This edited collection of original essays explores the irreducible role of aesthetic forms of experience and activity in the philosophies of Walter Benjamin and Theodor W. Adorno.

This essay argues for the philosophical standing of Walter Benjamin’s early work and posits a deeper continuity between this early work as a philosopher and the subsequent development of his work as a writer. When these fragments are read in proper relation to each other, they reveal for the first time many of the key innovations of Benjamin as a philosopher, as well as his points of influence on Horkheimer and Adorno. His early ‘Program’ critiques the Enlightenment conception of experience (...) as a means for gaining empirical knowledge, and announces the need for a new concept of experience. Benjamin follows through on this program with a method of philosophical enquiry that is by turns fragmentary and constellational, developing a series of provisional notions of experience, which form a constellation with one another: perception, mimesis, language as a medium of experience, observation and memory. (shrink)

The critique of mechanism in the political philosophy of Herder and German romanticism -- The political function of machine metaphors in Hegel's early writings -- Mechanism in religious practice -- The mechanization of labor and the birth of modern ethicality in Hegel's Jena political writings -- Mechanism and the problem of self-determination in Hegel's logic -- The modern state as absolute mechanism : Hegel's logical insight into the relation of civil society and the state.

The thought of G. W. F. Hegel has had a deep and lasting influence on a wide range of philosophical, political, religious, aesthetic, cultural and scientific movements. But, despite the far-reaching importance of Hegel's thought, there is often a great deal of confusion about what he actually said or believed. This is an invaluable introduction for philosophical beginners and a useful reference source for more advanced scholars and researchers.

This collection features original essays that examine Walter Benjamin¿s and Theodor Adorno¿s essays and correspondence on literature. Taken together, the essays present the view that these two monumental figures of 20th-century philosophy were not simply philosophers who wrote about literature, but that they developed their philosophies in and through their encounters with literature. Benjamin, Adorno, and the Experience of Literature is divided into three thematic sections. The first section contains essays that directly demonstrate the ways in which literature enriched the (...) thinking of Benjamin and Adorno. It explores themes that are recognized to be central to their thinking¿mimesis, the critique of historical progress, and the loss and recovery of experience¿through their readings of literary authors such as Baudelaire, Beckett, and Proust. The second section continues the trajectory of the first by bringing together four essays on Benjamin¿s and Adorno¿s reading of Kafka, whose work helped them develop a distinctive critique of and response to capitalism. The third and final section focuses more intently on the question of what it means to gain authentically critical insight into a literary work. The essays examine Benjamin¿s response to specific figures, including Georg B¿chner, Robert Walser, and Julien Green, whose work he sees as neglected, undigested, or misunderstood. This book offers a unique examination of two pivotal 20th-century philosophers through the lens of their shared experiences with literature. It will appeal to a wide range of scholars across philosophy, literature, and German studies. (shrink)

The founder of early German Romantic philosophy, Friedrich Schlegel, is a pivotal figure in the history of philosophy because of the way that he establishes many of the themes by which nineteenth-century continental thought separates itself from Kant. Yet our view of his depth and originality as a thinker has often been distorted by his proximity to Hegel, who propounded a highly polemical and reductive reading of Schlegel. One of the ways in which our view of Schlegel is distorted by (...) Hegel's reading is our association of Schlegel with the stance of irony. While Schlegel considered irony as merely one of several fruitful ways to rethink the relation of the subject to the absolute, Hegel used a reductive reading of... (shrink)

_On Mechanism in Hegel's Social and Political Philosophy_ examines the role of the concept of mechanism in Hegel’s thinking about political and social institutions. It counters as overly simplistic the notion that Hegel has an ‘organic concept of society’. It examines the thought of Hegel’s peers and predecessors who critique modern political intuitions as ‘machine-like’, focusing on J.G. Herder, Friedrich Schlegel and Novalis. From here it examines the early writings of Hegel, in which Hegel makes a break with the Romantic (...) way of thinking about ethical community. Ross argues that in this period, Hegel devises a new way of thinking about the integration of mechanistic and organic features within an organizational whole. This allows Hegel to offer an innovative theory of modern civil society as a component in ethical life. The second half of the book examines how Hegel develops this thought in his later works. It offers an in depth commentary on the chapter on mechanism in the Science of Logic, and it demonstrates the role of these thoughts in Hegel’s Philosophy of Right. _On Mechanism in Hegel's Social and Political Philosophy_ offers a critical response to debates over communitarianism by arguing against one of the central figures used by scholars to associate Hegel with communitarian thought, namely the notion that society is organic. In addition, it argues that Hegel political theory is deeply informed by his formal ontology, as developed in the Science of Logic. (shrink)

This paper argues that the central notion of truth content in Adorno’s Aesthetic Theory is to be understood through the way that art provides a mimesis of false consciousness. The paper is divided into three main parts: in the first part, I examine Adorno’s distinction between discursive truth and aesthetic truth. The latter rests on a theory of non-objectifying synthesis. The second part of the paper shows how art can be understood as a form of mimesis, thus distinguishing it from (...) the ontology of representation. I argue that while there are many forms of mimesis, Adorno gives specific significance to the way in which modern art imitates social rationality. In the final section, I argue that art can be true by imitating ‘false consciousness’ and thus transforming it. I explain Adorno’s notion of false consciousness through four features: there is a rigid bifurcation of enjoyment from work, there is a sadistic enjoyment of violence, there is a lack of cognitive tension between intuition and concept, and there is a false projection of one’s own desires onto others. (shrink)

This paper examines the relation of Schiller’s Letters on Aesthetic Education to Gadamer’s philosophical hermeneutics, particularly by examining the connection between the concepts of “play” and “appearance” in Schiller’s thought. The paper points out parallels between the two thinkers which remain unacknowledged in Gadamer’s critique of Schiller. The first main section of the paper examines the notion of play in Schiller, pointing out that Schiller conceives of play in a medial voice, much as Gadamer does. The second section directly takes (...) on Gadamer’s claim that Schiller’s notion of aesthetic appearance sunders art from truth, by arguing that Schiller conceives of appearance as a mode of truth. (shrink)

This essay interprets Hölderlin’s prose fragment On Religion as an extension of and response to The Oldest System Program of German Idealism. After a brief discussion of the historical reasons for considering these fragments in this relation, I argue that On Religion demonstrates Hölderlin’s sympathy to the goals of the System Program, but that it also provides a more satisfactory account of how Hölderlin planned to make good on the goals presented in the System Program. I argue that On Religion (...) develops a conception of freedom that can only be ‘grounded’ through mythic, poetic discourse. I then explore the political implications of this point and claim that On Religion considers the creation of mythology as a public, communal event, in which the poet plays the role of giving measure and form, but not content, to the creation of mythology. (shrink)

This book develops a philosophy of aesthetic experience through two socially significant philosophical movements: early German Romanticism and early critical theory. In examining the relationship between these two closely intertwined movements, we see that aesthetic experience is not merely a passive response to art-it is the capacity to cultivate true personal autonomy, and to critique the social and political context of our lives. Art is political for these thinkers, not only when it paints a picture of society, but even more (...) when it makes us aware of our deeply ingrained forms of experience in a transformative way. Ultimately, the book argues that we have to think of art as a form of truth that is not reducible to communicative rationality or scientific knowledge, and from which philosophy and politics can learn valuable lessons. (shrink)

This book provides a study of Walter Benjamin's first philosophy in two senses: it focuses on his early philosophy as a source of insight into his later works, and it explores his thinking about the nature of truth, method, experience, the relation of body and mind, and the limits of human knowledge. While most attention is paid to Benjamin's later works, his writings from roughly 1914-1925 explore philosophical themes and develop a critical method. This book argues that this early work (...) founds a series of original and lasting questions and insights. Benjamin understands experience as a broken continuum of diverse forms of spiritual expression, each of which is ephemeral. This leads Benjamin to a series of thought figures: the notion of language as a medium of experience; a philosophy of perception based in the natural history of the human body; an emphasis on mimesis as a faculty of creative assimilation; and a discovery of memory as a power for excavation of meaning in past experience. This book demonstrates that the need for a new understanding of the metaphysical structure of experience, as well as a new conception of truth, play a special role in shaping Benjamin's subsequent work. Walter Benjamin's First Philosophy will be of interest to scholars and advanced students working on the thought of Walter Benjamin, 20th-century Continental philosophy, comparative literature, and modern German thought. (shrink)

This essay examines the concept of criticism in the early works of Walter Benjamin. Critique is for Benjamin an attitude toward objectivity that treats it as a medium of reflection, and embodies a politics of ‘sobriety.’ This critical posture provides the early Benjamin with an original method of critiquing capitalism as a form of religion. Capitalist religion is characterized by the proliferation of ‘debt’ that robs the subject of the capacity for critical experience. Art critique and the critique of capitalism (...) are two valences of the concept of critique: positive critique, and negative critique. (shrink)