The essays during this booklet examine the advanced and infrequently contradictory relationships among aesthetics and modernity from the past due Enlightenment within the 1790s to the Frankfurt university within the Nineteen 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 publication embeds aesthetic thought in broader social and cultural contexts and considers a variety of inventive practices in literature, drama, tune and visible arts. Contributions comprise study on Schiller’s writings and his paintings with regards to ethical sentimentalism, Romantic aesthetics, Friedrich Schlegel, Beethoven, Huizinga and Greenberg; philosophers comparable to Kierkegaard, Benjamin, Heidegger and Adorno; and thematic methods to Darwinism and Naturalism, smooth 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 lower than the auspices of the college of Nottingham on the Institute of German and Romance reviews, London, in September 2009.
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Additional resources for Aesthetics and Modernity from Schiller to the Frankfurt School
While it may appear to us mainly as a synonym for aesthetics as such, Baumgarten adds his theory of beauty to his concept of sense perception, or aisthesis, and thereby grounds his theory of art. The theory of beauty has to ensure that as far as possible it excludes sensory ugliness, not least as the latter is regarded as the sensory side of moral dubiousness. 5 ‘daß sie alles zu sehr a priori und wie aus der Luft hernimmt, und sich also auch in der Luft allgemeiner Sätze verliert’, Herder, ‘Von Baumgartens Denkart in seinen Schriften’, 191.
30 GUSTAV FRANK words, autonomy does not just mean self-referentiality, but art’s freedom to choose its subject matter and how it treats it. The increasingly radical separation from the prescriptions of tradition, poetics and rhetoric – exemplified in Sentimentalism, and even more in Storm and Stress – provides more than suf ficient evidence for this, and has been described often enough. For the first time in its history, literature too is able to construe its techniques as its sole defining feature, tapping into the history of these techniques as well as devoting itself to the expansion of its formal range.
Schlegel, Studium, 222. 48 Maike Oergel For Schlegel these features are the mark of the modern condition. Schiller begins his essay on Naïve und Sentimental Poetry with a similar description of the inharmonious, internally disjointed state of modernity, and modern art and thought. Both Schiller and Schlegel present critiques of modernity that rely on increasingly established criteria for cultural assessment going back to the middle of the eighteenth century, to the ideas of Rousseau, and the young Herder.
Aesthetics and Modernity from Schiller to the Frankfurt School