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Art, Objectivity, and Idea: Bruno Bauer's Critique of Kant and the Theory of Infinite Self-consciousness

Published online by Cambridge University Press:  23 June 2015

Douglas Moggach*
Affiliation:
University of Ottawa
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Abstract

Students of the Hegelian school must acknowledge an abiding debt to Ernst Barnikol. Upon his death in 1968, he left uncompleted a voluminous manuscript on Bruno Bauer, representing over forty years of research. Of this manuscript, conserved at the International Institute for Social History, Amsterdam, only a fraction has been published, but even this fraction, in its almost six hundred pages, continues to set standards in the field for meticulous scholarship, rigorous analysis, and balanced criticism. Barnikol's interests were primarily theological, though he recognised clearly that Bauer's religious critique was politically motivated. Barnikol also discovered, but did not publish, Bauer's 1829 Latin manuscript on Kant's aesthetics. This text, adjudicated by Hegel and awarded the Prussian royal prize in philosophy, had been deposited among Hegel's correspondence in the archives of the Humboldt-Universität, Berlin. It was first published in 1996, in the original Latin, with German translation and commentary. In referring to his discovery, Barnikol made a substantive claim which must be disputed here, that Bauer's early text remained without influence on his subsequent work. Focusing on Bauer's depiction of art, and on the relation of art and religion as manifestations of spirit, we can trace lines of continuity and development in his thought, from his 1829 manuscript to his writings of 1841-42. The central idea of the early manuscript, a Hegelian conception of the unity of thought and being, is the key to deciphering the complex and elusive meaning of Bauer's critical theory in the Vormdrz.

Type
Bruno Bauer, Kant and Hegel
Copyright
Copyright © The Hegel Society of Great Britain 2001

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References

1 Barnikol, Ernst, Bruno Bauer, Studien und Materialien, ed. Reimer, P. and Sass, H.-M. (Assen: van Gorcum, 1972)Google Scholar. The Barnikol manuscript at the International Institute for Social History, Amsterdam, is entitled Bruno Bauer, Darstellung und Quellen, ca. 1965. With the exception of note 49, below, all subsequent references to Barnikol are to the published volume.

2 Comments on the prize manuscript by the adjudicators Tölken and von Raumer appear in Barnikol, E., Bruno Bauer, 1920, n. 43Google Scholar, along with Hegel's comments, 18-19, n. 42.

3 Bruno Bauer, Über die Prinzipien des Schönen. De pulchri principiis. Eine Preisschrift, hrsg. Douglas Moggach und Winfried Schultze, mit einem Vorwort von Volker Gerhardt (Berlin: Akademie Verlag, 1996).

4 Barnikol, E., Bruno Bauer, 20 Google Scholar, states that Bauer did not follow up critically his 1829 text, and nowhere mentioned it. For Barnikol, the text stands only as a testimonial to Bauer's self-confidence, his inteliectualistic approach, his Hegelian allegiance, and the limits of his thinking.

5 The question of a break in continuity in Bauer's thought after 1842 is not germane to the present discussion. See Pepperle, Ingrid, Junghegelianische Geschichtsphilosophie und Kunsttheorie (Berlin: Akademie Verlag, 1978), 6870 CrossRefGoogle Scholar; Rossi, Marco, Da Hegel a Marx III: La Scuola hegeliana. II giovane Marx, 2nd edition (Milan: Feltrinelli, 1974), 71-97, 115-116, 120 Google Scholar; Eßbach, Wolfgang, Die Junghegelianer. Soziologie einer Intellektuellengruppe (München: Fink, 1988)CrossRefGoogle Scholar.

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10 ibid., 94b-95b. [All translations of Bauer are my own. D.M.]

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32 Gethmann-Siefert, Anne-Marie, “H.G. Hotho: Kunst als Bildungserlebnis und Kunsttheorie in systematischer Absicht — oder die entpolitisierte Version der ästhetischen Erziehung des Menschen,” in Pöggeler, Otto and Gethmann-Siefert, A., eds., Kunsterfahrung und Kulturpolitik im Berlin Hegels (Bonn: Bouvier, 1983), 229262 Google Scholar. The author claims that Hotho's edition of Hegel's lectures on Aesthetics distorts their systematic structure and misrepresents individual judgements on works of art. The Bauer manuscript offers no basis for assessing these claims.

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38 Barnikol, E., Bruno Bauer, 33 Google Scholar, rightly emphasises the political character of the theological disputes of the time, including Bauer's own atheism.

39 Bauer, Bruno (anon., 1st ed.) Die evangelische Landeskirche Preußens und die Wissenschaft (Leipzig: Otto Wigand, 1840)Google Scholar; Der christliche Staat und unsere Zeit,” [1841], in Feldzüge der reinen Kritik, ed. Sass, H.-M. (Frankfurt/M.: Suhrkamp, 1968), 941 Google Scholar. The former text is often taken as a defence of the existing state against religious arrogations; for an interpretation of its polemical intentions, see Moggach, Douglas, “Bruno Bauer's Political Critique, 1840-1841,” Owl of Minerva, 27/2 (1996), 137154 CrossRefGoogle Scholar.

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