By Andrew Bowie
New, thoroughly revised and re-written variation. deals an in depth, yet asccesible account of the very important German philosophical culture of brooding about artwork and the self. seems to be at fresh ancient study and modern arguments in philosophy and concept 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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Additional resources for Aesthetics and Subjectivity From Kant to Nietzsche
It is only through a synthesis of diﬀerent moments of such consciousness that I can become aware of the identity of my own self-consciousness across time and can have a principle of unity for my representations. Synthesis is dependent upon an act of ‘spontaneity’ (B p. 133): it is ‘self-caused’, rather than being caused by something else. If it were the result of something else the task would then be to ground that something else in something else as its cause, and so on, either until one found a ﬁrst cause, or ad inﬁnitum, in which case the synthesis would never happen, and selfconsciousness – and knowledge – would become impossible.
E. at the same time as art’ (p. 30). ‘Art’ here has the Greek sense of ‘techne’, the capacity to produce in a purposive way. Natural products appear to contain an ‘idea’ which makes them take the form they do, in the way an artist can realise an idea by making a work of art. It is as if the whole of an organism preceded the parts which we can analyse in the terms of the understanding: ‘An organised product of nature is that in which everything is an end and on the other hand also a means. Nothing in it is in vain, pointless, or to be attributed to a blind mechanism of nature’ (B p.
Discussing the categorical imperative – ‘Act only according to that maxim through which you can at the same time will that it becomes a universal law’ (BA p. 52) – he says that our consciousness of the imperative is a ‘fact of reason’. Evidence for this fact would, though, require access to freedom, which would entail ‘an intellectual intuition which one cannot in any way accept here’ (A p. 57). In both the theoretical and the practical parts of his philosophy, then, Kant leaves a gap where the articulation of the highest principle should be located.
Aesthetics and Subjectivity From Kant to Nietzsche by Andrew Bowie