Idealistic Studies 19 (1):28-42 (1989)

Abstract
Music, art, and poetry were profound forces in Hermann Cohen’s thought. If we attempt to comprehend this philosopher, whose name is synonymous with the School of Marburg, that small charming town in Hesse from which Kant’s works and influence spread abroad like the magic of an irresistible melody, then we are forced to appreciate those lovers of music and art that brought him the friendship of the violinist Joseph Joachim, the admiration of painters such as Max Liebermann, Lenid Pasternak, the father of Boris, and others whose names are now distant from us. European culture is alive in philosophy, not merely as illustrative references, but as the achievements of the mind devoted to reason and the power of imagination. This culture was not simply created by a mind that ignored the senses. The body was appreciated as the source of subtle and artistic movement, its power to build and form depended upon the grace and delicacy of the hands, sound awakened in us the inexhaustible dimension and possibilities of communication and relationship, sight the sensitivity to colors, to a variety of architectural forms that evoke a sense of beauty and sublimity by their effect and receptivity, taste and touch cultivate form and allow us to receive and be receptive with a heightened sense of delicacy and appreciation allowing form to be given to us in indescribable and unexpected ways. Through the senses we develop that intimacy with others that the mind can only define and analyze but never feel. Cohen has come forth from his detractors and even from his admirers as the distant and unapproachable “professor” of a forgotten philosophical “system.” He did his service in Kant’s army of interpreters adding volumes of interpretation and appreciation to the old master. Here he paid his dues to his profession and university. Cohen was a cultured man, a deeply sensitive individual, a fine product of artistic sensitivity and generosity. When he turned to the arts, when he moved to music, to religion, to social activity, the humaneness of his personality overcame the professor in him; it showed that tenderness for human relationship, that deep respect for love that Cohen found in his beloved Wolfgang Amadeus Mozart, whose operas he believed reflected a sensitivity to moral and aesthetic values.
Keywords Continental Philosophy  History of Philosophy
Categories (categorize this paper)
ISBN(s) 0046-8541
DOI 10.5840/idstudies19891915
Options
Edit this record
Mark as duplicate
Export citation
Find it on Scholar
Request removal from index
Revision history

Download options

PhilArchive copy


Upload a copy of this paper     Check publisher's policy     Papers currently archived: 57,156
External links

Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
Through your library

References found in this work BETA

No references found.

Add more references

Citations of this work BETA

No citations found.

Add more citations

Similar books and articles

Hermann Cohen and W.A. Mozart.William Kluback - 1989 - Idealistic Studies 19 (1):28-42.
Did Mozart Have Tourette's Syndrome? Some Comments on Mozart's Language.K. Aterman - 1993 - Perspectives in Biology and Medicine 37 (2):247-258.
The Tenability of Herman Cohen's Construction of the Self.Stephen Schwarzschild - 1975 - Journal of the History of Philosophy 13 (3):361-384.
Hermann Cohen on the Concept of History: An Invention of Prophetism?Myriam Bienenstock - 2012 - Journal of Jewish Thought and Philosophy 20 (1):55-70.
Rescuing Justice and Equality From Libertarianism.Serena Olsaretti - 2013 - Economics and Philosophy 29 (1):43-63.

Analytics

Added to PP index
2014-04-08

Total views
5 ( #1,138,495 of 2,411,819 )

Recent downloads (6 months)
1 ( #538,761 of 2,411,819 )

How can I increase my downloads?

Downloads

My notes