The emergence of a new theory of literature in the German Romantic period constituted a decisive turning point in the history of criticism. Prepared by new trends in critical thought during the latter half of the eighteenth century, a view of the literary work and the artistic process developed which diverged sharply from the dominant classicist understanding of aesthetics and poetics. It recognised the infinite changeability of genres, their constant mingling, and the frequent emergence of new literary forms, and asserted the rights of genius and creative imagination. It was also characterised by its intimate connection with the prevailing philosophy of its time, transcendental idealism. Professor Behler provides a new account of this crucial movement, illustrating each theoretical topic with close reference to a characteristic work by a major writer of the period.

The emergence of a new theory of literature in the German Romantic period constituted a decisive turning point in the history of criticism. A view of the literary work and the artistic process developed that diverged sharply from the dominant classicist understanding of aesthetics and poetics. It recognized the infinite changeablility of genres, and asserted the rights of genius and creative imagination. Professor Behler provides a new account of this crucial movement, illustrating each theoretical topic with close reference to a characteristic work by a major writer of the period.

The essays in this collection range from close textual analysis to discussions of larger problems such as Goethe's relation to Christianity as illuminated by the theme of sacrifice in Faust. This work is viewed with particular reference to Goethe's natural scientific epistemology and to the problems confronting Western man in our own times. A study of Faust's blindness and the inner light complete the collection.

The selections in this anthology have been chosen to illustrate the main branches of Kant's philosophy: his theory of knowledge expounded in Critique of Pure Reason, his ethics represented by Foundations of the Metaphysics of Morals, his aesthetics in Critique of Judgement, and his theory of enlightenment in On History. (For other texts on German Philosophy see vols. 5, 23, 24, 27, 40, 48, and 78.)>

Hegel's system of philosophy was not only the leading form of metaphysics during his lifetime, but it has taken on increasing significance in our own time. The main element in this compact collection of Hegel's thought is an eagerly awaited new translation of one of the most influential works of thought ever written, the "Encyclopedia of the Philosophical Sciences in Outline." Also included is "Preface to the System of Philosophy" and "Solger's Posthumous Writings and Correspondence." (For other texts in German Philosophy, see vols. 5, 13, 23, 27, 40, 48, and 78)

This volume provides representative texts of transcendental idealism, including ones by J. G. Fichte (Some Lectures Concerning the Scholar's Vocation and A Crystal Clear Report Concerning the Actual Essence of the Newest Philosophy), E H. Jacobi ("Open Letter to Fichte" and "On Faith and Knowledge in Response to Schelling and Hegel"), F. W. J. Schelling (Ideas on a Philosophy of Nature, Deduction of a Universal Organ of Philosophy, and Philosophical Investigations into the Essence of Freedom), and an anonymous text ("The Oldest Systematic Program of German Idealism") variously attributed to Hegel or Schelling.

Behler discusses the current state of thought on modernity and postmodernity, detailing the intellectual problems to be faced and examining the positions of such central figures in the debate as Lyotard, Habermas, Rorty, and Derrida. He finds that beyond the "limits of communication," further discussion must be carried out through irony. The historical rise of the concept of modernity is examined through discussions of the querelle des anciens et des modernes as a break with classical tradition, and on the theoretical writings of de Stael, the English romantics, and the great German romantics Schlegel, Hegel, and Nietzsche. The growth of the concept of irony from a formal rhetorical term to a mode of indirectness that comes to characterize thought and discourse generally is then examined from Plato and Socrates to Nietzsche, who avoided the term "irony" but used it in his cetnral concept of the mask.