I argue that Plato’s deployment of the resumptive phrase πάλιν ἐξ ἀρχῆς illuminates the philosophical significance of his art of transition in Socratic dialogues. These explicit calls for a new beginning often appear when a conversation fails to account for two particular elements of ordinary experience: assumptions about whole-part relations and about the interlocutor’s self-conception as a being responsive to basic rational and normative distinctions. Returning to the archē is a form of ἀνάμνησις, reminding us that these assumptions constitute true, (...) but inarticulate, opinions of a fundamental kind. They are the preconditions for discourse that philosophical διαλέγεσθαι must preserve and ground. (shrink)

A tono con esta afortunada relevancia de las mujeres (hay un gran estallido en todo el mundo del arte y la literatura de magníficas calidades, hechos por mujeres), vienen aquí cinco artistas argentinas: Carla Rey, Silvana Blasbalg, Romina Linder, Gabriela Juárez y Ana Lía Werthein, de entre muchas otras artistas plásticas que pertenecen al colectivo Instantes Gráficos, presidido y fundado en la ciudadbonaerense desde 1999 por la también artista Carla Rey.

This handbook explores the ways biomedicine and pop culture interact while simultaneously introducing the reader with the tools and ideas behind this new field of enquiry. From comic books to health professionals, from the arts to genetics, from sci-fi to medical education, from TV series to ethics, it offers different entry points to an exciting and central aspect of contemporary culture: how and what we learn about scientific knowledge and its representation in pop culture. Divided into three sections the handbook (...) surveys the basics, the micro-, and the macroaspects of this interaction between specialized knowledge and cultural production: After the introduction of basic concepts of and approaches to the topic from a variety of disciplines, the respective theories and methods are applied in specific case studies. The final section is concerned with larger social and historical trends of the use of biomedical knowledge in popular culture. Presenting over twenty-five original articles from international scholars with different disciplinary backgrounds, this handbook introduces the topic of pop culture and biomedicine to both new and mature researchers alike. The articles, all complete with a rich source of further references, are aimed at being a sincere entry point to researchers and academic educators interested in this somewhat unexplored field of culture and biomedicine. (shrink)

Machine learning (ML) is increasingly used to enhance production systems and meet the requirements of a rapidly evolving manufacturing environment. Compared to larger companies, however, small- and medium-sized enterprises (SMEs) lack in terms of resources, available data and skills, which impedes the potential adoption of analytics solutions. This paper proposes a preliminary yet general approach to identify low-cost analytics solutions for manufacturing SMEs, with particular emphasis on ML. The initial studies seem to suggest that, contrarily to what is usually thought (...) at first glance, SMEs seldom need digital solutions that use advanced ML algorithms which require extensive data preparation, laborious parameter tuning and a comprehensive understanding of the underlying problem. If an analytics solution does require learning capabilities, a ‘simple solution’, which we will characterise in this paper, should be sufficient. (shrink)

It is the aim of this work to examine the pivotal role of Johann Joachim Winckelmann (1717-1768) as a judge of classical sculpture and as a major contributor to German art criticism. John Harry North seeks to identify the key features of his treatment of classical beauty, particularly in his famous descriptions of large-scale classical sculpture. Five case studies are offered to demonstrate the academic classicism that formed the core of his philosophy of art. North aims to establish Winckelmann's (...) place in the development of the German language. His prose contributed to a literary style that was suitable for the expression of an emotional response to visual experiences. His use of rhetoric in the assessment of classical art, however, make his judgements propagandist rather than analytical. The published works of Winckelmann, his draft essays and his collected private correspondence are advanced as criteria in the evaluation of his impact on the development of German classicism that culminated in the Weimar group of poets and writers. His Grecophile enthusiasm, however, led him to introduce stylistic categories in the development of classical marble sculpture that are no longer regarded as truly reflecting the evolution of Greco-Roman art. Thus his historicity and his classification of styles remain in doubt. Winckelmann proposed that the training of modern artists should concentrate on the observation and imitation of classical models instead of looking to nature as the source of inspiration. This plan succeeded to some extent in the generation that followed his untimely death. Throughout the succeeding century, artists and their sponsors did favour classical models and developed stylistic classicism in European freestanding sculpture, in painting and in architecture. (shrink)

Music's status as an art form was distrusted in the context of German idealist philosophy which exerted an unparalleled influence on the entire nineteenth century. Hegel insisted that the content of a work of art should be grasped in concepts in order to establish its spiritual substantiality (Geistigkeit), and that no object, word or image could accurately represent the content and meaning of a musical work. In the mid-nineteenth century, Friedrich Theodor Vischer and other Hegelian aestheticians kept insisting on (...) art's conceptual clarity, but they adapted the aesthetic system on which this requirement had been based. Their adaptations turned out to be decisive for the development of music criticism, to such an extent that music critics used them to point out musical content and to confirm music's autonomy as an art form. This book unravels the network of music critics and philosophers, including not only Hegel but also Franz Liszt, Franz Brendel, and Eduard Hanslick, whose works shaped public opinions of music."--Publisher's description. (shrink)

The year Leo Strauss published "Persecution and the Art of Writing" (1941), he prepared a lecture ("German Nihilism") that he never published. An analysis of this lecture shows that Strauss hadn't fully mastered the art of writing he'd discovered in others: his secrets are too exposed. In the context of "German Nihilism," it becomes clear that "Persecution and the Art of Writing" is about liberal persecution of authoritarianism, no the reverse, as liberals would assume. In response to recent (...) apologias presenting Strauss as a liberal who didn't "write between the lines," a Strauss-style reading of "German Nihilism" disproves both claims. (shrink)

To date, critical engagement with Arnold Hauser’s sociology of art has been confined to the field of art history. This perspective has ignored Hauser’s interest in literary history, which I argue is essential to his project. Hauser’s dialectical model, composed of conflicting realist and formalist tendencies, extends to the literary sphere. In The Social History of Art, these two traditions are epitomised by the Russian social novel and German idealism. Anti-enlightenment tendencies in German intellectual culture provide Hauser with (...) evidence of idealism’s propensity for escapism and reaction. Conversely, he extols the Russian social novel as the naturalistic art form par excellence. Because the intelligentsia is central to Hauser’s understanding of the formation of literary culture, this paper provides an outline of his sociology of intellectuals. Through a comparison of the German and Russian literary intelligentsia, this paper shows that Hauser’s analysis of literature is often more complex than his sociological interpretations of the visual arts. (shrink)

When, in 1735, Alexander Gottlieb Baumgarten added a new discipline to the philosophical system, he not only founded modern aesthetics but also contributed to shaping the modern concept of art or 'fine art'. In The Founding of Aesthetics in the German Enlightenment, Stefanie Buchenau offers a rich analysis and reconstruction of the origins of this new discipline in its wider context of German Enlightenment philosophy. Present-day scholars commonly regard Baumgarten's views as an imperfect prefiguration of Kantian and post-Kantian (...) aesthetics, but Buchenau argues that Baumgarten defended a consistent and original project which must be viewed in the context of the modern debate on the art of invention. Her book offers new perspectives on Kantian aesthetics and beauty in art and science. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Enchantment of Art: Abstraction and Empathy from German Romanticism to ExpressionismDavid MorganA familiar tradition since the eighteenth century has invested art with the power to heal a decadent human condition. Inheriting this ability from religion—the romantic enthusiast Wilhelm Wackenroder considered artistic inspiration to originate in “divine inspiration” in the case of his hero, Raphael 1 —art eventually replaced institutionalized belief in an evolutionary schedule of cultural development (...) determined by German idealism. Hegel, for instance, theorized the evolution of spirit from religion to art as a qualitative advancement over time. Rejecting the metaphysics of German idealism, Friedrich Nietzsche nevertheless contended that “Art raises its head where religions decline.” By assuming the “feelings and moods” of religion which had been dismantled by enlightenment, Nietzsche claimed that art gave new form to the life of feeling and imbued human endeavors with a “loftier, darker coloration.” 2 In the early twentieth century Wassily Kandinsky believed that the “spiritual in art” was the historical manifestation of an “inner necessity” that was in itself timeless and universal. Kandinsky portrayed the “life of the spirit” as “a large acute-angled triangle divided horizontally into unequal parts.” In a kind of “trickle down” aesthetic, the compartments of the triangle move slowly upward toward the apex, which is inhabited by the solitary genius of an age whose vision gradually elevates all those who occupy the lower stages. 3 [End Page 317]The point for proponents of the spiritual in art from romanticism to expressionism (and beyond) was to find in works of art what can best be described as an enchantment. 4 As the negotiation of the gaps or disjunctures separating human beings from complete power over their lives, enchantment conjoins the plane of immediate human experience to a desirable state of affairs through the mediation of such symbolic devices as rituals, incantations, or charms. Thus, evil can be warded off by the use of an apotropaic amulet, and fertility can be enhanced by the recitation of a suitable prayer or the performance of a certain ritual. In a modern analogy a sense of impotence is often alleviated by a trip to the mall where the bored therapeutically lose themselves in symbolic acts of self-renewing consumption. In the traditions of philosophy and science, systems of representation such as astrology, the microcosm, the harmony of the spheres, the great chain of being, the celestial hierarchies, or the mechanisms of theurgy and divination situate humanity within a cosmos that follows a particular order accessible to and in some degree manipulable by human beings. Enchantment consists of an apparatus of belief whose form of representation or enactment is thought to exert influence over the realities it configures.But enchantment is not limited to the spells and magic of premodern metaphysics (or modern consumerism). By means of religion, morality, and aesthetics, Nietzsche once averred, “man likes to believe that... he is touching the heart of the world.” 5 This study will focus on the manner in which art as constructed within the idealist tradition of German art theory functioned as an enchantment. Specifically, it will explore what the history of ideas about abstraction and empathy has to tell us about the spiritualization or enchantment of art. After identifying the philosophical and aesthetic wherewithal of enchantment in nineteenth-century Germany, attention focusses on Franz Marc’s early twentieth-century theorization of abstraction. It is certainly more customary to study Kandinsky, whose writings and early efforts at abstraction are much better known, but Marc’s ideas offer more immediate connections to German intellectual history and clarify the aims of his abstract art as a strategy of enchantment. Moreover, Marc was unusually articulate and wrote often, exploring ideas and artistic efforts with great insight. Focusing on Marc therefore offers a corrective to the historiography that has favored Kandinsky’s writings. Finally, Marc differed from his Russian friend over the cause of the war. Manifesting a difference that is portentous for this study, Kandinsky left Germany for Russia in 1914, while Marc enthusiastically took up arms for the fatherland. Given these circumstances and the unfortunate tendency of art historians to valorize expressionist art rather than situate it in the ideological context of... (shrink)

The philosophy of the art of living asks the age-old question of orienting one’s own life: ‘How can I live well?’ An art of living is always called for when people do not know what to do and how to go on, when the ways of life are no longer self-evident, when traditions, conventions, rules, and norms lose their plausibility and individuals begin to worry about themselves. The art of living and of its philosophy has a practical aim: It is (...) not concerned with ethical principles, but with the concrete practice of people’s everyday life, with their individual and successful lives. Friedrich Nietzsche, as he often did, pushed the problem of the art of living to the extreme, making it palpable both in its dignity and in its force. For him, the modern uncertainty of human orientation caused by nihilism pointed to art and aesthetics, which, he supposed, makes life if not justifiable, at least bearable. The arts open up a multi-perspectival seeing and hearing, they experiment with alternative forms and techniques, and create the finest sensibilities for both – Nietzsche himself, with his rich forms of philosophical writing, is an outstanding example of this. -/- The volume we present here, entails contributions of German-speaking scholars on Nietzsche and the ways of living he proposes, especially, but not alone in Dawn. The papers are selected from a book series on the common issue “Critical Art of Living,” edited by Günter Gödde, Jörg Zirfas, and others, and translated on behalf of the Foundation for Philosophical Orientation. (shrink)

The essence of expressionism.--The vivifying of space.--A candidate for immortality [Otto Braun]--The machine as slave and master.--The "absolute" poem--A pæau against the age.--The architecture of aspiration.--The visible symphony.--Figures of war and forces of death.--The laughing synthesis.--Activistic architecture.--The dynamic dramatist.--The intensive Shakespeare.--The chromatic "Othello".--The drama on fire.--"The machine-storemers."--The organization of the spirit.

This 1935 book studies the powerful influence exercised by Ancient Greek culture on German writers from the eighteenth century onwards.

My focus in this article is on a small group of German theorists, designers and patrons who thought extensively about the relationship between national identity and garden design: Christian Hirschfeld, Prince Franz von Anhalt-Dessau and his wife Luise, Johann Wolfgang von Goethe, and Prince Pückler. These garden enthusiasts knew one another through personal contact or their writings, and they responded to and developed their ideas in relation to the newly framed creative enterprise in German lands of “garden-landscape-art”. What (...) they shared was a conviction that garden forms affect feelings, with the role of the garden artist to determine paths that would alter and diversify the visitor’s experience of place. This essay explores how spontaneous emotions, elicited by movement through the garden, were linked with a growing sense of patriotism that contrasted with cosmopolitan judgments in the writings of Hirschfeld, Pückler, and Goethe. (shrink)

This book, first published in 2002, is a systematic critical overview of German aesthetics from 1750 to the present. It begins with the work of Baumgarten and covers all the major writers on German aesthetics that follow, including Kant, Schiller, Schelling, Hegel, Nietzsche, Heidegger, Gadamer and Adorno. The book offers a clear and non-technical exposition of ideas, placing these in a wider philosophical context where necessary. Such is the importance of German aesthetics that the market for this (...) book will extend far beyond the domain of philosophy to such fields as literary studies, fine art and music. (shrink)

This article sheds light on the relationship between religious philosophy and music to emphasize the formulation of religious emotions in art songs. This study's theoretical framework is based on the "Theory of Religious Philosophy and Music" Using these concepts, this paper explores the religious feelings associated with German and Austrian Art Songs by Bach and Gounod's "Ave Maria." The religious emotions of connectedness with God, serenity and love, faith in the heavens and angels, and the assistance of Christ and (...) the Virgin Mary in "Ave Maria" are ultimately a means of bridging music and religious philosophy. (shrink)

Lozano-Vásquez, Andrea y Meléndez, Germán, comps. Convertir la vida en arte: una introducción histórica a la filosofía como forma de vida. Bogotá: Universidad Nacional de Colombia, 2016. 389 pp.

Two German philosophers working during the Weimar Republic in Germany, between the two World Wars, produced seminal texts that continue to resonate almost a hundred years later. Franz Rosenzweig—a Jewish philosopher, and Martin Heidegger—a philosopher who at one time was studying to become a Catholic priest, each in their own, particular way include in their writings powerful philosophies of art that, if approached phenomenologically and ethically, provide keys to understanding their radically divergent trajectories, both biographically and for their philosophical (...) heritage. Simon provides a close reading of some of their essential texts—The Star of Redemption for Rosenzweig and Being and Time and The Origin of the Work of Art for Heidegger—in order to draw attention to how their philosophies of art can be understood to provide significant ethical directives. (shrink)

The path taken by German philosophy in the twentieth century is one of the most exciting and controversial in the history of human thought, by turns radical and conservative and secular and religious. In this outstanding introduction, German Philosophy in the Twentieth Century: Dilthey to Honneth--the third and final volume in his trilogy, Julian Young examines the work of eight German philosophers and theologians of the period. He shows how they engaged with profound existential questions about individual (...) and collective lives, criticised the increasing rationalisation and mechanisation characteristic of modernity, and committed themselves to varying forms of liberalism, socialism and democracy. Young introduces and assesses the thought of the following figures: Wilhelm Dilthey, the encroachment of the natural sciences upon the study of humanity and his distinction between 'explanation' and 'understanding'; Karl Jaspers, existentialism, the challenge of nihilism and the turn to theology; Edith Stein, our understanding of other people and the philosophy of empathy from a phenomenological standpoint; Paul Tillich, philosophical theology and the 'theonomous' life; Martin Buber, Recovering the 'I-Thou' relationship in the face of modernity and religious socialism; Hans Jonas, responsibility, selfhood and threats to humanity in the twentieth century; Erich Fromm, the 'art of loving' as a bulwark against totalitarianism and the replacement of capitalism by communitarian socialism; Axel Honneth, contemporary Hegelianism and the ethics and politics of recognition. Lucidly and engagingly written, German Philosophy in the Twentieth Century: Dilthey to Honneth is essential reading for students of German philosophy, phenomenology and theology and will also be of interest to students in related fields such as literature, political theory and sociology. (shrink)

This anthology, part of a three-volume series devoted to German aesthetic and literary criticism from the eighteenth and nineteenth centuries, charts the development of aesthetic and literary theory in Germany in the latter half of the eighteenth century and its emancipation from the hitherto dominant influence of France. This development helped to produce an unprecedented flowering of German culture and art which culminated in the classicism of Goethe and Schiller and in the rise of the Romantic movement, with (...) momentous consequences for Europe as a whole. The texts gathered together here represent the main theoretical phases in this process. Their unifying theme is classicism and the author examines the theories of Winckelman, Lessing, Herder, Schiller and Hamann. The volume concludes with Goethe's essay on Winckelmann, which is both a reaffirmation of neo-classical principles and a definitive statement of the mature Goethe's own aesthetic theory. (shrink)

Adolf Menzel was one of the most important German artists of the 19th century, yet he is scarcely known outside his native land. In this study a leading art historian argues that Menzel deserves to be recognized not only as one of the greatest painters and draftsmen of his century but also as a master realist whose work engages profoundly with an extraordinary range of issues - artistic, scientific, philosophical and socio-political. Michael Fried explores Menzel's large and fascinating oeuvre, (...) and in so doing seeks to make the artist's achievement accessible to a wide audience. (shrink)

In recent years, it has become widely accepted that linguistic questions were much more central to the philosophical tradition of German idealism than had been previously thought. However, most of the key texts for this discussion remain largely unknown. The present work makes available, for the first time in English, what is the seminal work for this issue: Johann Gottlieb Fichte's monograph of 1795 entitled On the Linguistic Capacity and the Origin of Language, together with other closely related essays. (...) The translations are accompanied by a detailed interpretive essay that seeks to place these materials in their historical context, relate them to the systematic concerns of German idealism, and evaluate them in relation to later approaches to language, especially those of semiotics and poststructuralism. It also explores the role played by the linguistic thought of the German idealists in the emergance of modern "scientific linguistics" with wilhelm von Humboldt, as well as its connections with the origins of German romanticism. While the book draws upon state-of-the-art scholarship in these areas, it is written in such a way as to be accessible to any serious student of philosophy, intellectual and literary history, and linguistics. (shrink)

In this unique and comprehensive book, George McCarthy examines the influence of Greek philosophy, literature, arts, and politics on the development of twentieth-century German social thought. McCarthy demonstrates that the classical spirit vitalized thinkers such as Weber, Heidegger, Freud, Marcuse, Arendt, Gadamer, and Habermas. With the romancing of antiquity, they transformed their understanding of the modern self, political community, and Enlightenment rationality. By viewing contemporary social theory from the framework of the classical world, McCarthy argues, we are capable of (...) thinking beyond the limits of modernity to new possibilities of human reason, science, beauty, and social justice. (shrink)

Jennifer Anna Gosetti-Ferencei demonstrates that the exotic, as reflected in major works of German literature and in the philosophy and art that inspires it,..

A literary and philosophical examination of art's relation to the absolute as it is explicitly addressed in the works of Kant, Fichte, Schelling, Hegel, Schopenhauer, and Nietzsche.

Hans-Georg GADAMER, Hermeneutische Entwürfe. Vorträge und Aufsätze ; Pascal MICHON, Poétique d’une anti-anthropologie: l’herméneutique deGadamer ; Robert J. DOSTAL, The Cambridge Companion to Gadamer ; Denis SERON, Le problème de la métaphysique. Recherches sur l’interprétation heideggerienne de Platon et d’Aristote ; Henry MALDINEY, Ouvrir le rien. L’art nu ; Dominique JANICAUD, Heidegger en France, I. Récit; II. Entretiens ; Maurice MERLEAU-PONTY, Fenomenologia percepţiei ; Trish GLAZEBROOK, Heidegger’s Philosophy of Science ; Richard WOLIN, Heidegger’s Children. Hannah Arendt, Karl Löwith, Hans Jonas (...) and Herbert Marcuse ; Ivo DEGENNARO, Logos – Heidegger liest Heraklit ; O. K. WIEGAND, R. J. DOSTAL, L. EMBREE, J. KOCKELMANS and J. N. MOHANTY, Phenomenology on Kant, German Idealism, Hermeneutics and Logic ; James FAULCONER and Mark WRATHALL, Appropriating Heidegger. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 478-480 [Access article in PDF] The German Aesthetic Tradition,by Kai Hammermeister; xv & 259 pp. Cambridge: Cambridge University Press, 2002; $60.00 cloth; $22.00 paper. In some ways, aesthetic theory has become a thing of the past. With the exception of a kind of fascination with works such as T. W. Adorno's Aesthetic Theory, as a project, as a tradition, aesthetics has surrendered its (...) once monolithic and grandiose position as the philosophical contemplation of art and the notion of artistic beauty to more diminutive fields such as literary theory, poetics and cultural studies. In some ways, this is due to the very function of aesthetics: the philosophical investigation not simply of what is beautiful, but the formulation of prescriptive ideas about works of art and the judgement them according to these prescriptive ideas. This, in turn, has been looked upon with a certain degree of scorn with the rise of a more pluralistic art world and the bold denial that art needs the guidance of philosophy let alone have any prescriptive function or be able to be classified as "good" or "bad."But Kai Hammermeister's The German Aesthetic Tradition takes a very different view. A bold and difficult project, Hammermeister traces the complex and oftentimes abstruse contours of German aesthetic philosophy from its inception with Baumgarten in the eighteenth century through Adorno in the twentieth. In the process, he not only provides us with an excellent historical-philosophical account of the development of German aesthetic philosophy, he also implicitly argues for the relevance of aesthetics as a way not only of comprehending art, but of understanding the cohesive links between art, society, culture and philosophy.The German aesthetic tradition, as Hammermeister refers to it, was a prolonged intellectual argumentation with classical conceptions of art and beauty inherited from classical Greek thought during the eighteenth century. Classical aesthetics was dominated by two opposing conceptions of art and its function. For Plato, art mirrored the outside world (mimesis) and the judgement of good works of art was based on how well this mirroring of the objective world was carried out. Aristotle's idea was that art served a purgatory function (katharsis), cleansing the emotions of the individual through the identification of the observer with the work of art. All of the thinkers in the German tradition wrestle with this dual conception of art in some form privileging one over the other or, more often than not, combining them and extending their explanatory reach. But as in any tradition, they also struggle with the ideas and philosophies of previous thinkers within the tradition itself making Hammermeister's task more complex, one that he handles with adroitness and precision.The book's overarching argument and structure is triadic. Hammermeister sees the eighteenth century through German Idealism and Romanticism as [End Page 478] articulating a set of different paradigms for interpreting art. These are subsequently attacked in post-Hegelian philosophy and are then revived in different ways in the twentieth century as a reaction to Nietzsche's aestheticization of philosophy. Two paradigms emerge as central for the subsequent unfolding of the tradition. First, there is Immanuel Kant's conception of art as wholly separate from epistemology and from morality. For Kant, the work of art is centered in the experience of the subject and, in terms of form, exists outside its social context. This Hammermeister calls the "first strong paradigm of aesthetics" (p. 40). Next, there is the position of Friedrich Schiller who sees a connection between the work of art with culture, thought and morality. "[T]he culture of beauty demonstrates the freedom of man to turn himself into whatever being he envisions while remaining under the law of morality" (p. 57). For Schiller, there exists a kind of spillover effect of art into other domains of human thought and action—specifically in morality and politics—and this represents a crucial deviation from Kant's paradigm and another tendency within the tradition of German aesthetics, i.e., the aestheticization of other domains of human existence.Schelling and Hegel represent two other... (shrink)

IN THE winter and spring of 1031,1 was invited to give a series of ten lectures at Harvard University. The subject chosen was the Philosophy of Art; the lectures are the origin of the present volume. The Lectureship was founded in memory of William James and I esteem it a great honor to have this book associated even indirectly with his distinguished name. It is a pleasure, also, te recall, in connection with the lectures, the unvarying kindness and hospitality of (...) my colleagues in the department of philosophy at Harvard. I am somewhat embarrassed in an effort to acknowledge indebtedness to other writers on the subject. Some aspects of it may be inferred from authors mentioned or quoted in the text. I have read on the subject for many years, however, more or less widely in English literature, somewhat less in French and still less in German, and I have absorbed much from sources which I cannot now directly recall. Moreover, my obligations to a number of writers are much greater than might be gathered from allusions to them in the volume itself. My indebtedness to those who have helped me directly can be more easily stated. Dr. Joseph Ratner gave me a number of valuable references. Dr. Meyer Schapiro was good enough to read the twelfth and thirteenth chapters and to make suggestions which I have freely adopted. Irwin Edman read a large part of the book in manuscript and I owe much to his suggestions and criticism. Sidney Hook read many of the chapters, and their present form is largely the result of discussions with him; this statement is especially true of the chapters on criticism and the last chapter. My greatest indebtedness is to Dr. A. C. Barnes. The chaptershave been gone over one by one with him, and yet what I owe to his comments and suggestions on this account is but a small measure of my debt. I have had the benefit of con versations with him through a period of years, many of which occurred in the presence of the unrivaled collection of pictures he has assembled. The influence of these conversations, together with that of his books, has been a chief factor in shapingmy own thinking about the philosophy of esthetics. Whatever is sound in this volume is due more than I can say to the great educational work carried on in the Barnes Foundation. That work is of a pioneer quality comparable to the best that has been done in any field during the present generation, that of science not ex cepted. I should be glad to think of this volume as one phase of the widespread influence the Foundation is exercising. I am indebted to the Barnes Foundation for permission to reproduce a number of illustrations and to Barbara and Willard Morgan for the photographs from which the reproductions were made. J. D. (shrink)

Frederick Beiser, German Idealism: The Struggle Against Subjectivism, 1781–1801 Robert Richards, The Romantic Conception of Life: Science and Philosophy in the Age of Goethe All art should become science and all science art; poetry and philosophy should be made one. Friedrich Schlegel, Kritische Fragmente When two major studies on the same thematic appear roughly simultaneously, integrating not only their authors' respective careers but the revisions of a whole generation of scholarship, the moment cries out for stock-taking, both substantively and (...) methodologically. At a minimum, we need to recognize the key theses of our two protagonists and the frameworks they erect to uphold them. But we need even more to step back from that endeavor to wider considerations. I advance two claims in that light. First, something has been unearthed in these studies which speaks to urgent philosophical concerns of our day, namely the rise of naturalized epistemology and the need for a more encompassing naturalism. Indeed, I suspect this current interest may have incited discernment of just those aspects of the earlier age. That signals something essential about the point and practice of intellectual history, namely the mutuality, not opposition, of historicism and presentism. (shrink)