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Two Philadelphia natives meet at Salem College in Winston Salem.
Nathan Ross Freeman is Aileen Muhammad's poetry and screenwriting
professor. She believes he is her blood brother by some accidental
occurrence. He says maybe in another life. She begins to write
stories. He shares his and here they are. The threads that weave
the fabric of these stories, the entry into the avenue of the muse
and the poetic conjures are startling and satisfying.
On Mechanism in Hegel's Social and Political Philosophy examines
the role of the concept of mechanism in Hegel's thinking about
political and social institutions. It counters as overly simplistic
the notion that Hegel has an 'organic concept of society'. It
examines the thought of Hegel's peers and predecessors who critique
modern political intuitions as 'machine-like', focusing on J.G.
Herder, Friedrich Schlegel and Novalis. From here it examines the
early writings of Hegel, in which Hegel makes a break with the
Romantic way of thinking about ethical community. Ross argues that
in this period, Hegel devises a new way of thinking about the
integration of mechanistic and organic features within an
organizational whole. This allows Hegel to offer an innovative
theory of modern civil society as a component in ethical life. The
second half of the book examines how Hegel develops this thought in
his later works. It offers an in depth commentary on the chapter on
mechanism in the Science of Logic, and it demonstrates the role of
these thoughts in Hegel's Philosophy of Right. On Mechanism in
Hegel's Social and Political Philosophy offers a critical response
to debates over communitarianism by arguing against one of the
central figures used by scholars to associate Hegel with
communitarian thought, namely the notion that society is organic.
In addition, it argues that Hegel political theory is deeply
informed by his formal ontology, as developed in the Science of
Logic.
This book provides a study of Walter Benjamin’s first philosophy
in two senses: it focuses on his early philosophy as a source of
insight into his later works, and it explores his thinking about
the nature of truth, method, experience, the relation of body and
mind, and the limits of human knowledge. While most attention is
paid to Benjamin’s later works, his writings from roughly
1914-1925 explore philosophical themes and develop a critical
method. This book argues that this early work founds a series of
original and lasting questions and insights. Benjamin understands
experience as a broken continuum of diverse forms of spiritual
expression, each of which is ephemeral. This leads Benjamin to a
series of thought figures: the notion of language as a medium of
experience; a philosophy of perception based in the natural history
of the human body; an emphasis on mimesis as a faculty of creative
assimilation; and a discovery of memory as a power for excavation
of meaning in past experience. This book demonstrates that the need
for a new understanding of the metaphysical structure of
experience, as well as a new conception of truth, play a special
role in shaping Benjamin’s subsequent work. Walter Benjamin’s
First Philosophy will be of interest to scholars and advanced
students working on the thought of Walter Benjamin, 20th-century
Continental philosophy, comparative literature, and modern German
thought.
This book develops a philosophy of aesthetic experience through two
socially significant philosophical movements: early German
Romanticism and early critical theory. In examining the
relationship between these two closely intertwined movements, we
see that aesthetic experience is not merely a passive response to
art-it is the capacity to cultivate true personal autonomy, and to
critique the social and political context of our lives. Art is
political for these thinkers, not only when it paints a picture of
society, but even more when it makes us aware of our deeply
ingrained forms of experience in a transformative way. Ultimately,
the book argues that we have to think of art as a form of truth
that is not reducible to communicative rationality or scientific
knowledge, and from which philosophy and politics can learn
valuable lessons.
This book provides a study of Walter Benjamin's first philosophy in
two senses: it focuses on his early philosophy as a source of
insight into his later works, and it explores his thinking about
the nature of truth, method, experience, the relation of body and
mind, and the limits of human knowledge. While most attention is
paid to Benjamin's later works, his writings from roughly 1914-1925
explore philosophical themes and develop a critical method. This
book argues that this early work founds a series of original and
lasting questions and insights. Benjamin understands experience as
a broken continuum of diverse forms of spiritual expression, each
of which is ephemeral. This leads Benjamin to a series of thought
figures: the notion of language as a medium of experience; a
philosophy of perception based in the natural history of the human
body; an emphasis on mimesis as a faculty of creative assimilation;
and a discovery of memory as a power for excavation of meaning in
past experience. This book demonstrates that the need for a new
understanding of the metaphysical structure of experience, as well
as a new conception of truth, play a special role in shaping
Benjamin's subsequent work. Walter Benjamin's First Philosophy will
be of interest to scholars and advanced students working on the
thought of Walter Benjamin, 20th-century Continental philosophy,
comparative literature, and modern German thought.
Walter Benjamin and Theodor W. Adorno are considered today to be
the two most significant early theorists in founding critical
theory. In their works and correspondence, both thinkers turn to
art and the aesthetic as a vital way for understanding modern
society and developing philosophical methods. This volume of
original essays seeks to understand how they influenced each other
and disagreed with each other on fundamental questions about art
and the aesthetic. The books deals with a variety of key
philosophical questions, such as: *How does art involve distinctive
modes of experience? *What is the political significance of modern
art? *What does aesthetic experience teach us about the limitations
of conceptual thought? *How is aesthetic experience implicated in
the very medium of thought, language? Ultimately the book presents
a systematic argument for the foundational significance of the
aesthetic in the development of the early critical theory movement.
Walter Benjamin and Theodor W. Adorno are considered today to be
the two most significant early theorists in founding critical
theory. In their works and correspondence, both thinkers turn to
art and the aesthetic as a vital way for understanding modern
society and developing philosophical methods. This volume of
original essays seeks to understand how they influenced each other
and disagreed with each other on fundamental questions about art
and the aesthetic. The books deals with a variety of key
philosophical questions, such as: *How does art involve distinctive
modes of experience? *What is the political significance of modern
art? *What does aesthetic experience teach us about the limitations
of conceptual thought? *How is aesthetic experience implicated in
the very medium of thought, language? Ultimately the book presents
a systematic argument for the foundational significance of the
aesthetic in the development of the early critical theory movement.
On Mechanism in Hegel's Social and Political Philosophy examines
the role of the concept of mechanism in Hegel's thinking about
political and social institutions. It counters as overly simplistic
the notion that Hegel has an 'organic concept of society'. It
examines the thought of Hegel's peers and predecessors who critique
modern political intuitions as 'machine-like', focusing on J.G.
Herder, Friedrich Schlegel and Novalis. From here it examines the
early writings of Hegel, in which Hegel makes a break with the
Romantic way of thinking about ethical community. Ross argues that
in this period, Hegel devises a new way of thinking about the
integration of mechanistic and organic features within an
organizational whole. This allows Hegel to offer an innovative
theory of modern civil society as a component in ethical life. The
second half of the book examines how Hegel develops this thought in
his later works. It offers an in depth commentary on the chapter on
mechanism in the Science of Logic, and it demonstrates the role of
these thoughts in Hegel's Philosophy of Right. On Mechanism in
Hegel's Social and Political Philosophy offers a critical response
to debates over communitarianism by arguing against one of the
central figures used by scholars to associate Hegel with
communitarian thought, namely the notion that society is organic.
In addition, it argues that Hegel political theory is deeply
informed by his formal ontology, as developed in the Science of
Logic.
This collection features original essays that examine Walter
Benjamin's and Theodor Adorno's essays and correspondence on
literature. Taken together, the essays present the view that these
two monumental figures of 20th-century philosophy were not simply
philosophers who wrote about literature, but that they developed
their philosophies in and through their encounters with literature.
Benjamin, Adorno, and the Experience of Literature is divided into
three thematic sections. The first section contains essays that
directly demonstrate the ways in which literature enriched the
thinking of Benjamin and Adorno. It explores themes that are
recognized to be central to their thinking-mimesis, the critique of
historical progress, and the loss and recovery of
experience-through their readings of literary authors such as
Baudelaire, Beckett, and Proust. The second section continues the
trajectory of the first by bringing together four essays on
Benjamin's and Adorno's reading of Kafka, whose work helped them
develop a distinctive critique of and response to capitalism. The
third and final section focuses more intently on the question of
what it means to gain authentically critical insight into a
literary work. The essays examine Benjamin's response to specific
figures, including Georg Buchner, Robert Walser, and Julien Green,
whose work he sees as neglected, undigested, or misunderstood. This
book offers a unique examination of two pivotal 20th-century
philosophers through the lens of their shared experiences with
literature. It will appeal to a wide range of scholars across
philosophy, literature, and German studies.
How is art both distinct and different from the rest of human life,
while also mattering in and for it? This central yet overlooked
question in contemporary philosophy of art is at the heart of Georg
W. Bertram's new aesthetic. Drawing on the resources of diverse
philosophical traditions - analytic philosophy, French philosophy,
and German post-Kantian philosophy - his book offers a systematic
account of art as a human practice. One that remains connected to
the whole of life.
This book develops a philosophy of aesthetic experience through two
socially significant philosophical movements: early German
Romanticism and early critical theory. In examining the
relationship between these two closely intertwined movements, we
see that aesthetic experience is not merely a passive response to
art-it is the capacity to cultivate true personal autonomy, and to
critique the social and political context of our lives. Art is
political for these thinkers, not only when it paints a picture of
society, but even more when it makes us aware of our deeply
ingrained forms of experience in a transformative way. Ultimately,
the book argues that we have to think of art as a form of truth
that is not reducible to communicative rationality or scientific
knowledge, and from which philosophy and politics can learn
valuable lessons.
This collection features original essays that examine Walter
Benjamin's and Theodor Adorno's essays and correspondence on
literature. Taken together, the essays present the view that these
two monumental figures of 20th-century philosophy were not simply
philosophers who wrote about literature, but that they developed
their philosophies in and through their encounters with literature.
Benjamin, Adorno, and the Experience of Literature is divided into
three thematic sections. The first section contains essays that
directly demonstrate the ways in which literature enriched the
thinking of Benjamin and Adorno. It explores themes that are
recognized to be central to their thinking-mimesis, the critique of
historical progress, and the loss and recovery of
experience-through their readings of literary authors such as
Baudelaire, Beckett, and Proust. The second section continues the
trajectory of the first by bringing together four essays on
Benjamin's and Adorno's reading of Kafka, whose work helped them
develop a distinctive critique of and response to capitalism. The
third and final section focuses more intently on the question of
what it means to gain authentically critical insight into a
literary work. The essays examine Benjamin's response to specific
figures, including Georg Buchner, Robert Walser, and Julien Green,
whose work he sees as neglected, undigested, or misunderstood. This
book offers a unique examination of two pivotal 20th-century
philosophers through the lens of their shared experiences with
literature. It will appeal to a wide range of scholars across
philosophy, literature, and German studies.
Two Philadelphia natives meet at Salem College in Winston Salem.
Nathan Ross Freeman is Aileen Muhammad's poetry and screenwriting
professor. She believes he is her blood brother by some accidental
occurrence. He says maybe in another life. She begins to write
stories. He shares his and here they are. The threads that weave
the fabric of these stories, the entry into the avenue of the muse
and the poetic conjures are startling and satisfying.
How is art both distinct and different from the rest of human life,
while also mattering in and for it? This central yet overlooked
question in contemporary philosophy of art is at the heart of Georg
Bertram's new aesthetic. Drawing on the resources of diverse
philosophical traditions - analytic philosophy, French philosophy,
and German post-Kantian philosophy - his book offers a systematic
account of art as a human practice. One that remains connected to
the whole of life.
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