By Andrew Bowie
New, thoroughly revised and re-written variation. bargains an in depth, yet asccesible account of the very important German philosophical culture of brooding about artwork and the self. appears to be like at contemporary old study and modern arguments in philosophy and conception 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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Extra info for Aesthetics and Subjectivity From Kant to Nietzsche
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. The spontaneity in question therefore cannot itself be part of sensuousness, because everything sensuous is part of the causally determined world given in intuition. What is given in sensuous intuition is synthesised by the understanding, according to the rules of judgement – the categories – whose employment Kant is trying to legitimate in the transcendental deduction.
XXXVIII). The activity of cognition therefore has a history in which it is motivated by pleasure, and pleasure is not something within the cognitive control of the subject. It is not surprising, then, as we shall see in a moment, that the pleasure occasioned by the aesthetic object derives precisely from its allowing our cognitive faculties to play in a manner that does not entail determination by concepts, thus suggesting that the ground of cognition is an activity which, like play, can take place for its own sake.
For something to become an object of knowledge the subsumption by the imagination in schematism must be added to by a further subsumption, in which the understanding discovers, as Scheible puts it, ‘the one characteristic which allows a replacement of the intuitive synthesis of the imagination by the abstract unity of the conceptual system’ (p. 120). The object becomes reduced to the terms of the subject via which, in Kant’s account, it 34 Aesthetics and subjectivity becomes an object at all. The working of understanding can consequently be regarded both as entailing a possible repression of my particular imaginative relationship to the object and as failing to integrate its products into a systematic whole.
Aesthetics and Subjectivity From Kant to Nietzsche by Andrew Bowie