This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. New, completely revised and re-written edition. Offers a detailed, but asccesible account of the vital German philosophical tradition of thinking about art and the self. Looks at recent historical research and contemporary arguments in philosophy and theory in the humanities, following the path of German philosophy from Kant, via Ficthe and Holderlin, the early Romantis, Schelling, Hegel, Scleimacher, to Nietzsche. Develops the approaches to subjectivity, aesthetics, music and language in relation to new theoretical developments bridging the divide between the continental and analytical traditions of philosophy. The huge growth of interest in German philosophy as a resource for re-thinking both literary and cultural theory, and contemporary philosophy will make this an indispensible read
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Introduction: aesthetics and modernity; aesthetics and post-modernity. Part 1 Modern philosophy and the emergence of aesthetic theory – Kant: self-consciousness, knowledge and freedom; the unity of the subject; the unification of nature; the purpose of beauty; the limits of beauty. Part 2 German idealism and early German Romanticism: the ‘new mythology’; the romantic ‘new mythology’. Part 3 Reflections on the subject – Fichte, Holderlin and Novalis. Part 4 Schelling – art as the ‘organ of philosophy’: the development of consciousness; the structure of the ‘system of transcendental idealism’; the aesthetic absolute; mythology, art and language; mythology, language and being. Part 5 Hegel – the beginning of aesthetic theory and the end of art: the reflexive absolute; music and the idea; language, consciousness and being; the idea as sensuous appearance; the prose of the modern world; aesthetics and non-identity. Part 6 Schleiermacher – aesthetics and hermeneutics: individuality; immediate self-consciousness; art as free production; interpretation as art; literature and the ‘musical’. Part 7 Music, language and literature: language and music; Hegel and music – the sayable and the unsayable; the presence of music; infinite reflection and music. Part 8 Nietzsche – the divorce of art and reason: Schopenhauer – the world as embodied music; Marx, myth and art; art, myth and music in ‘The Birth of Tragedy’; myth, music and language; the illusion of truth; music and metaphysics; aesthetics, interpretation and subjectivity. Appendix: the so-called ‘oldest system-programme of German idealism’ (1796).
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Andrew Bowie is Chair of German at Royal Holloway University of London
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