Classic and Romantic German Aesthetics (Cambridge Texts in the History of Philosophy)

Classic and Romantic German Aesthetics (Cambridge Texts in the History of Philosophy)

Language: English

Pages: 356

ISBN: 0521001110

Format: PDF / Kindle (mobi) / ePub

This volume brings together major works by German thinkers who were extremely influential in the crucial period of aesthetics prior to and after Kant. It includes the first translation into English of Schiller's Kallias Letters and Moritz's on the Artistic Imitation of the Beautiful, and new translations of some of Hölderlin's most important theoretical writings and works by Hamann, Lessing, Novalis and Schlegel. The volume features an introduction in which J.M. Bernstein places the works in their historical and philosophical context.

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which on neither side takes place without hot tears: d†krua qerm‡ c”ontev. But Priam forbids his Trojans to weep; ouìdì e­a klaié ein Prié amov m”gav. He forbids them to   Danish hero and legendary founder of the town of Jomsburg. ‘shedding hot tears’.  ‘but the great Priam forbade them to weep’.  ‘Laoco¨on: An Essay on the Limits of Painting and Poetry’ weep, says Dacier, because he dreads that they will weaken themselves too much and return to battle on the morrow with less

changes in the already known and to new combinations of old subjects. That, too, is actually the idea which the manuals of painting connect with the word Invention. For although certainly they divide into the pictorial and the poetic, yet the poetic is not made to consist in the production of the design itself, but purely in the arrangement or the expression. It is invention, but not invention of the whole, only of separate parts and their position in relation to each other. It is invention, but

papillarum quam fuit apta premi! Quam castigato planus sub pectore venter! Quantum et quale latus! quam juvenile femur! –    Iliad, , –: ‘Small blame that Trojans and well-greaved Achaeans should for such a woman suffer woes for so long; for she is indeed like an immortal goddess to look upon.’ Sappho (c.  ), poetess of Lesbos. Ovid, Amores, , , lines –: What arms and shoulders did I touch and see, How apt her breasts were to be press’d by me! How smooth a belly

and, furthermore, the whole prophecy is resolved in the end into a play upon words. Dante, too, prepares us not only for the story of the starvation of Ugolino by the most loathsome and horrible situation in which he places him in hell with      Hymn to Ceres, lines – and  f.: ‘And he devoured the cow which his mother had raised for Hestia [Vesta], as well as the racehorse and the martial steed; and then the cat, at which small animals had trembled. Then this son of a

grasp the connection of things in itself, the whole world must bow to it.  From ‘On the Artistic Imitation of the Beautiful’ If we compare the noble in action and thought with the ignoble, we call the noble great and the ignoble small. – And if we again measure the great, the noble and the beautiful according to the height at which it towers over us, almost eluding our powers of comprehension, the concept of beauty will transform itself into the concept of the sublime. But insofar as the

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