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Idealism without Absolutes offers an ambitious and broad reconsideration of Idealism in relation to Romanticism and subsequent thought. Linking Idealist and Romantic philosophy to contemporary theory, the volume explores the multiplicity of different philosophical incarnations of Idealism and materialism, and shows how they mix with and invade each other in philosophy and culture. The contributors discuss a wide range of major figures in the long Romantic period, from Kant and Hegel to Nietzsche, as well as key figures defining the contemporary intellectual debate, including Freud, Heidegger, Adorno, Lyotard, Derrida, de Man, and Deleuze and Guattari. While preserving the significance of the historical period extending from Kant to the early nineteenth century, the volume gives the concept of Romantic culture a new historical and philosophical meaning that extends from its pre-Kantian past to our own culture and beyond.
Art as the Absolute is a literary and philosophical investigation into the meaning of art and its claims to truth. Exploring in particular the writings of Kant and those who followed after, including Fichte, Schelling, Hegel, Schopenhauer, and Nietzsche, Paul Gordon contends that art solves the problem of how one can ?know? the absolute in non-conceptual, non-discursive terms. The idea of art's inherent relation to the absolute, first explicitly rendered by Kant, is examined in major works from 1790 to 1823. The first and last chapters, on Plato and Nietzsche respectively, deal with precursors and ?post-cursors? of this idea. Gordon shows and seeks to reddress the lack of attention to this idea after Hegel, as well as in contemporary reassessments of this period. Art as the Absolute will be of interest to students and scholars studying aesthetics from both a literary and philosophical perspective.
Romantic Metasubjectivity Through Schelling and Jung: Rethinking the Romantic Subject explores the remarkable intellectual isomorphism between the philosophy of Friedrich Schelling and Carl Jung’s analytical psychology in order to offer a crucial and original corrective to the "reflection theory" of subjectivity. Arguing that the reflection theory of the subject does not do justice to the full compass of Romantic thinking about the human being, Romantic Metasubjectivity sees human identity as neither discursive aftereffect nor centred around a self-transparent "I" but rather as constellated around the centripetal force of what Novalis calls "The Self of one’s self." The author begins with a unique reading of Schelling’s early Naturphilosophie as primal site rather than Freudian scene, thinking this site through his Philosophical Inquiries Into the Nature of Human Freedom to The Ages of the World. Reading Jungian metapsychology and its core concepts as therapeutic amplifications of Schelling, the author articulates an intellectual counter-transference in which Schelling and Jung contemporise each other. The book then demonstrates how Romantic metasubjectivity operates in the libidinal matrix of Romantic poetry through readings of William Wordsworth’s The Prelude and Percy Shelley’s Prometheus Unbound. The book concludes with a discussion of the hit TV series Breaking Bad as a "case study" of the challenges Romantic metasubjectivity raises for fundamental ethical dilemmas which confront us in the twenty-first century. Romantic Metasubjectivity is a highly original work of scholarship and will appeal to students and scholars in German Idealism, Romanticism, philosophy, psychoanalysis, theory, Jung studies, and those with an interest in contemporary theories of the subject.
Exposes the core of tragic absolutes in German Romantic and Idealist philosophy.
Writing their early poetry during the 1790s, a decade of European revolution, Coleridge, Wordsworth and their friends have always been thought of as 'the First-Generation Romantics'. This book challenges that concept by viewing them from an entirely new perspective as poets who were continuing an eighteenth-century 'organic' tradition.
The Palgrave Handbook of German Idealism and Poststructuralism offers a wide-ranging dialogue between theory and German Idealism, joining up the various lines of influence connecting German Idealist and Romantic philosophies in all their variety to post-'68 European philosophies, from Derrida and Deleuze to Žižek and Malabou. Key features: Provides in-depth reflections on the various conversations between German Idealism and theory, including an expanded canon of Idealist philosophers and a wide range of contemporary anti-foundationalist thinkers. Includes marginalized voices and concepts that reflect both contemporary concerns as well as the sheer abundance of readings of German Idealism undertaken by European theorists over the last fifty years. Expands the existing scholarship by focusing on new, future directions emerging out of the idealism-theory relationship. The Palgrave Handbook of German Idealism and Poststructuralism is essential reading for researchers and students of all levels — from senior scholars to advanced undergraduates — working on the legacy of German Idealist philosophers within philosophy departments, as well as all those interested in theory from across the humanities.
Art and the Absolute restores Hegel's aesthetics to a place of central importance in the Hegelian system. In so doing, it brings Hegel into direct relation with the central thrust of contemporary philosophy. The book draws on the astonishing scope and depths of Hegel's Lectures on Aesthetics, exploring the multifaceted issue of art and the absolute. Why does Hegel ascribe absoluteness to art? What can such absoluteness mean? How does it relate to religion and philosophy? How does Hegel's view of art illuminate the contemporary absence of the absolute? Art and the Absolute argues that these aesthetic questions are not mere theoretical conundrums for abstract analysis. It argues that Hegel's understanding of art can provide an indispensable hermeneutic relevant to current controversies. Art and the Absolute explores the intricacies of Hegel's aesthetic thought, communicating its contemporary relevance. It shows how for Hegel art illuminates the other areas of significant human experience such as history, religion, politics, literature. Against traditional, closed views, the result is a challenge to re-read Hegel's aesthetic philosophy.
A lively challenge to postmodern opinion that reveals satisfying and reliable certainties.
"In association with the UCLA Center for Seventeenth- and Eighteenth-Century Studies and the William Andrews Clark Memorial Library."
This volume brings together a wide range of scholars to offer new perspectives on the relationship between Romanticism and philosophy. The entanglement of Romantic literature with philosophy is increasingly recognized, just as Romanticism is increasingly viewed as European and Transatlantic, yet few studies combine these coordinates and consider the philosophical significance of distinctly literary questions in British and American Romantic writings. The essays in this book are concerned with literary writing as a form of thinking, investigating the many ways in which Romantic literature across the Atlantic engages with European thought, from 18th- and 19th-century philosophy to contemporary theory. The contributors read Romantic texts both as critical responses to the major debates that have shaped the history of philosophy, and as thought experiments in their own right. This volume thus examines anew the poetic philosophy of Wordsworth, Coleridge, Blake, Shelley, and Clare, also extending beyond poetry to consider other literary genres as philosophically significant, such as Jane Austen’s novels, De Quincey’s autofiction, Edgar Allan Poe’s tales, or Emerson’s essays. Grounded in complementary theoretical backgrounds and reading practices, the various contributions draw on an impressive array of writers and thinkers and challenge our understanding not only of Romanticism, but also of what we have come to think of as "literature" and "philosophy."