Aesthetical and Philosophical Essays by Frederick Schiller. The special subject of the greater part of the letters and essays of Schiller contained in this volume is Aesthetics; and before passing to any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages. First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some the definition may seem arbitrary, as excluding the beautiful in nature; but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty, because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind's offspring. Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place. But it may be urged that art is not worthy of a scientific treatment. Art is no doubt an ornament of our life and a charm to the fancy; but has it a more serious side? When compared with the absorbing necessities of human existence, it might seem a luxury, a superfluity, calculated to enfeeble the heart by the assiduous worship of beauty, and thus to be actually prejudicial to the true interest of practical life. This view seems to be largely countenanced by a dominant party in modern times, and practical men, as they are styled, are only too ready to take this superficial view of the office of art.
Frederick Beiser presents this study of Friedrich von Schiller, rehabilitating him as a philosopher worthy of serious attention, showing, in particular, that Schiller's engagement with Kant is far more subtle and rewarding than is often portrayed.
Aesthetical and Philosophical Essays by Frederick Schiller - The Philosophical Spirit of Different Ages. Complete New Edition. The special subject of the greater part of the letters and essays of Schiller contained in this volume is Aesthetics; and before passing to any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages. First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some the definition may seem arbitrary, as excluding the beautiful in nature; but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty, because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind's offspring. Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place. But it may be urged that art is not worthy of a scientific treatment. Art is no doubt an ornament of our life and a charm to the fancy; but has it a more serious side? When compared with the absorbing necessities of human existence, it might seem a luxury, a superfluity, calculated to enfeeble the heart by the assiduous worship of beauty, and thus to be actually prejudicial to the true interest of practical life. This view seems to be largely countenanced by a dominant party in modern times, and practical men, as they are styled, are only too ready to take this superficial view of the office of art.
Reprint of the original, first published in 1871. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
Memoirs and Madness examines memoir as a literary genre, investigates the creation of Leonid Andreev's posthumous legacy by his contemporaries, and explores the possibility that Andreev, Russia's leading literary figure at the beginning of the twentieth century, suffered from mental illness. Frederick White's primary focus is A Book About Leonid Andreev (1922), the most important collection of memoirs dedicated to the Russian author, presented here in the first English translation. The agendas of the memoirists resulted in portraits that have influenced how Andreev is read and spoken about to the present day. White pays special attention to Andreev's history of mental illness, which the memoirists described with vague terms such as "creative energy" or "inner turmoil." Past scholarship has focused on philosophical and sociological factors in the author's life but this concentration on his mental health provides a fruitful approach to deciphering the literary portraits.
Andrew Barger, award-winning author and engineer, has extensively researched forgotten journals and magazines of the early 19th century to locate groundbreaking science fiction short stories in the English language. In doing so, he found what is possibly the first science fiction story by a female (and it is not from Mary Shelley). Andrew located the first steampunk short story, which has not been republished since 1844. There is the first voyage to the moon in a balloon, republished for the first time since 1820 that further tells of a darkness machine and a lunarian named Zuloc. Other sci-stories include the first robotic insect and an electricity gun. Once again, Andrew has searched old texts to find the very best science fiction stories from the period when the genre automated to life, some of the stories are published for the first time in nearly 200 years. Read these fantastic sci-fi short stories today! OUR OWN COUNTRY So mechanical has the age become, that men seriously talk of flying machines, to go by steam,--not your air-balloons, but real Daedalian wings, made of wood and joints, nailed to your shoulder,--not wings of feathers and wax like the wings of Icarus, who fell into the Cretan sea, but real, solid, substantial, rock-maple wings with wrought-iron hinges, and huge concavities, to propel us through the air. Knickerbocker Magazine, May 1835
This is the first history in English of German historicism, the intellectual tradition which holds that history is the key to understanding all human values, beliefs and actions. Beiser surveys the key thinkers from the mid-18th to the early 20th century and illuminates the sources and reasons for this revolution in modern thought.
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