Grundzüge einer Geschichte der deutschen Psychologie und Ästhetik - von Wolff-Baumgarten bis Kant-Schiller ist ein unveränderter, hochwertiger Nachdruck der Originalausgabe aus dem Jahr 1892. Hansebooks ist Herausgeber von Literatur zu unterschiedlichen Themengebieten wie Forschung und Wissenschaft, Reisen und Expeditionen, Kochen und Ernährung, Medizin und weiteren Genres. Der Schwerpunkt des Verlages liegt auf dem Erhalt historischer Literatur. Viele Werke historischer Schriftsteller und Wissenschaftler sind heute nur noch als Antiquitäten erhältlich. Hansebooks verlegt diese Bücher neu und trägt damit zum Erhalt selten gewordener (...) Literatur und historischem Wissen auch für die Zukunft bei. (shrink)

Martin Davies draws parallels between Herz's personal life and Prussian politics and culture to make sense of the end of the eighteenth century when Enlightenment tradition and Romantic thought coincided.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Winckelmann's writing has a richness and density that take it well beyond the bounds of the simple rationalist art history and Neo-classical art theory with which it is usually associated. He often seems to speak disturbingly directly to our present awareness of the discomforting ideological and psychic contradictions inherent in supposedly ideal symbolic forms.

Kant et la fin de la métaphysique, sous-titré " Essai sur la Critique de la faculté de juger" (1re édition : 1970), constitue d'abord un commentaire de la troisième Critique de Kant. Dans une première partie (" Remaniement des concepts "), Gérard Lebrun, s'appuyant sur l'ensemble de l'œuvre kantienne (pré-critique et critique), détaille la série des questions et des réponses touchant le savoir, le monde, Dieu, qui organisent la théorie kantienne et marquent sa rupture avec la tradition. Dans la seconde (...) partie (" Naissance des thèmes "), il expose les nouveautés par lesquelles la Critique de la faculté de juger parachève l'entreprise critique (autour de concepts cruciaux : la réflexion, le vivant, la finalité, le plaisir, le beau, l'imagination). Tout au long de l'étude, l'auteur convoque les nombreux auteurs, antiques ou modernes, avec lesquels Kant a dialogué, mais aussi sa postérité, continuateurs ou interprètes, jusqu'à la période contemporaine. Par-delà cette première visée, Gérard Lebrun s'attache aussi à soutenir et illustrer une thèse qui livre une évaluation d'ensemble de l'entreprise kantienne, de son sens et de sa portée ultime. Il nous conduit en effet à méditer la manière dont Kant, approfondissant les apories de la métaphysique traditionnelle, la met véritablement à mort, et renouvelle définitivement la manière de poser les problèmes philosophiques. (shrink)

Spätestens am Beginn der 80er Jahre dieses Jahrhunderts entstand in den Geistes-und Sozialwissenschaften eine Renaissance des Ästhetischen, die bis heute andauert. Der Ästhetik wird, besonders unter dem Eindruck von Sinn­ verlust und Orientierungslosigkeit, eine besondere Leistungsfähigkeit zuge­ schrieben. Sie wird, beginnend bei speziellen Kunst-und Musiktherapien bis hin zur "Ästhetisierung des Alltags" als Mittel gegen gesellschaftliche und individuelle Probleme, seien es Jungendgewalt, Naturzerstörung, kulturelle Integration, Beziehungsschwierigkeiten oder Neurosen angeboten. Diese Beispiele stehen für ein Phänomen, welches in diesem Buch mit der Wen­ (...) dung "Versprechungen des Ästhetischen" gekennzeichnet wird. Diese Ver­ sprechungen werden heute in vielen gesellschaftlichen Bereichen als Innova­ tion offeriert und gefeiert, so daß der Eindruck vermittelt wird, daß das Medium des Ästhetischen zu keinem früheren historischen Zeitpunkt für sol­ che ethischen Absichten zur Verfügung gestanden habe. Dieser Eindruck ist indessen völlig falsch. Um zu zeigen, daß diese "Versprechungen des Ästhetischen" viel älter sind, ja daß diese Verspre­ chungen einen Toposcharakter haben, der besonders in gesellschaftlichen Krisenlagen eingesetzt wird, rekonstruiert Yvonne Ehrenspeck die Geschich­ te dieser Versprechungen seit dem Beginn ihrer modernen Version am Ende des 18. Jahrhunderts. Dieser Beginn lag in der Transzendentalphilosophischen Grundlegung des Ästhetischen bei Kant, eine Konzeption, die keineswegs, wie besonders in der "postmodernen" Ästhetikrezeption gern behauptet, als gesellschaftli­ ches Versprechen intendiert war, sondern als systematisches Schlußstück für die Transzendentalphilosophie Kants. Das Buch zeigt, wie dieses systemati­ sche Interesse Kants durch Schillers Ästhetik gewissermaßen zweckentfrem­ det wird. (shrink)

The concept of the sublime was crucial to the thought of Immanuel Kant, who defined it as the experience of what is great in power, size, or number. From ancient times to the present, the aesthetic experience of the sublime has been associated with morality, but if we want to be able to exclude evil, fascistic, or terroristic uses of the sublime—the inescapable awe generated by the Nuremberg rallies, for example—we require a systematic justification of the claim that there are (...) internal moral constraints on the sublime. In _Kant on Sublimity and Morality_, Joshua Rayman argues that Kant alone provides the system by which we can bind sublimity to moral ideas, the exhibition of freedom, the production of respect, and violence towards inclinations. (shrink)

Most scholars think not. But in this pioneering book, John H. Zammito challenges that view by revealing a precritical Kant who was immensely more influential than the one philosophers think they know.

This is a collection of four essays on aesthetic, ethical, and political issues by the pre-eminent Kant scholar in Germany today, perhaps best known for rekindling interest in the great classical German tradition from Kant to Fichte.

Ziel dieser Studie ist es, ein umfassendes Bild des Denkens Moses Mendelssohns zu zeichnen.

Values of Beauty discusses major ideas and figures in the history of aesthetics from the beginning of the eighteenth century to the end of the twentieth century. The core of the book features Paul Guyer's essays on the epochal contribution of Immauel Kant, and sets Kant's work in the context of predecessors, contemporaries, and successors including David Hume, Alexander Gerard, Archibald Alison, Arthur Schopenhauer, and John Stuart Mill All of the essays emphasize the complexity rather than isolation of our aesthetic (...) experience of both nature and art; and the interconnection of aesthetic values such as beauty and sublimity on the one hand, and prudential and moral values on the other. Guyer emphasizes that the idea of the freedom of the imagination as the key to both artistic creation and aesthetic experience has been a common thread throughout the modern history of aesthetics, although the freedom of the imagination has been understood and connected to other forms of freedom in a variety of ways. (shrink)

Herder is often criticized for having embraced cultural relativism, but there has been little philosophical discussion of what he actually wrote about the nature of the human species and its differentiation through culture. This book focuses on Herder's idea of culture, seeking to situate his social and political theses within the context of his anthropology, metaphysics, epistemology, ethics, theory of language and philosophy of history. It argues for a view of Herder as a qualified relativist, who combined the conception of (...) a common human nature with a belief in the importance of culture in developing and shaping that nature. Especially highlighted are Herder's understanding of the relativity of virtue and happiness, and his belief in the impossibility of constructing a single best society. The book will appeal to a wide range of readers interested both in Herder and in Enlightenment culture more generally. (shrink)

Kant and Milton: fundamentals and foundations -- Kant's journey in the constellation of German Miltonism: toward the procedure of succession -- Kant's Miltonic transfer to exemplarity: the succession to Milton's "On his blindness" in the groundwork of the Metaphysics of morals -- Kantian tragic form and Kantian "storytelling" -- The Critique of practical reason and Samson agonistes -- Kant's Miltonic procedure of succession in a key moment of the Critique of judgment.

In _Aesthetics and Material Beauty_, Jennifer A. McMahon develops a new aesthetic theory she terms Critical Aesthetic Realism - taking Kantian aesthetics as a starting point and drawing upon contemporary theories of mind from philosophy, psychology, and cognitive science. The creative process does not proceed by a set of rules. Yet the fact that its objects can be understood or appreciated by others suggests that the creative process is constrained by principles to which others have access. According to her update (...) of Kantian aesthetics, beauty is grounded in indeterminate yet systematic principles of perception and cognition. However, Kant’s aesthetic theory rested on a notion of indeterminacy whose consequences for understanding the nature of art were implausible. McMahon conceptualizes "indeterminacy" in terms of contemporary philosophical, psychological, and computational theories of mind. In doing so, she develops an aesthetic theory that reconciles the apparent dichotomies which stem from the tension between the determinacy of communication and the indeterminacy of creativity. Dichotomies such as universality and subjectivity, objectivity and autonomy, cognitivism and non-cognitivism, and truth and beauty are revealed as complementary features of an aesthetic judgment. (shrink)

Kant and the Unity of Reason is a comprehensive reconstruction and a detailed analysis of Kant's Critique of Judgment. In the light of the third Critique, the book offers a final inter­pretation of the critical project as a whole. It proposes a new reading of Kant's notion of human experience in which domains, as different as knowledge, morality, and the experience of beauty and life, are finally viewed in a unified perspective. The book proposes a reading of Kant's critical project (...) as one of the most sophisticated attempts in the history of philosophy to articulate a complex notion of human "sensi­bility" as an alternative to both eighteenth-century empiricism and rationalism. The fun­damental contribution of rationality to human experience cannot be fully appreciated if the sensuous component of experience is not adequately taken into account. For Kant, "sensibility" includes functions as different as sensation, intuition, perception, emotion, passion, drive, moral feeling, and feeling of pleasure and displeasure. Kant's idea of "reflective" judgment is the peculiar discovery of the third Critique. Re­flective judgment articulates the interplay between sensibility and rationality, the world of nature and the human mind, in order to constitute human experience and the sphere of human intersubjective relationships. In the act of reflection, Kant's philosophy fi­nally comes to reflect upon itself and the meaning of its critical endeavor. (shrink)

In this book Robert R. Clewis shows how certain crucial concepts in Kant's aesthetics and practical philosophy - the sublime, enthusiasm, freedom, empirical and intellectual interests, the idea of a republic - fit together and deepen our understanding of Kant's philosophy. He examines the ways in which different kinds of sublimity reveal freedom and indirectly contribute to morality, and discusses how Kant's account of natural sublimity suggests that we have an indirect duty with regard to nature. Unlike many other studies (...) of these themes, this book examines both the pre-critical Observations and the remarks that Kant wrote in his copy of the Observations. Finally, Clewis takes seriously Kant's claim that enthusiasm is aesthetically sublime, and shows how this clarifies Kant's views of the French Revolution. His book will appeal to all who are interested in Kant's philosophy. (shrink)

Kant’s _Critique of Judgment_ is one of the most important texts in the history of modern aesthetics. This _GuideBook _discusses the _Third Critique_ section by section, and introduces and assesses: Kant's life and the background of the _Critique of Judgment_ the ideas and text of the _Critique of Judgment_, including a critical explanation of Kant’s theories of natural beauty the continuing relevance of Kant’s work to contemporary philosophy and aesthetics. This _GuideBook_ is an accessible introduction to a notoriously difficult work (...) and will be essential reading for students of Kant and aesthetics. (shrink)

In this book, Morrison discusses the process of aesthetic education, as defined by Johann Joachim Winckelmann on the basis of his status as arbiter of classical taste and as applied to his teaching of two pupils. Morrison identifies the key features of Winckelmann's treatment of classical beauty and elucidates how Winckelmann taught the appreciation of beauty. He argues that Winckelmann's practice of aesthetic education fell short of his aesthetic theory. Morrison concludes by looking at Goethe's aesthetic self-education, which was strongly (...) influenced by Winckelmann. (shrink)

In this book Jane Kneller focuses on the role of imagination as a creative power in Kant's aesthetics and in his overall philosophical enterprise. She analyzes Kant's account of imaginative freedom and the relation between imaginative free play and human social and moral development, showing various ways in which his aesthetics of disinterested reflection produce moral interests. She situates these aspects of his aesthetic theory within the context of German aesthetics of the eighteenth century, arguing that Kant's contribution is a (...) bridge between early theories of aesthetic moral education and the early Romanticism of the last decade of that century. In so doing, her book brings the two most important German philosophers of Enlightenment and Romanticism, Kant and Novalis, into dialogue. It will be of interest to a wide range of readers in both Kant studies and German philosophy of the eighteenth and nineteenth centuries. (shrink)

Kant and the Claims of Taste, published here for the first time in paperback in a revised version, has become, since its initial publication in 1979, the standard commentary on Kant's aesthetic theory. The book offers a detailed account of Kant's views on judgments of taste, aesthetic pleasure, imagination and many other topics. For this new edition, Paul Guyer has provided a new foreword and has added a chapter on Kant's conception of fine art. This re-issue will complement the author's (...) companion volume, Kant and the Experience of Freedom, which places Kant's aesthetics in its historical context and examines the fundamental connection between Kant's aesthetics and his moral theory. (shrink)

Fred Beiser, renowned as one of the world's leading historians of German philosophy, presents a brilliant new study of Friedrich von Schiller (1759-1805), rehabilitating him as a philosopher worthy of serious attention. Beiser shows, in particular, that Schiller's engagement with Kant is far more subtle and rewarding than is often portrayed. Promising to be a landmark in the study of German thought, Schiller as Philosopher will be compulsory reading for any philosopher, historian, or literary scholar engaged with the key developments (...) of this fertile period. (shrink)

Controversies are boiling these days among distinguished men over true and false ideas. This is an issue of great importance for recognizing truth—an issue on which Descartes himself is not altogether satisfactory. So I want to explain briefly what I think can be established about the distinctions and criteria that relate to ideas and knowledge. [Here and in..

The field of my inquiry is the field of judgement. I focus primarily on the difficulties involved in the act of judging. What I emphasize, after Kant, is the absence of preexisting rules for judgement in its purest form. ;I interpret Cavell's discussion of Rawls' theory of justice as probing the implications of the fact that there will always be for the individual a judgement to be made of the distance between our own society and the ideal well ordered society. (...) It is here I claim that the concept of the example comes into play. To elaborate this I show how Rousseau uses his experience of consent to the Republic of Geneva to provide an example, or a standard of judgement to the individual's seeking whether and how to express consent to their society. ;In my paper on the Kant's Third Critique I argue that what is most central in the judgement of taste is that it is the reflection and expression the individuality of the judge of taste and its function is to provoke one to rely on one's own sense of the world. It is primarily through the analysis of the relation of genius to taste that I elaborate the centrality of individuality but my claim is that this relation manifests itself also between the judge of taste and a community of taste. ;The concept of exemplarity leads me to the distinction between what can be said and what can be shown. In the paper on Wittgenstein's Tractatus I want to combat what I take to be a false understanding of the distinction between showing and saying which makes what is shown to be some property of the world that cannot be stated in language. I explain what Wittgenstein means by the notion of form and how it is that form only shows itself through language. I further see the overall design of the text as an exemplary reworking of Wittgenstein's philosophical experience. I thus interpret the idea of throwing away the ladder as a claim that the propositions of the book are of use only as an example to provoke one to thoughts of one's own. (shrink)