The author means to show how focusing on the sense of hearing can sharpen our understanding of Kierkegaard’s argument – in the first portion of Either/Or – that Don Giovanni ranks supreme among works of art. After explaining how he takes Kierkegaard’s case to rest on the issue of the ear being the “most spiritually qualified sense,” he shows how attending to the importance of hearing within the original Don Juan myth, as well as within Mozart and Da Ponte’s treatment (...) of it, can help us understand the myth’s dependence on and repudiation of Christianity: unlike sight, hearing places us in close spiritual intimacy with its source, even as it also opens up specific possibilities of theatricality and deceit. He concludes by arguing why hearing should be regarded as the paradigmatic sense in relation to which Kierkegaard understands the task of philosophy itself, in contrast to earlier philosophical emphases on visible intelligibility. (shrink)

RÉSUMÉDans ses écrits de Jena, Fichte tente de résoudre l’apparent conflit entre la nécessité de faire reposer la philosophie sur des principes scientifiques et celle de respecter sa nature de vocation autonome. Ce faisant, il a prétendu accomplir d’autres tâches, sur les plans métaphilosophique, pédagogique et polémique : justifier les questions qui l’occupaient, communiquer sa pensée correctement et répondre aux incompréhensions de ses adversaires. Cet article montre qu’à travers ces considérations, Fichte s’essaie aussi au problème plus vaste qui consiste à (...) préciser la relation entre la «lettre» de la philosophie comme doctrine et son «esprit» intersubjectif. (shrink)

One of the lasting influences of German Idealism has been the transformation of aesthetics into a central philosophical concern. My aim here is to show how and why Kant’s and Schiller’s formulations of the problems of moral agency, in particular, constitute an important episode of this development. I argue, first, that it is in the context of Kant’s view of moral agency that aesthetics gains larger purchase than it formerly had (as a response to the problem of the identification of (...) an agent with his external action); second, that Schiller expands the role of aesthetics (in response to Kant’s formulation of it) by intensifying a demand for aesthetic abandon in the agent as a bulwark against the threat of its possible “theatricalization.” It is these heightened demands on the first-personal content of agency that thus began the process of transforming the question of moral agency into an aesthetic one. (shrink)

One of the lasting influences of German Idealism has been the transformation of aesthetics into a central philosophical concern. My aim here is to show how and why Kant’s and Schiller’s formulations of the problems of moral agency, in particular, constitute an important episode of this development. I argue, first, that it is in the context of Kant’s view of moral agency that aesthetics gains larger purchase than it formerly had ; second, that Schiller expands the role of aesthetics by (...) intensifying a demand for aesthetic abandon in the agent as a bulwark against the threat of its possible “theatricalization.” It is these heightened demands on the first-personal content of agency that thus began the process of transforming the question of moral agency into an aesthetic one. (shrink)

While it has long been commonplace to advert to thePhenomenology of Spirit's peculiar prosaic form, there has been no sustained, thematic attempt to understand the relationship between that form—as a continuous, quasi-fictional narrative—and the work's philosophical content. I argue that some of what has been felt to be outlandish about the form may be better accounted for by reading it as connected to purposeful literary decisions, decisions in turn exhibiting philosophical claims about the new mode of modern self-understanding that the (...) argument is concerned with advancing. Extending Allen Speight's suggestions that Hegel sees literature as closely connected to his theory of agency, I argue that thePhenomenology's narrative should be understood as itself specifically and deliberately novelesque. I focus on three points that help clarify the book's form as not simply in keeping with, but as expressing aspects of its content: (1) the narrative structure of consciousness (as a unified, unfolding activity through which Hegel explores the notion of actuality), (2) the theatricalizing counterpoint between the ‘in itself’ and ‘for itself’ (as a dramatic device that Hegel connects to the social underpinnings of consciousness), and (3) the role of confession and forgiveness in the argument (as a theme that Schlegel had singled out as essential to the novel, and that Hegel repurposes both to criticize and to overcome Romanticism). I do not say that thePhenomenologyis itself a novel, but that construing some of its formal features and gestures as evoking the genre of the novel can help us to see more of what is philosophically at stake in them, and therefore in the work as a whole. (shrink)