Browsing: Philosophy

Friedrich Schiller connects the sensuous drive, form drive, play drive, aesthetic education, freedom, culture, and political formation within a unified theory of human development.

Walter Benjamin connects aura, singularity, cult value, exhibition value, technical reproduction, photography, cinema, shock, politics, and modern visual perception.

Gadamer contrasts Kierkegaard’s inward Antigone with tragedy’s shared structure of fate, disproportionate guilt, spectatorship, tragic affirmation, and common human truth.

Kant’s aesthetics connects judgement, disinterested pleasure, subjective universality, purposiveness without purpose, free play, Schein, the sublime, genius, and aesthetic ideas.

Hegel’s aesthetic terminology links spirit, representation, concept, appearance, content and form, expression, artistic forms, genres, and the Concrete Idea within a unified philosophy of art.

Literature, reading, writing, historical distance, authorial intention, reconstruction, integration, and transmission lead Gadamer from aesthetic hermeneutics toward general philosophical hermeneutics.

Bildung, taste, judgement, genius, Erlebnis, aesthetic differentiation, artistic truth, and play define Gadamer’s critique of the subjectivisation of the experience of art.

Play, performance, representation, repetition, self-forgetfulness, transformation into structure, total mediation, recognition, and contemporaneity define Gadamer’s ontology of the artwork.

Kant, Hegel, Heidegger, and Gadamer transform the relation among subject, history, world, tradition, language, interpretation, and the event of understanding.

Gadamer’s ontology distinguishes the picture from mirror image, copy, sign, and symbol, grounding representation in presence, truth, and an increase in being.