By Jerome Carroll, Steve Giles, Maike Oergel
The essays during this ebook examine the complicated and sometimes contradictory relationships among aesthetics and modernity from the overdue Enlightenment within the 1790s to the Frankfurt tuition within the Nineteen Sixties and have interaction with the vintage German culture of socio-cultural and aesthetic idea that extends from Friedrich Schiller to Theodor W. Adorno. whereas modern discussions in aesthetics are usually ruled via summary philosophical methods, this publication embeds aesthetic conception in broader social and cultural contexts and considers a variety of creative practices in literature, drama, tune and visible arts. Contributions comprise examine on Schiller’s writings and his paintings in terms of ethical sentimentalism, Romantic aesthetics, Friedrich Schlegel, Beethoven, Huizinga and Greenberg; philosophers akin to Kierkegaard, Benjamin, Heidegger and Adorno; and thematic methods to Darwinism and Naturalism, sleek tragedy, postmodern realism and philosophical anthropology from the eighteenth century to the current day. This booklet is predicated on papers given at a global symposium held lower than the auspices of the college of Nottingham on the Institute of German and Romance reviews, London, in September 2009
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Extra info for Aesthetics and Modernity from Schiller to the Frankfurt School
This indicates the extent to which the optimism of the moderate Enlightenment, otherwise associated with Schiller and the Berlin group around Nicolai, is now evaporating, and has given way to an altogether paranoid belief in the rampant spread of hostility to that type of Enlightenment. Schiller’s demonstration of the helplessness of an Enlightenment forced into a minority position seems to have been unbearable for his peer group. After the Great Revolution, with the emergence of Kant’s ‘idealist realism’ 40 GUSTAV FRANK and the classical movement’s ideology of humanitarianism grounded in selfrestraint, other arguments were brought to bear on the late Enlightenment; but that is not crucial here.
Instead of confronting him with an apparition of his deceased childhood friend as before, this plot involves an enigmatic but nonetheless lifelike woman of f lesh and blood. Her appearance was preceded by a medial fact-finding mission into the Prince’s sensual and psychological weaknesses. He was shown three paintings that were supposedly for sale. From the stereotypical female figures they depicted, he immediately selected the Madonna and Child, not the Venus or the Heloïse. The Madonna and Child is presented to him in the guise of a Greek woman, albeit of aristocratic German origin, and the plotters make her appear to him and him alone as a living painting, illuminated as it were by a spotlight from a church window.
16 17 See Schiller, Aesthetic Education, 149, 161. Leavis, Anna Karenina and Other Essays, 195; and The Common Pursuit, 183, 280. , Earl of Shaftesbury, Characteristicks of men, manners, opinions and times, 3 vols (London: J Darby, 1711). Corneille, P. Writings on the Theatre, ed. T. Barnwell (Oxford: Blackwell, 1965). Gautier, T. Mademoiselle de Maupin (1835), trans. H. Constantine (London: Penguin, 2005). Johnson, S. Johnson: Prose and Poetry, ed. M. Wilson (London: Rupert Hart Davis, 1957).
Aesthetics and Modernity from Schiller to the Frankfurt School by Jerome Carroll, Steve Giles, Maike Oergel