Holderlin's essays and letters constitute essential documents for an understanding of the transitional period from neo-classical poetics to what can only be characterized as a unique and, in its frequently experimental structure, essentially modernist poetics. This book contains virtually all of Holderlin's theoretical writings translated for the first time. In spite of the great significance of Holderlin's ideas for contemporary critical thought, most of his highly important theoretical oeuvre has been unavailable to English readers until now. Here also are a (...) number of letters which chart the development of Holderlin's thought on issues that today remain fundamental to poetics and philosophy. The work's critical introduction discusses both the historical genesis of Holderlin's theoretical writings out of the enlightenment as well as their systematic interaction with post-Kantian Idealism. Through interpretations of three short fragments, Pfau indicates that it would be insufficient to consider Holderlin as the mere precursor of the great systematic philosophers of German Idealism--Fichte, Schelling, and Hegel. Instead, Holderlin's earliest theoretical fragments already mark a turn away from the rigorous systematicity that underlies the philosophical discourse of his contemporaries. Holderlin's theoretical writings may be the most seminal texts in the widely discussed interimplication of Idealistic philosophy and Romantic poetry and poetics. (shrink)

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.

This paper, given at NINS on October 15, 2015, explores J. H. Newman’s rethinking of the concept of tradition. Whereas Romantic historicism and sentimentalism conceptions frame the past as an inventory of ’’information” or as a focal point of affective reminiscence, Newman approaches tradition as a continuous and ongoing development that shows past and present becoming progressively more intelligible and mutually illuminating. Agents of knowledge do not “define” or “possess” the past as an accomplished “tradition” but, on the contrary, realize (...) their human and spiritual potential by a humble, active, and open-ended participation in the development of tradition. (shrink)

The thesis argues for the need to reexamine current theoretical conceptions or assumptions regarding Romantic self-consciousness and its perceived dependency on a productive dimension of expression. The origins of the allegedly aporetic relation between an inward form of consciousness and its linguistic "presentation" are traced in the Idealist reflection on self-consciousness by Kant, Fichte, and Schelling. Inadvertently, language as a productive force reveals itself as the contingent "ground" for the highly elusive, though philosophically essential, "unity" of self-consciousness. Thus the respective (...) conception of self-consciousness as a relation , production , or re-membring is always grounded in a stratum of "immediacy" that can no longer be contained within a systematic philosophical idiom. Through an incisive critique of the Idealists, Schleiermacher demonstrates that any notion of "immediacy" is essentially homologous to the transformation that all language undergoes in each individual utterance. Pointing to the "coinherence" of the psychological and the grammatical poles of interpretation, Schleiermacher develops a theory of "style" whereby consciousness becomes readable rather than being postulated as an autonomous transcendental agency. ;Wordsworth's narrative poetry conceives of self-consciousness as originating in a purportedly primordial affect. Beginning with the dialogic poems in the Ballads, yet also in Tintern Abbey and in the 1799 Prelude, Wordsworth experiments with a densely figurative form of "presentation" of these affective origins. Yet as his revisions--both between discrete narrative segments in his poetry yet also between earlier and later versions of the Prelude--evidence, Wordsworth becomes increasingly weary of the opacity that inheres in the figurative presentation of this "original" affect. The densely allusive and deliberately self-referential diction of later versions of the Prelude not only compromises the earlier paradigm of self-consciousness as originating in an inward affect, but it also highlights the mutual and irreducible "coinherence" of rhetorical and psychological structures. The final chapter examines Shelley's ironic response to the Wordsworthian impasse in Epipsychidion where the autobiographical vision of a perfect self continues to disintegrate under the verbal onslaught of the very language that constituted it in the first place. (shrink)

In exploring Wordsworth's professionalization as a writer, the author's interpretations are coordinated by a single, albeit highly ramified, critical hypothesis: that Romanticism's aesthetic forms afforded the middle classes an imaginary furlough from the impinging consciousness of their tenuous socioeconomic status.

Written by theologians, literary scholars, political theorists, classicists, and philosophers, the essays in Judgment and Action address the growing sense that certain key concepts in humanistic scholarship have become suspect, if not downright unintelligible, amid the current plethora of critical methods. These essays aim to reassert the normative force of judgment and action, two concepts at the very core of literary analysis, systematic theology, philosophy, ethics, aesthetics, and other disciplines. Interpretation is essential to every humanistic discipline, and every interpretation is (...) an act of judgment. Yet the work of interpretation and judgment has been called into question by contemporary methods in the humanities, which incline either toward contextual determination of meaning or toward the suspension of judgment altogether. Action is closely related to judgment and interpretation and like them, it has been rendered questionable. An action is not simply the performance of a deed but requires the deed’s intelligibility, which can be secured only through interpretation and judgment. Organized into four broad themes—interiority/contemplation, ethics, politics/community, and aesthetics/image—the aim of this broad-ranging and insightful collection is to illuminate the histories of judgment and action, identify critical sites from which rethinking them may begin, clarify how they came to be challenged, and relocate them within a broader intellectual-historical trajectory that renders them intelligible. (shrink)

This review of Emmanuel Alloa’s _Looking through Images_ considers the author’s arguments with regard to their philosophical bearings and their significance for modern visual aesthetics. Particular attention is paid to the way that the traditions of Platonic and Aristotelian Realism are linked to modern phenomenological theory (Husserl, Merleau-Ponty, Marion). Alloa’s elegant and lucid exploration of the image as a form of non-propositional cognition makes this monograph a landmark document in contemporary visual studies and aesthetic theory.