Annotation. A new translation of Schelling's Die Philosophie der Kunst, 1859 with extensive commentary by the translator, Douglas W. Stott. Annotation copyrighted by Book News, Inc., Portland, OR.
Makes Schelling's dialogue Bruno readily accessible to the English-language reader, with valuable commentary on the work itself, which details Schelling's account of his differences from Fichte.
System of Transcendental Idealism is probably Schelling's most important philosophical work. A central text in the history of German idealism, its original German publication in 1800 came seven years after Fichte's Wissenschaftslehre and seven years before Hegel's Phenomenology of Spirit.
Three seminal philosophical texts by F. W. J. Schelling, arguably the most complex representations of German Idealism, are clearly presented here for the first time in English. Included are Schelling's "Treatise Explicatory of the Idealism in the Science of Knowledge" (1797), "System of Philosophy in General" (1804), and "Stuttgart Seminars" (1810). Of these texts, the "Treatise" constitutes the most comprehensive critical reading of Kant and Fichte by a contemporary thinker and, as a result, proved seminal to Samuel Taylor Coleridge's efforts at interconnecting English Romanticism and German speculative thought. Extending his early critique of subjectivity, Schelling's "System of Philosophy in General" and his "Stuttgart Seminars" launch a far more radical inquiry into the notion of identity, a term which for Schelling, increasingly reveals the contingent nature and inescapable limitations of theoretical practice. An extensive critical introduction relates Schelling's work both to his philosophical contemporaries (Kant, Fichte, and Hegel) as well as to the contemporary debates about Theory in the humanities. The book includes extensive annotations of each translated text, an excursus on Schelling and Coleridge, a comprehensive multi-lingual bibliography, and a glossary.
The first English translation of the first of three versions of this unfinished work by Schelling. In 1810, after establishing a reputation as Europes most prolific philosopher, F. W. J. Schelling embarked on his most ambitious project, The Ages of the World. For over a decade he produced multiple drafts of the work before finally conceding its failure, a failure in which Heidegger, Jaspers, Voegelin, and many others have discerned a pivotal moment in the history of philosophy. Slavoj iek calls this text the vanishing mediator, the project that, even while withheld and concealed from view, connects the epoch of classical metaphysics that stretches from Plato to Hegel with the post-metaphysical thinking that began with Marx and Kierkegaard. Although drafts of the second and third versions from 1813 and 1815 have long been available in English, this translation by Joseph P. Lawrence is the first of the initial 1811 text. In his introductory essay, Lawrence argues for the importance of this first version of the work as the one that reveals the full sweep of Schellings intended project, and he explains its significance for concerns in modern science, history, and religion.
Schelling's never completed "masterpiece", translated here with an introduction covering Schelling's life, other works, and a brief analysis of The Ages of the World by Wirth (philosophy, Ogelthorpe U.), explores the question of time as the relationship between poetry and philosophy. Contemporary philosophers herald this work as a predecessor to the modern debates about post-modernity and the limits of dialectical thinking.
Three seminal philosophical texts by F. W. J. Schelling, arguably the most complex representations of German Idealism, are clearly presented here for the first time in English. Included are Schelling's "Treatise Explicatory of the Idealism in the Science of Knowledge" (1797), "System of Philosophy in General" (1804), and "Stuttgart Seminars" (1810). Of these texts, the "Treatise" constitutes the most comprehensive critical reading of Kant and Fichte by a contemporary thinker and, as a result, proved seminal to Samuel Taylor Coleridge's efforts at interconnecting English Romanticism and German speculative thought. Extending his early critique of subjectivity, Schelling's "System of Philosophy in General" and his "Stuttgart Seminars" launch a far more radical inquiry into the notion of identity, a term which for Schelling, increasingly reveals the contingent nature and inescapable limitations of theoretical practice. An extensive critical introduction relates Schelling's work both to his philosophical contemporaries (Kant, Fichte, and Hegel) as well as to the contemporary debates about Theory in the humanities. The book includes extensive annotations of each translated text, an excursus on Schelling and Coleridge, a comprehensive multi-lingual bibliography, and a glossary.
Makes Schelling's dialogue Bruno readily accessible to the English-language reader, with valuable commentary on the work itself, which details Schelling's account of his differences from Fichte.
Translated here into English for the first time, F.W.J. Schelling's 1842 lectures on the Philosophy of Mythology are an early example of interdisciplinary thinking.
Appearing here in English for the first time, this isF.W.J. Schelling's vital document of the attempts of German idealism and Romanticism to recover a deeper relationship between humanity and nature and to overcome the separation between mind and matter induced by the modern reductionist program. Written in 1799 and building upon his earlier work, "First Outline of a System of the Philosophy of Nature provides the most inclusive exposition of Schelling's philosophy of the natural world. He presents a startlingly contemporary model of an expanding and contracting universe; a unified theory of electricity, gravity magnetism, and chemical forces; and, perhaps most importantly, a conception of nature as a living and organic whole.
System of Transcendental Idealism is probably Schelling's most important philosophical work. A central text in the history of German idealism, its original German publication in 1800 came seven years after Fichte's Wissenschaftslehre and seven years before Hegel's Phenomenology of Spirit.
Philosophy of Mind' is the third part of Hegel's encyclopedia of the philosophical sciences, in which he summarises his philosophical system. It is one of the main pillar's of his thought.
Schellings 1806 polemic against Fichte, and his last major work on the philosophy of nature. The heat of anger can concentrate the mind. Convinced that he had been betrayed by his former collaborator and colleague, Schelling attempts in this polemic to reach a final reckoning with Fichte. Employing the format of a book review, Schelling directs withering scorn at three of Fichtes recent publications, at one point likening them to the hell, purgatory, and would-be paradise of Fichtean philosophy. The central bone of contention is the understanding of nature: Fichte sees it as lifeless matter in motion, sheer opposition to be overcome, while Schelling waxes poetic in his defense of a living, organic nature of which humanity is a vital part. Indeed, we do not know ourselves without understanding our connection to nature, argues Schelling, anticipating many thinkers in contemporary environmental ethics. Dale E. Snows introduction sets the stage and explains the larger context of the conflict, which was already visible in the correspondence of the two philosophers, which broke off by 1802. Notes are included throughout the text, providing background information and identifying the many references to Fichte.
Hegel gave lecture series on aesthetics or the philosophy of art in various university terms, but never published a book of his own on this topic. His student, H. G. Hotho, compiled auditors' transcripts from these separate lecture series and produced from them the three volumes on aesthetics in the standard edition of Hegel's collected works. Annemarie Gethmann-Siefert has now published one of these transcripts, the Hotho transcript of the 1823 lecture series, and accompanied it with a very extensive introductory essay treating many issues pertinent to a proper understanding of Hegel's views on art. She persuasively argues that the evidence shows Hegel never finalized his views on the philosophy of art, but modified them in significant ways from one lecture series to the next. In addition, she makes the case that Hotho's compilation not only concealed this circumstance, by the harmony he created out of diverse source materials, but also imposed some of his own views on aesthetics, views that differ from Hegel's and that the ongoing interpretation of the aesthetics part of Hegel's philosophy has unfortunately taken to be Hegel's own. This translation of the German volume, which contains the first publication of the Hotho transcript and Gethmann-Siefert's essay, makes these important materials accessible to the English reader, materials that should put the English-speaking world's future understanding and interpretation of Hegel's philosophy of art on a sounder footing.
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