The essays during this publication examine the complicated and sometimes contradictory relationships among aesthetics and modernity from the overdue Enlightenment within the 1790s to the Frankfurt college within the Sixties and have interaction with the vintage German culture of socio-cultural and aesthetic concept that extends from Friedrich Schiller to Theodor W. Adorno. whereas modern discussions in aesthetics are frequently ruled via summary philosophical techniques, this ebook embeds aesthetic thought in broader social and cultural contexts and considers a variety of inventive practices in literature, drama, track and visible arts. Contributions comprise study on Schiller’s writings and his paintings when it comes to ethical sentimentalism, Romantic aesthetics, Friedrich Schlegel, Beethoven, Huizinga and Greenberg; philosophers resembling Kierkegaard, Benjamin, Heidegger and Adorno; and thematic ways to Darwinism and Naturalism, glossy tragedy, postmodern realism and philosophical anthropology from the eighteenth century to the current day. This publication relies on papers given at a global symposium held less than the auspices of the college of Nottingham on the Institute of German and Romance reports, London, in September 2009.
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Additional info for Aesthetics and Modernity from Schiller to the Frankfurt School
Würzburger Schiller-Vorträge 2005 (Würzburg: Königshausen & Neumann, 2007), 1–24. Schmitz-Emans, M. ‘Die Zauberlaterne als Darstellungsmedium. Über Bildgenese und Weltkonstruktion in Schillers Geisterseher’, in W. Hinderer and A. von Bormann, eds, Friedrich Schiller und der Weg in die Moderne (Würzburg: Königshausen & Neumann, 2006), 375–400. Segeberg. H. Literatur im technischen Zeitalter. Von der Frühzeit der deutschen Aufklärung bis zum Beginn des Ersten Weltkriegs (Darmstadt: WBG, 1997).
The Prince fails to take this crucial third step, which involves engaging in suitable social activity and choosing a suitable spouse. This is the point at which the second plot is instigated by the group associated with the Armenian, and this time they manage to catch the Prince by exploiting his uncontrolled sensuality. 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.
Consequently, a split develops from the 1780s onwards. Because philosophical aesthetics is not developed in a way that would enable it to adequately describe the historical and cultural variety of the arts, at this moment it splits into two strands. The first of these is philosophical aesthetics, founded in Kant’s Critique of Judgement in 1790, whose compelling arguments resonate to the present-day. In view of the empirical wealth of artistic production and its diversification, Kant shies away from concrete examples to focus on general principles such as ‘the beautiful’ or ‘the sublime’.
Aesthetics and Modernity from Schiller to the Frankfurt School