin in The Concept of Criticism in German Romanticism, including his theories of language and knowledge as well as his messianic philosophy of history, in fact predate his study of the Romantics. As well as being a potential entry ticket to an academic career, the dissertation constitutes Benjamin's first sustained attempt to develop and consolidate his own epistemology and aesthetics in a more or less systematic way. He does so through a series of ‘judicious interpretations’ of the Romantics, whose work he reads selectively, anachronistically and creatively to provide a vehicle for his own thought. (shrink)

An article publicising the philosophical contributions of German writer Karoline von Günderrode (1780–1806).

Previous chapter In German-speaking countries the rhythm became between 1785 and the very first years of 19th century, an explicit theme of philological, poetic and philosophical investigation. This is the second starting point in Modern Times of rhythm as rhuthmos, i.e. as “way of flowing”, the second time Platonic traditional definition was opposed by a re-actualized Heraclitean characterization. From Numerus to Rhythm in Poetry Clémence Couturier-Heinrich published in 2004 a - Sur le concept de rythme – Nouvel article.

Students of Kierkegaard are familiar with his dogged polemic against Hegelianism, his critique of Friedrich von Schlegel's Romantic irony, and his visit to Schelling's lectures in Berlin. However, these are only a few well-known examples of a deep relationship that Kierkegaard had with German culture. In Faust, Romantic Irony, and System, Jon Stewart maps out the many ways in which German thinkers and writers inspired and influenced the Danish philosopher. Kierkegaard's famous criticisms of the Hegelians, Schlegel, and Schelling (...) has led many to view him as anti-German. As Stewart shows, however, he offered high praise for other German thinkers, including Johann Georg Hamann, Gotthold Lessing, and Friedrich Adolf Trendelenburg. Stewart traces the many points of contact between Kierkegaard and a range of German thinkers, and ultimately he argues convincingly that were it not for the influence of German culture, Kierkegaard would have been a very different, and less lasting, philosopher. (shrink)

The Romantic Absolute does a spectacular job of reconstructing the main philosophical position of three very difficult figures. The more we know of Romanticism as a movement, the more questions we seem to have, and the more important it seems to be, both to the history of philosophy and to the philosophical questions that concern us today. Nassar’s book represents an important contribution to our understanding of Early German Romanticism and will undoubtedly become an important resource for anyone considering (...) the movement. (shrink)

This 2002 volume brings together major works by German thinkers, writing just prior to and after Kant, who were enormously influential in this crucial period of aesthetics. These texts include the first translation into English of Schiller's Kallias Letters and Moritz's On the Artistic Imitation of the Beautiful, together with translations of some of Hölderlin's most important theoretical writings and works by Hamann, Lessing, Novalis and Schlegel. In a philosophical introduction J. M. Bernstein traces the development of aesthetics from (...) its still rationalist and mimetic construction in Lessing, through the optimistic construal of art and/or beauty as the appearance of human freedom in the work of Schiller, to Hölderlin's darker vision of art as the memory of a lost unity, and the variations of that theme - of an impossible striving after the lost ideal - which are found in the work of Schlegel and Novalis. (shrink)

This 2002 volume brings together major works by German thinkers, writing just prior to and after Kant, who were enormously influential in this crucial period of aesthetics. These texts include the first translation into English of Schiller's Kallias Letters and Moritz's On the Artistic Imitation of the Beautiful, together with translations of some of Hölderlin's most important theoretical writings and works by Hamann, Lessing, Novalis and Schlegel. In a philosophical introduction J. M. Bernstein traces the development of aesthetics from (...) its still rationalist and mimetic construction in Lessing, through the optimistic construal of art and/or beauty as the appearance of human freedom in the work of Schiller, to Hölderlin's darker vision of art as the memory of a lost unity, and the variations of that theme - of an impossible striving after the lost ideal - which are found in the work of Schlegel and Novalis. (shrink)

In Beyond Enchantment, Mark Kipperman attempts to define the dialectic in philosophical idealism between the actively creative mind and the horizon of the world. Through an analysis of the texts of Kant, Fichte, and Schelling and then an examination of works by Coleridge, Shelley, and Byron, he shows that this dialectic operates not only explicitly in philosophical texts but also implicitly in the structure of Romantic long poems.

"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)