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Andrew Bowie

7 Music, language and literature Language and music The divergent interpretations of the relationship between music and language in modernity are inseparable from the main divergences between philosophical conceptions of language. The attempt to explain language in representational terms in the empiricist tradition that eventually leads to analytical philosophy, and the understanding of language as a form of social action and as constitutive of the world we inhabit in the hermeneutic tradition give rise to very different conceptions of music. One paradigmatic

in Aesthetics and subjectivity
Catherine Baker

1 Popular music and the ‘cultural archive’ This book began its Introduction, and begins its chapter structure, not in the mainstream of international affairs (the politics of state socialist Non-Alignment, or postsocialist European border control) but with what might seem a more distant topic: popular music. It does so because the everyday structures of feeling perceptible through popular music are a readily observable sign that ideas of race are part of identity-making in the Yugoslav region; proving this point opens the way to revisiting

in Race and the Yugoslav region
From Kant to Nietzsche
Author: Andrew Bowie

In 1796 a German politico-philosophical manifesto proclaims the 'highest act of reason' as an 'aesthetic act'. The ways in which this transformation relates to the development of some of the major directions in modern philosophy is the focus of this book. The book focuses on the main accounts of the human subject and on the conceptions of art and language which emerge within the Kantian and post-Kantian history of aesthetics. Immanuel Kant's main work on aesthetics, the 'third Critique', the Critique of Judgement, forms part of his response to unresolved questions which emerge from his Critique of Pure Reason and Critique of Practical Reason. The early Romantics, who, after all, themselves established the term, can be characterized in a way which distinguishes them from later German Romanticism. The 'Oldest System Programme of German Idealism', is a manifesto for a new philosophy and exemplifies the spirit of early Idealism, not least with regard to mythology. The crucial question posed by the Friedrich Wilhelm Joseph Schelling of the System of Transcendental Idealism (STI) is how art relates to philosophy, a question which has recently reappeared in post-structuralism and in aspects of pragmatism. Despite his undoubted insights, Georg Wilhelm Friedrich Hegel's insufficiency in relation to music is part of his more general problem with adequately theorising self-consciousness, and thus with his aesthetic theory. Friedrich Schleiermacher argues in the hermeneutics that interpretation of the meaning of Kunst is itself also an 'art'. The book concludes with a discussion on music, language, and Romantic thought.

Open Access (free)
In the beginning was song
Mads Qvortrup

6 Epilogue: in the beginning was song And the light shineth in the darkness; and the darkness comprehended it not. (John 1.5) We have (rather deliberately) said very little about the subject of music, as this is not obviously a part of Rousseau’s social philosophy. Yet music was – though scholars have often forgotten this1 – Rousseau’s main passion, and this passion spilled over into his political writings in more ways than one. Rousseau, the musician and note-copier, was an accidental philosopher. Had he not seen the prize question from the Academy in Dijon on

in The political philosophy of Jean-Jacques Rousseau
Andrew Bowie

ideas of reason and nature. In order to see why, we need to consider certain aspects of the anti-Idealism of Schopenhauer and Marx, before turning in more detail to Nietzsche’s own texts. Schopenhauer: music as metaphysics The importance of Arthur Schopenhauer (1788–1860) for the work of the early Nietzsche is well established. However, it is not clear that Nietzsche’s rejection of Schopenhauer in his later work means that he in fact rejected all of the elements of Schopenhauer’s thought which had been central to his early texts. Schopenhauer is an interestingly

in Aesthetics and subjectivity
Kant
Andrew Bowie

analogy to music, for which he otherwise does not have a great deal of philosophical time, talking of the ‘tuning/attunement’ (Stimmung) of the cognitive powers, which is differently ‘proportioned’, depending on the object in question, and which ‘can only be determined by feeling (not by concepts)’ (B p. 66). Whether this ‘common sense’ is a ‘constitutive principle of the possibility of experience’ or only a ‘regulative principle’, for creating ‘a common sense for higher purposes’ (B p. 68), Kant leaves open. However, he does insist that we necessarily presuppose such a

in Aesthetics and subjectivity
Open Access (free)
The beginning of aesthetic theory and the end of art
Andrew Bowie

universal structures of contradiction and resolution of contradiction that make up the Logic itself. Music and the Idea Hegel’s Logic is ‘abstract’ because it has to be independent of anything ‘concrete’ in the empirical world. Characteristically, in Hegel’s terms, this actually makes it concrete, because without abstraction the truth of the concrete cannot be revealed. The apparently most concrete, the sensuous immediacy of what is in front of you as you read this sentence, is indeed ‘abstract’. It omits all the complex mediations required for you to be reading it at all

in Aesthetics and subjectivity
Postsocialist, post-conflict, postcolonial?
Author: Catherine Baker

This book explains theoretical work in postcolonial and postsocialist studies to offer a novel and distinctive insight into how Yugoslavia is configured by, and through, race. It presents the history of how ideas of racialised difference have been translated globally in Yugoslavia. The book provides a discussion on the critical race scholarship, global historical sociologies of 'race in translation' and south-east European cultural critique to show that the Yugoslav region is deeply embedded in global formations of race. It considers the geopolitical imagination of popular culture; the history of ethnicity; and transnational formations of race before and during state socialism, including the Non-Aligned Movement. The book also considers the post-Yugoslav discourses of security, migration, terrorism and international intervention, including the War on Terror and the refugee crisis. It elaborates how often-neglected aspects of the history of nationhood and migration reveal connections that tie the region into the global history of race. The book also explains the linkage between ethnic exclusivism and territory in the ethnopolitical logic of the Bosnian conflict and in the internationally mediated peace agreements that enshrined it: 'apartheid cartography'. Race and whiteness remained perceptible in post-war Bosnian identity discourses as new, open-ended forms of post-conflict international intervention developed.

Open Access (free)
Art and interpretation
Andrew Bowie

, that I think it is the case, otherwise the possibility of self-correction becomes incomprehensible. Furthermore, feeling is for Schleiermacher the basis of forms of awareness and articulation which cannot be reduced to the terms in which we can verbally articulate them. The link to music is vital here. Although the notion of feeling is perhaps the most problematic aspect of Schleiermacher’s thought, it does point to a dimension which is sometimes neglected or glossed over in much philosophical discussion of language. We evidently must rely, for example, on verbal

in Aesthetics and subjectivity
Open Access (free)
Andrew Bowie

see, to vital changes in both the production and reception of music. The ways in which this transformation relates to the development of some of the major directions in modern philosophy will form the focus of my investigation. Modern philosophy begins when the generally accepted basis upon which the world is interpreted ceases to be a deity whose pattern is assumed to have already been imprinted into the universe. The new philosophical task is therefore for human reason to establish its own legitimacy as the ground of truth. This transformation is prepared in the

in Aesthetics and subjectivity