Art as the Absolute

Art's Relation to Metaphysics in Kant, Fichte, Schelling, Hegel, and Schopenhauer

Häftad, Engelska, 2017

AvPaul Gordon

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Art as the Absolute is a literary and philosophical investigation into the meaning of art and its claims to truth. Exploring in particular the writings of Kant and those who followed after, including Fichte, Schelling, Hegel, Schopenhauer, and Nietzsche, Paul Gordon contends that art solves the problem of how one can “know” the absolute in non-conceptual, non-discursive terms.The idea of art’s inherent relation to the absolute, first explicitly rendered by Kant, is examined in major works from 1790 to 1823. The first and last chapters, on Plato and Nietzsche respectively, deal with precursors and “post-cursors” of this idea. Gordon shows and seeks to reddress the lack of attention to this idea after Hegel, as well as in contemporary reassessments of this period. Art as the Absolute will be of interest to students and scholars studying aesthetics from both a literary and philosophical perspective.

Produktinformation

Utgivningsdatum2017-03-23
Mått156 x 240 x 12 mm
Vikt320 g
FormatHäftad
SpråkEngelska
Antal sidor216
FörlagBloomsbury Publishing Plc
ISBN9781501330551

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Preface Art as the Absolute: Kant, Fichte, Schelling, Hegel and SchopenhauerIntroduction The Symposium on Art and the Absolute1 Kant I: The Critique of Judgment2 Kant II: The Critique of Teleological Judgment3 Fichte: On the Spirit and the Letter in Philosophy4 Schelling I: The System of Transcendental Idealism5 Schelling II: The Philosophy of Art 6 Hegel: The Encycopedia and Lectures on Aesthetics7 Schopenhauer: The World as Will and RepresentationAppendix Nietzsche’s Wrath: Nietzsche’s Critique of the Kantian AbsoluteBibliography Index

German idealism, in the boldness of its textual and systematic design, in the innovative persistence of its investigations, and in its profound, multinational repercussions, has, over the past four decades, served contemporary critical theory as a primary 'scene of interpretation.' The critical community is in Paul Gordon's considerable debt for the fresh and conclusive update delivered by Art as the Absolute on the constellation of concepts and constructs crystallizing around the Romantic figure of the artist, and on the liberties, privileges, and restrictions attending this complex and ambiguous figure. The theoretical acumen and erudition that Gordon had to derive in order to synthesize this study are prodigious; yet in its directness of approach and presentation, this current status-report is accessible to advanced scholars and motivated undergraduates alike. Gordon's fresh readings of Kant, Fichte, Schelling, Hegel, and Schopenhauer, among others, will reside at the theoretical cutting-edge for some time to come.