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 modern ancient study and modern arguments in philosophy and idea within the humanities.
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Extra resources for Aesthetics and Subjectivity : From Kant to Nietzsche (2nd edition)
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. Although music is manifested in sensuous material, it does not necessarily represent anything and may in consequence be understood metaphorically as articulating or evoking what cannot be represented in the subject, namely the supersensuous basis of subjectivity which concepts cannot describe, where necessity and freedom are reconciled.
Whether this ‘common sense’ is a ‘constitutive principle of the possibility of experience’ or only a ‘regulative principle’, for creating ‘a common sense for higher purposes’ (B p. 68), Kant leaves open. However, he does insist that we necessarily presuppose such a norm if we wish to make valid claims about taste, because such claims depend upon a diﬀerence between mere contingent individual pleasure and what we think everyone ought to be able to agree about. As he already claimed in 1769–70: ‘Contemplation of beauty is a judgement, and not a pleasure’ (Kant 1996 p.
Kant here adverts to forms of intelligibility which scientiﬁc knowledge can never make accessible and which are fundamental to our comprehension of our own existence. Although the problems addressed here begin as epistemological ones, it is important to see how they also lead in other directions which are central to the issues of this book. Kant’s claims about organisms, for example, echo the second Critique’s concern that rational beings should always be ends in themselves, and not just the means for the ends of other beings.