This new, thoroughly revised and re-written variation of Aesthetics and subjectivity brings modern the unique book's account of the trail of German philosophy from Kant, through Fichte and Holderlin, the early Romantis, Schelling, Hegel, Schleimacher, to Nietzsche, in view of contemporary historic learn and modern arguments in philosophy and conception within the humanities.
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Additional resources for Aesthetics and Subjectivity : From Kant to Nietzsche (2nd edition)
The move in conceptions of language away from the idea of representation involves a two-way process. The development, by Herder, Hamann and others, of the view of language as primarily ‘disclosive’ or ‘constitutive’, rather than representational, means that forms of articulation, like music, which are not understood as being linguistic if language is conceived of in representational terms, can be considered as linguistic if they disclose otherwise inaccessible aspects of the world. The ‘language’ of music can thus itself in turn come to change the way verbal language is understood.
Music also communicates aesthetic ideas, but these are ‘not concepts and determinate thoughts’, though their purpose is solely to ‘express the aesthetic idea of a coherent whole’ (CJ. B p 220, A p. 217), the pleasure in which is generated by the mathematical proportions upon which the whole is based. Because it just plays with feelings music is not the highest form of art. This status is conﬁrmed by music’s dependence on time and its inherent transience. What Kant sees as music’s empty formalism will, however, soon become crucial to new conceptions of art.
Concept being able to be adequate to it, which consequently no language can completely attain and make comprehensible’ (CJ B p. 193, A p. 190). This leads to a vital issue in my overall argument. The perceived inadequacy of language to aesthetic ideas makes other thinkers, particularly the early Romantics and Schopenhauer, look for a ‘language’ which is adequate to such ideas. The language in question is, however, the conceptless language of music, to which some thinkers will even grant a higher philosophical status than to conceptual language.
Aesthetics and Subjectivity : From Kant to Nietzsche (2nd edition) by Bowie