Aesthetics and Modernity from Schiller to the Frankfurt

The essays during this publication examine the advanced and infrequently contradictory relationships among aesthetics and modernity from the past due Enlightenment within the 1790s to the Frankfurt college within the Sixties and interact 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 frequently ruled by means of summary philosophical methods, this e-book embeds aesthetic conception in broader social and cultural contexts and considers quite a lot of creative practices in literature, drama, track and visible arts. Contributions comprise study on Schiller’s writings and his paintings relating to ethical sentimentalism, Romantic aesthetics, Friedrich Schlegel, Beethoven, Huizinga and Greenberg; philosophers resembling Kierkegaard, Benjamin, Heidegger and Adorno; and thematic methods to Darwinism and Naturalism, smooth tragedy, postmodern realism and philosophical anthropology from the eighteenth century to the current day. This publication relies on papers given at a world symposium held less than the auspices of the collage of Nottingham on the Institute of German and Romance reports, London, in September 2009.

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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.

Leavis, The Common Pursuit, 89. 22 Michael Bell same token, had an almost unbearably urgent sense of what it meant to engage the living values at stake within it. Hence, although often seen as an Arnoldian, Leavis was more truly a Nietzschean. As with Nietzsche, his typical attack was not on acknowledged philistines but on the of ficial guardians of culture. Likewise Schiller, although it was not his primary emphasis, and he was a channel for sentimental idealism, had nonetheless understood that the aesthetic as such is no defence against philistinism, and worse evils.

Schlegel, Studium, 222. 48 Maike Oergel For Schlegel these features are the mark of the modern condition. Schiller begins his essay on Naïve und Sentimental Poetry with a similar description of the inharmonious, internally disjointed state of modernity, and modern art and thought. Both Schiller and Schlegel present critiques of modernity that rely on increasingly established criteria for cultural assessment going back to the middle of the eighteenth century, to the ideas of Rousseau, and the young Herder.

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