1. Be it in science, in religion or in art, there is no higher revelation than that of the divinity of the All, and in fact those three start from this revelation and have significance only through it.

In his early writings up unto his so-called “middle period” Schelling treats art as having a crucial role with respect to philosophy. Yet there is no consensus in the secondary literature as to the nature of this role, and the extent to which Schelling changed his mind on the subject. The paper will defend the claim that Schelling holds consistently, from his early texts to the Philosophy of Art, that philosophy is in some sense prior to art (...) while essentially dependent on it. The paper will explore the development of this position from various perspectives. This will shed light on Schelling’s view on both art and philosophy and his view that in the future the two will merge. (shrink)

IN HIS System des transzendentalen Idealismus, Schelling describes the philosophy of art as the “key stone” of the entire “arch” of the system. The purpose of the following essay is to explore why this is so, why Schelling’s idea of philosophy led him to take up the question of “art” not only as philosophically interesting, but as the key to understanding his system as a whole.

The short cover-description of the present book tells that "Friedrich Wilhelm Joseph Schelling (1775-1854) was one of the formative philosophers of German idealism, whose great service was in the areas of the philosophy of nature, art, and religion." Those having some familiarity with Schelling, and his influence on American philosophy, indirectly via Coleridge and Carlyle and more directly via Emerson and C. S. Peirce, will perhaps not be surprised to learn that German idealism itself looks somewhat different, understanding (...) Schelling's differences with Kant, Fichte, and Hegel; and while the work under review shows no awareness of the distant American influence of Schelling, or American developments in general (except perhaps in some citations of Arthur Lovejoy's The Great Chain of Being), I will take the present opportunity to emphasize connections and possible connections to American philosophy, as allowed by the author's account of Schelling and some further citations. (shrink)

This article unfolds Schelling’s idea that artwork allows for infinite interpretations and condenses into an infinite meaning. This claim has been investigated by the double act of potentiation that occurs, in parallel ways, both in the artwork and in Nature writ large, as well as in the artist’s body. The questions of form, formation, and individuation in Nature are addressed along with the role of the expansive productive intuition in the body of the artist. Nature in Schelling’s thought (...) consists in a self-generative artistic creativity and the primordial spring for the dynamics of the cosmic and the human poiesis. In this context, the act of Potenzierung provides a powerful insight into the “leap of art-making.”. (shrink)

BOOK REVIEWS 149 cannot be denied: volumes 2o-2 3 are, in their present form, less than perfect. There- fore, it would be very good if they could be revised. Stark makes a convincing case for this. Yet, it would be a mistake if one were to see the significance of his Nachforschungen just in this negative result. It may ultimately be important for the positive contributions it makes to a better understanding of Kant's extant manuscript materials. It does indeed go (...) some way towards supplying some of the materials that Adickes meant to supply, and it thus represents indeed a first step towards a better edition of Kant's works. I do not see any reasons that would speak against a revised edition of the Academy edition as a whole. MANFRED KUEHN Purdue University Andrew Bowie. ScheUing and Modern European Philosophy: An Introduction. London and New York: Routledge Press, 1993. Pp x + 21 i. Cloth, $65.oo. Paper, $16.95. Andrew Bowie devotes much of his instructive and well-researched text, as the title promises, to locating Schelling on the map of contemporary theory and simultaneously questioning the relevance of that map. Bowie situates Schelling historically within the context of the pantheism debate and his relationship with Fichte . He explores, in detail, questions of Schelling's natural philosophy, makes a brief excursion into Schelling's philosophy of art, looks closely at his identity philosophy and finally at his response to.. (shrink)

My article utilizes the insights of F. W. J. Schelling’s work on aesthetics to explain the unique appeal of cave painting for people of the Upper Paleolithic,focusing mostly on the caves of Chauvet and Lascaux. Schelling argues that the unique value of artistic practices comes in the way they reconcile agents withtheir deepest ontological contradictions, namely, the tension between biological necessity and human freedom. I argue that the cave paintings of Chauvet andLascaux fit well with Schelling’s approach (...) and his insight that art seeks to reveal the contradictory capacities of self-conscious beings in a state of fundamentalattunement rather than in discordance and disharmony. My contention is that in taking this approach, whereby aesthetic practices engender an intuition of theabsolute identity between nature and mind, we can better explain why the practice of cave painting endured for over twenty-thousand years as one common styleof artistic practice. (shrink)

This essay provides an overview of the philosophical aesthetics of Hegel and Schelling. Hegel and Schelling understand art to be a central human activity, one that models, rivals, or even supersedes the accomplishments of philosophy. This exalted status attributed to art rests upon a novel conception of art as a distinctive metaphysical and cognitive achievement: art presents the Absolute, ultimate being, in sensible or finite form. Their theories of art are the source, in the history of aesthetics, of (...) the influential claim that artistic value resides in the “unity of form and content” and are also the first philosophies of art that treat art systematically, differentiated both by media (art forms) and in historical periods. (shrink)

Schelling is often thought to be a protean thinker whose work is difficult to approach or interpret. Devin Zane Shaw shows that the philosophy of art is the guiding thread to understanding Schelling's philosophical development from his early works in 1795-1796 through his theological turn in 1809-1810. -/- Schelling's philosophy of art is the 'keystone' of the system; it unifies his idea of freedom and his philosophy of nature. Schelling's idea of freedom is developed through a (...) critique of the formalism of Kant's and Fichte's practical philosophies, and his nature-philosophy is developed to show how subjectivity and objectivity emerge from a common source in nature. The philosophy of art plays a dual role in the system. First, Schelling argues that artistic activity produces through the artwork a sensible realization of the ideas of philosophy. Second, he argues that artistic production creates the possibility of a new mythology that can overcome the socio-political divisions that structure the relationships between individuals and society. Shaw's careful analysis shows how art, for Schelling, is the highest expression of human freedom. (shrink)

BOOK REVIEWS 149 cannot be denied: volumes 2o-2 3 are, in their present form, less than perfect. There- fore, it would be very good if they could be revised. Stark makes a convincing case for this. Yet, it would be a mistake if one were to see the significance of his Nachforschungen just in this negative result. It may ultimately be important for the positive contributions it makes to a better understanding of Kant's extant manuscript materials. It does indeed go (...) some way towards supplying some of the materials that Adickes meant to supply, and it thus represents indeed a first step towards a better edition of Kant's works. I do not see any reasons that would speak against a revised edition of the Academy edition as a whole. MANFRED KUEHN Purdue University Andrew Bowie. ScheUing and Modern European Philosophy: An Introduction. London and New York: Routledge Press, 1993. Pp x + 21 i. Cloth, $65.oo. Paper, $16.95. Andrew Bowie devotes much of his instructive and well-researched text, as the title promises, to locating Schelling on the map of contemporary theory and simultaneously questioning the relevance of that map. Bowie situates Schelling historically within the context of the pantheism debate and his relationship with Fichte. He explores, in detail, questions of Schelling's natural philosophy, makes a brief excursion into Schelling's philosophy of art, looks closely at his identity philosophy and finally at his response to... (shrink)

When it comes to the relationship between art and nature, research on Adorno’s aesthetics usually centres on his discussion of Kant and Hegel. While this reflects Adorno’s own position – his comprehension of this relationship is to a large extent developed through a critical re-reading of both the Kantian and the Hegelian position – I argue that we are able to gain important insights into Adorno’s aesthetics and the central art–nature relation by reading his ideas in the light of (...) class='Hi'>Schelling’s conception of this relationship. The article focuses on the similarities between Schelling’s notion of nature’s productivity and Adorno’s understanding of natural beauty. It concludes with a discussion on Adorno’s re-evaluation of the reconciliatory power of the exemplary unity of the artwork in conjunction with Schelling’s comparison between artwork and organism, as well as his concept of the construction of nature. (shrink)

In this essay, the author contends that Schelling’s first publication, the Philosophical Letters on Dogmatism and Criticism, provides crucial insights into the wide spread philosophical interest in poetic art today. For Schelling, philosophical inquiry finds that its native resource, reason, requires the disclosive power of the poetic genera of tragic drama in order to remedy a crisis which inheres in its very nature and operations.

This is an English translation of Schelling's Ideas for a Philosophy of Nature (first published in 1797 and revised in 1803), one of the most significant works in the German tradition of philosophy of nature and early nineteenth-century philosophy of science. It stands in opposition to the Newtonian picture of matter as constituted by inert, impenetrable particles, and argues instead for matter as an equilibrium of active forces that engage in dynamic polar opposition to one another. In the revisions (...) of 1803 Schelling incorporated this dialectical view into a neo-Platonic conception of an original unity divided upon itself. The text is of more than simply historical interest: its daring and original vision of nature, philosophy, and empirical science will prove absorbing reading for all philosophers concerned with post-Kantian German idealism, for scholars of German Romanticism, and for historians of science. (shrink)

A literary and philosophical examination of art's relation to the absolute as it is explicitly addressed in the works of Kant, Fichte, Schelling, Hegel, Schopenhauer, and Nietzsche.

This is the first translation into English of an important early work of the German idealist philosopher F.W.J. Schelling. Philosophy and Religion (1804) is considered a precursor to his major work on freedom, his Philosophical Inquiries into the Nature of Human Freedom (1809). In Philosophy and Religion, Schelling raises the question of how philosophy can come to terms with the failure of approaching the highest principle of being, the Absolute (or God), rationally. He argues that the only possibility (...) of recognizing the Absolute lies in intellectual intuition, which goes beyond presentiment or religious intuition. For Schelling, it is the task of philosophy to lead the soul towards the intuition of the Infinite: "All philosophy begins . . . with an animated idea of the Absolute." In recent years, Schelling's philosophical ideas have been adopted by contemporary thinkers such as the Slovenian philosopher and psychoanalytic theorist Slavoj Žižek and the French theorist of "Non- Philosophy," François Laruelle. (shrink)

Colour plays a fundamental role in the philosophical treatments of painting. Colour while it is an essential part of the work of art cannot be divorced from the account of painting within which it is articulated. This paper begins with a discussion of the role of colour in Schelling's conception of art. Nonetheless its primary concern is to develop a critical encounter with Jean-François Lyotard's analysis of the Dutch painter Karel Appel. The limits of Lyotard's writings on painting, which (...) this paper will attribute in part to Lyotard's ‘empiricism’, becomes most apparent in his treatment of colour. (shrink)

Schelling’s philosophy of art between 1801 and 1807 can be defined as metaphysics of art. The object of that metaphysics is to deploy the absolute as the being of art and of the arts. Schelling has been criticized on the basis that this metaphysics of art represses the infinite diversity of existing works of art, while overlooking concrete aesthetic experience. Based on Schelling’s definition of the “philosophical construction” of art as an inseparably speculative and historical construction, the (...) aim of this paper is to challenge such assertions. It will show that “historical construction” has to be understood in a twofold manner: first, as a transcendental history of the absolute’s artistic individuation and second, as a cultural history of both the ancient and modern worlds of art. Working within this twofold setting the paper argues that Schelling’s systematic approach, while exhibiting a unifying force, still remains open to the otherness of the real. (shrink)

The problem of the relationship between art and philosophy is deeply rooted in the philosophical tradition. When Plato excluded artists from the philosophers’ mythical republic, he seemed to be assuming a strict opposition between art and philosophy. Artists do not know what they are saying. Because their creation is grounded in the madness of inspiration, they would be unable to give accounts for their doctrines even if doctrines could be gleaned from their works. Philosophers, on the other hand, must be (...) able to provide such accounts. They commit themselves to providing reasons for their conclusions. (shrink)

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of 2000, (...) evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

In his earlier work on the System of Transcendental Idealism, which combined Naturphilosophie and transcendental philosophy, Schelling argued that it is only by becoming-art that philosophy can complete itself as a discipline. He proposed this formulation in response to Kant’s critical inventory of reason offering to reclaim philosophy from its entanglement in pre-critical or dogmatic traditions. But Kant avoided to ground reason in the notion of externality, the in-itself, which, owing to its pre-critical derivation, must give way to the (...) a prioris and categories of the understanding. Meanwhile, by renewing the problem of the in-itself via the self-positing ego, Fichte was the first to challenge the Kantian legacy. But the emphasis on subjectivity through its power of self-positing gave way to what in principle negates nature as the true ground of the initself; in Schelling’s description, the equivalent of the annihilation of nature. Comparatively, Schelling proposed to demonstrate the reverse, which is the extinction of the subject that has continued to nourish the reflexive standpoint of reason. To accomplish this end, Schelling invoked in his Philosophy of Art, one of the places in which he extended his discussion of the so-called identity-system, the concept of the ideal type, or rather, the destroyer of known world established by critical reason. (shrink)

To a practitioner in the social sciences, game theory primarily helps to identify situations in which interdependent decisions are somehow problematic; solutions often require venturing into the social sciences. Game theory is usually about anticipating each other's choices; it can also cope with influencing other's choices. To a social scientist the great contribution of game theory is probably the payoff matrix, an accounting device comparable to the equals sign in algebra.

RESUMEN En el libro X de la Metafísica se trazan las líneas generales de una henología. La reconstrucción de la argumentación debe hacerse desde dos pilares fundamentales: (a) la guía de problemas o aporías que proporciona el libro iii y (b) el proyecto ontológico anunciado en el libro iv, donde se señala la relación entre ontología y henología. El rasgo fundamental de dicha henología sería su subordinación a la ontología. El artículo argumenta que para Aristóteles el rol de la henología (...) es ante todo destructivo, pues con dicha doctrina se pretende establecer -ante todo- la imposibilidad de considerar al "uno" (τὸ ἓν) como principio de los entes. ABSTRACT In the Metaphysics, especially in Book X, are drawn the general lines of a henology. For the proper understanding of this doctrine it is necessary to reconstruct its argumentation from two fundamental basis: (a) the guide of puzzles or aporias that book iii provides and (b) the ontological project announced in book IV where the relationship between ontology and henology is indicated. Once the explanations of Book X are framed a theory about unity (τὸ ἓν) can be systematically assembled, whose fundamental feature would be the following: henology as a science is a subordinate part of ontology. The role of henology is for Aristotle primarily destructive, that is, with this doctrine it is intended to establish the impossibility of considering the 'one' (τὸ ἓν) as a principle of the entities. (shrink)

Schelling’s masterpiece investigating evil and freedom.

_Reconsiders the contemporary relevance of Schelling’s radical philosophical and religious ecology._.

Ideology and politics were among the dynamics that shaped the scholarly reception of Friedrich Hölderlin and his work from the 1920s to 1940s. By taking the examples of research reports by Adolf von Grolman, Johannes Hoffmeister, and Heinz Otto Burger as well as of the controversy between Wilhelm Böhm and Ludwig Strauß, we outline the reciprocal function of Hölderlin and the DVjs. In doing so, we specifically focus on Paul Kluckhohn’s role in Hölderlin research, not only as an editor but (...) also as a public speaker and academic promoter in politically turbulent times. (shrink)

Two of Josiah Royce's lectures in Lectures on Modern Idealism concern the work of F. W. J. Schelling, the "poetic seer of splendid metaphysical visions" whom Royce considered "the prince of the romanticists."1 These lectures are titled "The Dialectical Method in Schelling" and "Schelling's Transcendental Idealism." In the former, Royce remarks that "there are two simple ways to avoid all dialectical complications. One is an easy way, viz., not to think at all. The other is a prudent (...) way, viz., not to confess your thoughts."2 But, Royce insists, philosophers (and Schelling, notably) attempt to "confess their contradictions, to live through them, and so, if may be, to get beyond them."3 In his second treatment of .. (shrink)

Correspondence and texts by Fichte and Schelling illuminate their thought and the trajectory of their philosophical falling out.

These notebooks were written during the years that F. W. J. Schelling spent as a student at the Tübinger Stift (1790–1795). From dates written by Schelling in the margins, we can surmise that the first portion (AA II/4: 15–28) was begun in August of 1792, and the latter portion (AA II/5: 133–142) was written in early 1794. To this latter portion is appended a substantial work, Schelling’s Timaeus-commentary, which is not included in the present translation. It appeared (...) as “Timaeus (1794)” (translated by Adam Arola, Jena Jolissaint, Peter Warnek) in Epoché 12: 2. These notebooks offer a window into Schelling’s philosophical development and proclivities, in light of his engagement with various Platonic dialogues, most notably the Ion, Theaetetus, Meno, Timaeus, and Philebus. They include discussions of divine power, rapture, and genius, especially as these relate to poetry, prophecy, and ordinary forms of human knowledge. These topics are discussed in the first portion (AA II/4: 15–25). In the latter portion, Schelling discusses myth, its function and relation to human greatness, Socrates’s daimonion, and the authority of tradition (AA II/4: 25–28; II/5: 133–142). (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)

Annotation. A new translation of Schelling's Die Philosophie der Kunst, 1859 with extensive commentary by the translator, Douglas W. Stott. Annotation copyrighted by Book News, Inc., Portland, OR.

An essay by philosopher Slavoj Zizek, with an English translation of Schelling's beautiful and evocative "Ages of the World, " second draft.

Makes Schelling’s dialogue Bruno readily accessible to the English-language reader, with valuable commentary on the work itself, which details Schelling’s account of his differences from Fichte.

Part novella, part philosophy, Clara was Schelling's most popular work during his lifetime, and appears here in English for the first time.

In this article, we examine how white working-class women reimagine gender in the face of social and economic changes that have undermined their ability to perform normative femininity. As blue-collar jobs have disappeared, scholars have posited that white working-class men and women have become increasingly isolated, disconnected from institutions, and hopeless about the future, leading to a culture of despair. Although past literature has examined how working-class white men cope with the inability to perform masculinity through wage-earning and family authority, (...) gender has been undertheorized in these discussions, treating working-class women’s and men’s despair interchangeably. Drawing on 37 in-depth interviews conducted in a former coal-mining town in northeastern Pennsylvania, we identify three overarching strategies that women deploy in their life histories to cope with disruption: embracing pain as an opportunity for self-growth; dispelling shame and striving for equality; and enduring suffering. These strategies allow women to feel hopeful and worthy as they confront enormous challenges, whether starting over following relationship dissolution, learning to be independent from men, or simply surviving hardship for the sake of their children. We explore the implications for recreating gender identity in each strategy and question how different strategies might serve to protect women from, or alternatively solidify, sentiments of despair. (shrink)