The essays during this e-book examine the complicated and infrequently contradictory relationships among aesthetics and modernity from the overdue Enlightenment within the 1790s to the Frankfurt university within the 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 usually ruled via summary philosophical techniques, this publication embeds aesthetic conception in broader social and cultural contexts and considers a variety of inventive practices in literature, drama, track and visible arts. Contributions comprise learn on Schiller’s writings and his paintings on the subject of ethical sentimentalism, Romantic aesthetics, Friedrich Schlegel, Beethoven, Huizinga and Greenberg; philosophers akin to Kierkegaard, Benjamin, Heidegger and Adorno; and thematic techniques to Darwinism and Naturalism, sleek tragedy, postmodern realism and philosophical anthropology from the eighteenth century to the current day. This booklet 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 experiences, London, in September 2009.
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Extra resources for Aesthetics and Modernity from Schiller to the Frankfurt School
Die Zauberlaterne als Darstellungsmedium. Über Bildgenese und Weltkonstruktion in Schillers Geisterseher’, in W. Hinderer and A. von Bormann, eds, Friedrich Schiller und der Weg in die Moderne (Würzburg: Königshausen & Neumann, 2006), 375–400. Segeberg. H. Literatur im technischen Zeitalter. Von der Frühzeit der deutschen Aufklärung bis zum Beginn des Ersten Weltkriegs (Darmstadt: WBG, 1997). Sheppard, R. ‘The Problematics of European Modernism’, in S. , Theorizing Modernism. Essays in Critical Theory (London: Routledge, 1993), 1–51.
This is also the case with precursor texts such as the programmatic poetry and fictional prose of Friedrich Schiller and the self-referential and parabatic comedy of Ludwig Tieck. This intrapoetic aesthetic, which encompasses the entire field of aisthesis, reaches a 11 12 This process has been convincingly described in Staf ford’s Artful Science as a decline of visual education, though she does not examine the ideological contexts of this decline as outlined in my discussion. My usage of the term ‘media aesthetics’ here is anachronistic, in the sense that a coherent media theory was not developed until the 1940s, after which it was restricted to those media that addressed the masses as a uniform entity and, above all, sought to inf luence them.
Leaves us in no doubt that the good-natured and pious F*** lacked the perspicacity to even remotely see through the web of intrigue enveloping the Prince. O. himself was also compelled to leave Venice due to the interventions of the plotters – as he puts it, ‘of an invisible hand’17 – in order to rectify their deliberate disruption of his own af fairs in his homeland. , other members of the Prince’s entourage were skilfully removed, and replaced with emissaries of this ‘invisible hand’. F***, however, whose letters are cited by O.