The Philosophy of Art

The Philosophy of Art

Edited, translated, and introduced by Douglas W. Stott
Foreword by David Simpson
Volume: 58
Copyright Date: 1989
Edition: NED - New edition
Pages: 408
https://www.jstor.org/stable/10.5749/j.ctttv31c
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  • Book Info
    The Philosophy of Art
    Book Description:

    The first English translation of a classic text in aesthetics based on the precepts of German Idealism. Schelling systematically treats various forms of art-including music, painting, sculpture, narrative, and poetry-to present a philosophical disclosure of the idea or essence of art itself, an essence that transcends the actual work in history.

    eISBN: 978-0-8166-8285-0
    Subjects: Art & Art History

Table of Contents

  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-viii)
  3. Foreword
    (pp. ix-xxiv)
    David Simpson

    Of all the major formative figures in nineteenth-century philosophy, Schelling is, along with Fichte, the least familiar to the English-speaking world. It was not until 1978 that the great work of his early period, theSystem of Transcendental Idealism, was made available in translation,¹ and to this day much of his work exists only in German or French. The difficulty of his thought has indeed served to intimidate all but the most committed readers. In the course of a long and productive career, Schelling himself changed his emphasis, and occasionally his mind, often enough to oblige his interpreters to ponder...

  4. Acknowledgments
    (pp. xxv-xxvi)
  5. Translator’s Introduction
    (pp. xxvii-2)

    For the winter semester of 1802-3, the University of Jena announced that Schelling would deliver the following series of lectures:tradet philosophiam artis sen Aestheticen ea ratione et methodo, quam in constructione universae philosophiae secutus est, et quam alio loco pluribus exponet.¹ In September of that year, Schelling wrote a rather lengthy letter to August Wilhelm Schlegel, who had just moved to Berlin and with whom he corresponded a great deal during this period, requesting a copy of Schlegel’s own series of lectures entitledSchöne Literatur und Kunst, a manuscript he probably first became acquainted with during his own visit...

  6. Introduction
    (pp. 3-20)

    The methodical study or science of art can first of all mean the historical construction of art.¹ In this sense it requires as its necessary external condition the direct evaluation of extant monuments and examples. Since such evaluation is generally possible with regard to literary works, such science in this regard, as philology, is expressly included among the objects of academic discussion. In spite of this, nothing is taught less often at universities than philology in this sense, though this cannot surprise us, since philology is just as much an art as is poesy, and the philologist no less than...

  7. Part I General Section of the Philosophy of Art

    • 1 Construction of Art As Such and in General
      (pp. 23-32)

      To construe art means to determine its position in the universe. Since determination of this position is the only explanation one can give of it, we must return to the first principles of philosophy. It is clear, however, that we will not follow these principles in every possible direction, but rather only in the one predetermined by our particular object of investigation. It is further clear that at the beginning most of these propositions will be presented as simply borrowed philosophical propositions, which will not be so much proved as simply elucidated. With this in mind, I would like to...

    • 2 Construction of the Content of Art
      (pp. 33-82)

      In §24 we proved that the forms of art must be the forms of things as they are within the absolute orin themselves. Accordingly, we are presupposing that theseparticular forms—precisely those by means of which beauty is represented in individual, real, actual things—areparticular forms within the absolute. The question is how this is possible. (This is the same problem expressed in general philosophy by the transition of the infinite into the finite, of unity into multiplicity.) ¹

      §25.The particular forms are as such without essence, and are pure forms that cannot inhere within the...

    • 3 Construction of the Particular, or of the Form of Art
      (pp. 83-104)

      With the completed construction of the material or content of art, content that lies in mythology, we encounter a new antithesis. We began with the construction of art as therealmanifestation or presentation of the absolute. Such presentation could not be designated as real unless it rendered the absolute by means of individual finite things. We reconstructed the synthesis of the absolute with limitation, and the result was the world of ideas of art. Yet as regards the manifestation or presentation of which we are speaking, this world itself is merely content or universal material to which is now...

  8. Part II Specific Section of the Philosophy of Art

    • 4 Construction of the Forms of Art in the Juxtaposition of the Real and Ideal Series
      (pp. 107-280)

      The immediately preceding proposition proved that each of the two primal formsin itselfdifferentiates itself ever anew into all other forms. Expressed in another way: each of the two primal forms takes up all other forms or unities as potence and makes them into its symbol or particular. This will be presupposed here.

      §76.The indifference of the informing of the infinite into the finite, taken purely as indifference, is sonority. Or, within the informing of the infinite into the finite, indifference as indifference can emerge only assonority.

      This is clarified in the following way. The implantation of...

  9. Appendix
    (pp. 281-282)
  10. Notes
    (pp. 285-324)
  11. Bibliography
    (pp. 327-330)
  12. Index
    (pp. 333-342)
  13. Back Matter
    (pp. 343-345)