A Modern Coleridge shows the interrelatedness of the discourses of cultivation, addiction and habit in Coleridge's poetry and prose, and argues that these all revolve around the problematic nexus of a post-Kantian idea of free will, essential to Coleridge's eminently modern idea of the 'human'.

Coleridge rarely mentions Hegel in his philosophical writings and seems to have read very little of Hegel's work. Yet I argue that Coleridge's criticisms of Schelling's philosophy—as recorded in letters and marginalia—betray remarkable intellectual affinities with his nearly exact contemporary Hegel, particularly in their shared doubts about Schelling's foundationalist intuitionism. With this background in place, I seek to demonstrate that volume one of Coleridge's Biographia Literaria is a radically self-undermining text: its philosophical argument, far from slavishly recapitulating (...) Schelling's philosophy, remains haunted by a quasi-Hegelian skepticism toward intuition even as it advances intuition as the foundation of its theoretical edifice. (shrink)

The paper suggests that Samuel Taylor Coleridge’s arguments against sympathy after the French Revolution, Walter Benjamin’s claims against empathy following the traumatic shock of Modernity and the First World War, and Hannah Arendt’s critical take on compassion. after the Holocaust are similar responses to singular historical crises. Reconsidering Arendt’s On Revolution (1963) and its evocation of Hermann Melville’s novella Billy Budd (1891), I show first that the novella bears the traces of an essay by Samuel Taylor Coleridge, “The (...) Appeal to Law” (1809). Then, drawing on Walter Benjamin’s writings on trauma in Illuminations (1968, edited by Arendt), I discuss the political importance Arendt attaches to the proper way of telling a story, at a time when “the communicability of experience is decreasing” (Benjamin, Illuminations, 86). Through the analysis of Benjamin’s “The Storyteller” and Arendt’s “heartless” report on the Eichmann trial (1963), I equally show that, according to Arendt, testimonies must be narrated, or rather performed, in a dispassionate, dry, and compact manner so that they can be historically and politically relevant. (shrink)

[ https://plus.google.com/108060242686103906748/posts/cwvdB6mK3J6 ] The phenomenal description on own thoughts regard me to describe Coleridge, along with William Wordsworth, was instrumental in initiating a poetic revolution in the early nineteenth century which is known as the Romantic Movement. Coleridge invokes the Divine Spirit that blows upon the wild Harp of Time. Time is like the stringed musical instrument on which the Spirit produces sweet harmonious melodies. Coleridge is perhaps best known for his haunting ballad Rime of Ancient Mariner, (...) the dream-like Kubla Khan and the unfinished Christabel, but he wrote several other smaller poems, quite remarkable for their imaginative power. (Edited with own analysis)…[http://philpapers.org/profile/112741] http://www.academia.edu/18834746/LITERATURE_I_DO-_THE_ROMANTICS_AND_SUBJECTIVITY_SAMUEL_TAYLOR_COLER IDGE. (shrink)

This paper examines the relationships between Romantic painting, poetry, and philosophy, historically tracing the circulation of images used to communicate sublimity (for example, images of ruins, storms, volcanoes, and so on). Kant's "Critique of Judgment" deployed the same vocabulary of images that appear in Coleridge and Shelly, in Church and in Turner. The discussion thereby places Kant's 3rd Critique within its cultural context. But it also reveals the massive shift from Enlightenment rationalism to 19th century historicism that Romanticism enacted, (...) and Kant's resistance to, and unwilling participation, in that shift. For the nostalgic logic of ruins, and the irruption of geological time, both of which were conceived and negotiated through sublimity, cannot be assimilated within Kant's philosophy. The treatment of the sublime in the "Critique of Judgment" represents Kant's philosophy straining at its own limits in the attempt to develop a philosophy of history and to articulate an historicized philosophical anthropology. Therefore, read through art history, Kant's 3rd. Critique represents a vital transition between Enlightenment rationalism/beauty and Romantic historicism/sublimity, along with the work of Beethoven, Goya, and the Marquis de Sade. (shrink)

There are two popular views regarding the origin of critical thinking: (1) The concept of critical thinking began with Socrates and his Socratic method of questioning. (2) The term ‘critical thinking’ was first introduced by John Dewey in 1910 in his book How We Think. This paper argues that both claims are incorrect. Firstly, critical reflection was a distinguishing characteristic of the Presocratic philosophers, setting them apart from earlier traditions. Therefore, they should be recognized as even earlier pioneers of critical (...) thinking. Secondly, John Dewey not only used the term ‘critical thinking’ before 1910, but there were also other authors who used it before him. The meaning of ‘critical thinking’ at the turn of the twentieth century was shaped by various traditions of linguistic usage, including literary criticism, science and medicine, and Kantian philosophy. (shrink)

Philosophy and Memory Traces defends two theories of autobiographical memory. One is a bewildering historical view of memories as dynamic patterns in fleeting animal spirits, nervous fluids which rummaged through the pores of brain and body. The other is new connectionism, in which memories are 'stored' only superpositionally, and reconstructed rather than reproduced. Both models, argues John Sutton, depart from static archival metaphors by employing distributed representation, which brings interference and confusion between memory traces. Both raise urgent issues about control (...) of the personal past, and about relations between self and body. Sutton demonstrates the role of bizarre body fluids in moral physiology, as philosophers from Descartes and Locke to Coleridge struggled to control their own innards and impose cognitive discipline on 'the phantasmal chaos of association'. Going on to defend connectionism against Fodor and critics of passive mental representations, he shows how problems of the self are implicated in cognitive science. (shrink)

In this paper, I present an interpretation of Wittgenstein's remarks on the experience of wonder at the existence of the world. According to this interpretation, Wittgenstein's feeling of wonder stems from perceiving the existence of the world as an absolute miracle, that is, as a fact that is in principle beyond explanation. Based on this analysis, I will suggest that Wittgenstein's experience is akin to what has been described by other authors such as Coleridge, Pessoa, Heidegger, Scheler, Sartre, and (...) Hadot, among many others. Through a comparison between Wittgenstein and Coleridge on the experience of existence, I shall highlight some core features of this experience, chief among them the use of the notion of nothingness in clarifying what is understood in the experience, the role of intuition, and the presence of a specific pathos. As a whole, this paper aims to provide a contribution to the project of a phenomenology of the experience of existence and intends to create a bridge for a dialogue between Wittgenstein and the phenomenological tradition on the enigma of existence. (shrink)

This paper draws together as many as possible of the clues and pieces of the puzzle surrounding T. S. Eliot’s “infamous” literary term “objective correlative”. Many different scholars have claimed many different sources for the term, in Pound, Whitman, Baudelaire, Washington Allston, Santayana, Husserl, Nietzsche, Newman, Walter Pater, Coleridge, Russell, Bradley, Bergson, Bosanquet, Schopenhauer and Arnold. This paper aims to rewrite this list by surveying those individuals who, in different ways, either offer the truest claim to being the source (...) of the term, or contributed the most to Eliot’s development of it: Allston, Husserl, Bradley and Bergson. What the paper will argue is that Eliot’s possible inspiration for the term is more indebted to the idealist tradition, and Bergson’s aesthetic development of it, than to the phenomenology of Husserl. (shrink)

This paper examines Santayana on imagination, and related themes, chiefly as these are expressed in his early work, Interpretations of Poetry and Religion (1900). My hypothesis is that Santayana under-estimates, in this book, the force and significance of the prevalent distinction between imagination and fancy, as this was originally put forward by Coleridge and later developed in Emerson’s late essays. I will focus on some of those aspects of Santayana’s book which appear to react to or to engage with (...) Emerson’s views and aim to bring Santayana’s treatment of the theme of imagination into relation with Emerson. Understanding the differences in greater detail we stand a better chance of reasoned evaluation of alternative conceptions of imagination. I will argue that the Coleridge-Emersonian conception of the distinction between imagination and fancy is a crucial element of the background of Peircean abduction, and in this fashion, contributes to the continuity of Emerson’s writings with the pragmatist tradition. (shrink)

John Smith was among the first of the Cambridge Platonists. He was therefore in a position to influence not only his contemporaries but all those who followed after him well into the twentieth century and beyond. Well established lines of influence both to and from Whichcote, Cudworth, and More are explored first before moving on to less well-known connections to Bishop Simon Patrick and mathematician Isaac Barrow. Smith’s continued significance for eighteenth century theology is demonstrated through discussion of his inspiration (...) of the doctrines of spiritual sensation developed by Jonathan Edwards and John Wesley. Special notice is also given to Smith’s authority as an interpreter of Biblical prophecy through the eighteenth and nineteenth centuries. The chapter concludes with looks at Smith’s influence on Samuel Taylor Coleridge, Ralph Waldo Emerson, William Ralph Inge, Rufus Jones, Pierre Hadot, and others. This chapter, offers a broad, but highly selective, overview of the reception and influence of Smith’s life and work. It is intended, however, as a call for future research more than as an authoritative presentation of Smith’s legacy. For, if the Cambridge Platonists have been underappreciated until recently, none of them have been unjustly ignored as consistently as Smith. (shrink)

Why was mythology of vital importance for the romantics? What role did mythology play in their philosophical and literary work? And what common sources of influence inspired these writers across Britain and Germany at the turn of the nineteenth century? In this wide-ranging study, Owen Ware argues that the romantics turned to mythology for its potential to transform how we see ourselves, others, and the world. Engaging with authors such as William Blake, Friedrich Schlegel, Samuel Taylor Coleridge, Friedrich von (...) Hardenberg (Novalis), and Percy Bysshe Shelley, Ware shows why they believed that neither perception nor reason alone can sustain a vision of the unity of all things. A new mode of cognition is necessary, they claimed, one that revives the poetic origin of mythology and reveals our own mythmaking powers. _Return of the Gods_ investigates the rise of mythology in the British and German traditions and the romantics’ practices of reinterpreting old myths and inventing new ones. Their shared aim was nothing less than to elevate the human imagination to higher stages of self-development in which philosophy and poetry, as well as intellect and imagination, form an integrated whole. Far from calling us to return to the past, the romantics’ work on mythology points us to a future where we can live in harmony with the personal, social, and natural worlds we inhabit. Owen Ware combines intellectual history with philosophical analysis and literary criticism to offer a bold reflection on why mythology mattered for the romantics—and why it still matters today. (shrink)

Despite the fact that Mary Shelley and E. M. Cioran have never been previously analyzed in the same context (they belong not only to different ages but also to divergent genres), we will find that they share at least two similar themes. The motif of solitude, common among Romantic poets (Coleridge, Byron, Poe), finds a deep expression in Shelley’s Frankenstein and in Cioran’s early oeuvre. A more thorough investigation of the British novelist and the Romanian-French self-described “anti-philosopher” discloses that (...) hatred (a theme that is not frequently researched from a philosophical point of view) might be another of their obsessions. The concept of the nihilistic not-man becomes useful when we will follow the tripartite shape of hatred (of others, of myself and of God) not only in literature or philosophy but also in pop culture. (shrink)

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)

In Byron, Shelley, and Goethe’s Faust, author Ben Hewitt has provided us with a carefully done and convincing study. Given this, it would have been interesting to see Hewitt’s effort to integrate Mary Shelley’s work into his narrative. Apart from any similarities between Faust and Frankenstein, it bears remembering that Goethe himself remained unconvinced by efforts to clearly demarcate works as “tragic” or “epic”; a fact that becomes especially clear in the number of works he’d devoted to rewriting the story (...) of Prometheus. One cannot help but wish that Hewitt had considered the connection between these works and Shelley’s own “Modern Prometheus” in juxtaposition to his reading of P.B. Shelley’s Prometheus Unbound, for this would have made for an especially good ending to Hewitt’s story. Wayne Deakin’s consideration of Hegel and the English Romantic Tradition does indeed close with a brief consideration of Mary Shelley’s Prometheus, but this comes only at the end of a much longer set of considerations. In this book Deakin adopts a similar strategy as that of Hewitt, namely, foregoing any historical recovery of Hegel’s direct influence on the English Romantics—in Deakin’s case, Coleridge, Wordsworth, and P.B. Shelley—to focus instead on a reading of key poetic works in concert with their Hegelian framework. This reading essentially flows from Deakin’s effort to rethink Hegel’s relatively early notion of self-consciousness through his late lectures on aesthetics. For Deakin, this leads to “aesthetic recognition”; a situating of the self in relation to the world that remains in tension so far as the subject’s drive for autonomy will automatically be humbled by its reception of and to alterity—be that other “Nature” or other subject. (shrink)

The word 'reason' as used today is used ambiguous in its meaning. It may denote either of two mental faculties: a lower reason associated with discursive, linear thinking, and a higher reason associated with direct apprehension of first principles of mathematics and logic, and possibly also of moral and religious truths. These two faculties may be provisionally named Reason (higher reason) and rationality (lower reason). Common language and personal experience supply evidence of these being distinct faculties. So does classical philosophical (...) literature, the locus classicus being Plato's Divided Line analogy. -/- The effect of currently using a single word to denote both faculties not only produces confusion, but has had the effect of decreasing personal and cultural awareness of the higher faculty, Reason. Loss of a sense of Reason has arguably contributed to various psychological, social, moral, and spiritual problems of the modern age. This issue was also a central concern of 19th century Transcendentalists, who reacted to the radical empiricism of Locke. It would be advantageous to adopt consistent terms that make explicit a distinction between higher and lower reason. One possibility is to re-introduce the Greek philosophical terms nous and dianoia for the higher and lower reason, respectively. This discussion has certain parallels with the recent theories of McGilchrist (2009) concerning the increasingly left-brain hemisphere orientation of human culture. (shrink)

This essay proposes to rethink Romanticism through the concept of bliss. I suggest not only that bliss is a core Romantic concept but also, more speculatively, that Romanticism as both a project and tendency is generated out of an antagonistic entanglement between bliss and the world of Western modernity. As the state of immediate fulfillment, free of alienation or negativity, bliss is what modernity at once promises and endlessly defers—and so bliss erupts in Romanticism against the modern world. In bliss, (...) the world is dissolved as in water, consumed as in fire, so that nothing remains except the ecstasy of the world’s annihilation or termination. Romanticism seeks to inhabit the utopia of bliss immanently; however, the world re-mediates bliss into a long-lost past or an unreachable future, because it is through this re-mediation that the world reproduces and justifies itself. As a result, Romanticism falls into endless approximation, into nostalgia and longing—and bliss becomes infinitely not-yet, fragmented, defused by the world. This essay moves through German and British Romanticism so as to collect the scattered fragments of bliss, and to re-assemble Romantic bliss in its a-worldly immanence, its post-Copernican cosmic infinity, and its (often violent) clash with the world. (shrink)