Aesthetics and Modernity from Schiller to the Frankfurt by Jerome Carroll, Steve Giles, Maike Oergel

By Jerome Carroll, Steve Giles, Maike Oergel

The essays during this publication examine the complicated and sometimes contradictory relationships among aesthetics and modernity from the overdue 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 conception that extends from Friedrich Schiller to Theodor W. Adorno. whereas modern discussions in aesthetics are usually ruled by means of summary philosophical techniques, this booklet embeds aesthetic idea in broader social and cultural contexts and considers quite a lot of creative practices in literature, drama, song and visible arts. Contributions contain learn on Schiller’s writings and his paintings with regards to ethical sentimentalism, Romantic aesthetics, Friedrich Schlegel, Beethoven, Huizinga and Greenberg; philosophers similar to Kierkegaard, Benjamin, Heidegger and Adorno; and thematic ways to Darwinism and Naturalism, sleek tragedy, postmodern realism and philosophical anthropology from the eighteenth century to the current day. This ebook is predicated on papers given at a world symposium held below the auspices of the collage of Nottingham on the Institute of German and Romance reports, London, in September 2009

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For, as we have already noted, the final writer of the text as a whole, in the guise in which he appears to us, presents himself simply as the obscure S. – though the represented world of the text fails to provide even the most gullible reader with any reasonable grounds for identifying him with the classical author Schiller. The media aesthetic that Schiller presents to us in The Ghost-Seer is modern in the sense that it deals with the most scientifically advanced 19 For further discussion, see Kittler, Optische Medien; Mergenthaler, Sehen schreiben – Schreiben sehen; and Schmitz-Emans, ‘Die Zauberlaterne als Darstellungsmedium.

This triumph of orthodoxy in relation to the exemplary figure of the Prince indicates weak points in the Enlightenment project as a whole. However, the real import of this triumph only becomes clear when we look more closely at the narrative techniques used in this story of failure. Its date of composition is clearly later than 1774, while its date of publication (initially in Schiller’s periodical Thalia in 1787 and 1789) is clearly more recent. The Prince has been dead for some time, as have most of the other participants, while the writer – Count von O.

However, the real import of this triumph only becomes clear when we look more closely at the narrative techniques used in this story of failure. Its date of composition is clearly later than 1774, while its date of publication (initially in Schiller’s periodical Thalia in 1787 and 1789) is clearly more recent. The Prince has been dead for some time, as have most of the other participants, while the writer – Count von O. – tells us in the first book version (1789) that he expects to die before his work is published.

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