By Andrew Bowie
New, thoroughly revised and re-written variation. bargains a close, yet asccesible account of the very important German philosophical culture of pondering paintings and the self. seems to be at fresh historic examine and modern arguments in philosophy and thought within the humanities, following the trail of German philosophy from Kant, through Fichte and Hölderlin, the early Romantics, Schelling, Hegel, Schleiermacher, to Nietzsche.
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Extra resources for Aesthetics and Subjectivity From Kant to Nietzsche
This means, though, that the identity of consciousness actually seems to depend upon the multiplicity of intuitions which it synthesises according to the prior rules of the understanding. In the later-added passage on the ‘refutation of idealism’ Kant claims that ‘even our inner experience, which was indubitable for Cartesius, is only possible under the presupposition of external experience’ (B p. 275). However, Kant also claims in the Deduction that the synthesising process itself is what enables me to identify myself: ‘only via the fact that I can grasp the manfold [of representations] in one consciousness do I call them all my representations, for otherwise I would have a self which is as diﬀerently multi-coloured as I have ideas of which I am conscious’ (B p.
It is no coincidence that attention to the Faust story in this period is so widespread. Divorced from any sense 26 Aesthetics and subjectivity of the possibility of its goals being integrated into a meaningful whole, the sort of science which reduces nature to being a rule-governed machine can be seen as leading to what Horkheimer and Adorno will term a ‘dialectic of enlightenment’, in which liberation from theological tutelage creates new forms of imprisonment, despite the massive increase in technical control over nature.
Now this might seem to make aesthetic judgement ‘merely subjective’ in the manner referred to by Gadamer in Truth and Method, where he talks of Kant’s ‘subjectiﬁcation’ of aesthetics. However, Kant’s argument cannot be seen in this manner, not least because he 30 Aesthetics and subjectivity will come to regard the role of feeling as ineliminable even from the theory of knowledge. Objectivity itself, he argues in the CJ, must have some kind of ground in feeling. Although we now derive no pleasure from the synthesising activity of the understanding: ‘in its time there must have been some, and only because the most common experience would not be possible without it did it gradually mix with simple cognition and was no longer particularly noticed any more’ (CJ B p.
Aesthetics and Subjectivity From Kant to Nietzsche by Andrew Bowie