In Les Blank's documentary Werner Herzog Eats His Shoe , director Werner Herzog eats pieces of his own sturdy looking footwear in order to settle a bet that he made with the filmmaker Errol Morris. While dining on his shoe, which he has cooked in garlic and duck fat, Herzog responds to the question, “What is the value of films for society?” Initially, he answers the question with a question: “Whose society?” . It appears that he has finished responding and (...) is returning to the business of eating, but Herzog is hardly known for keeping his answers…. (shrink)

BOOK REVIEWS 149 cannot be denied: volumes 2o-2 3 are, in their present form, less than perfect. There- fore, it would be very good if they could be revised. Stark makes a convincing case for this. Yet, it would be a mistake if one were to see the significance of his Nachforschungen just in this negative result. It may ultimately be important for the positive contributions it makes to a better understanding of Kant's extant manuscript materials. It does indeed go (...) some way towards supplying some of the materials that Adickes meant to supply, and it thus represents indeed a first step towards a better edition of Kant's works. I do not see any reasons that would speak against a revised edition of the Academy edition as a whole. MANFRED KUEHN Purdue University Andrew Bowie. ScheUing and Modern European Philosophy: An Introduction. London and New York: Routledge Press, 1993. Pp x + 21 i. Cloth, $65.oo. Paper, $16.95. Andrew Bowie devotes much of his instructive and well-researched text, as the title promises, to locating Schelling on the map of contemporary theory and simultaneously questioning the relevance of that map. Bowie situates Schelling historically within the context of the pantheism debate and his relationship with Fichte . He explores, in detail, questions of Schelling's natural philosophy, makes a brief excursion into Schelling's philosophy of art, looks closely at his identity philosophy and finally at his response to.. (shrink)

The following dissertation shows how German Literature negotiates the relationship between language and the visual arts, particularly in Romantic narratives. In contrast with authors of the Enlightenment, the Romantics tend to deny specificity to visual experience and in so doing dedifferentiate visual experience from the textual. ;The initial, methodological, chapter explicates perceptual models informed by the interplay of the philosophical approaches of Kant and Wittgenstein with the psychoanalytic discourse of Freud. In Chapter Two, I turn to Lessing's Laokoon Uder uber (...) die Grenzen der Malerei und Poesie , in which he divides the arts into pictoral and linguistic signs. While the boundary between the two appears quite clear in Laokoon, his play Emilia Galotti reveals Lessing's anxiety that the difference cannot be so easily maintained. ;The subsequent chapter explores the representation of the visual arts in Tieck's Franz Sternbalds Wanderungen . After a discussion of Wackenroder's Herzensergiessungen eines kunstliebenden Klosterbruders , 1 turn to Tieck's novel about a young student of Albrecht Durer. The novel responds to the ostensible binary between language and the visual arts by transmuting the distinction into one between readable landscape paintings and phantasmatic images that guide the protagonist. ;As another example of this Romantic viewpoint, I analyze Brentano's Godwi oder das steinerne Bild der Mutter . Here I use the distinction between symbol and allegory to point out the ways in which the text turns the difference between the arts into one between rhetorical figures. A similar manifestation of the problem occurs in Eichendorff's Das Marmorbild , discussed in Chapter Five. The novella follows the same lines as Lessing's Laokoon, thematizing the materiality of its eponymous marble statue. My final chapter concerns Kleist's model of visual perception, which is closely bound to his theology in his tales "Die heilige Cacilie" and "Der Findling" . ;Writing Images interprets the role of visuality in German Romantic literature in order to understand an unresolved problematic of late eighteenth and early nineteenth-century thought for those who would too quickly either differentiate between or conflate the visual and the written. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.4 (2002) 547-548 [Access article in PDF] Book Review Kant, Art and Art History: Moments of Discipline Mark A. Cheetham. Kant, Art and Art History: Moments of Discipline. New York: Cambridge University Press, 2001. Pp. x + 222. Cloth, $55.00. Mark Cheetham's thorough and insightful new work investigates Kant's continuing influence on the visual arts, both in practice and as defined by the (...) academic discipline of art history. Cheetham argues that until now the art world and art history proper have suppressed the importance of Kant, treating him as an intrusive outsider. He explains that this marginalization may have come about as a consequence of tendencies within Kant's own [End Page 547] work that threaten either to abolish disciplinary boundaries or reestablish them under the protective umbrella of philosophy. His close readings of Kant, therefore, address the way the Kantian system is based on the maintenance of boundaries between the pure and the impure, and how Kant's work continues to restructure institutional boundaries for precisely these reasons. With regard to both art and art history, Cheetham writes, "Kant is a perpetual boarder and the architect of borders" (22). Cheetham builds his study on such insights, drawn from Kant's own discussion of the parergon, or the boundaries between the essential and the inessential. From beginning to end, the work is well-considered and thoughtful, not only as an exploration of disciplinary boundaries, but as a book that brings out a number of still under-researched themes in Kant's oeuvre.The work's first close readings examine Kant's reception among a circle of German-speaking artists and writers in Rome shortly after 1800, including the painter Jakob Asmus Carstens and the artist-turned-critic Carl Ludwig Fernow. This chapter calls attention to connections between abstract and specifically political freedoms in Kant's system, casting light on Napoleon's effect on Europe. Those principally interested in aesthetic questions, however, may find this part of the text to be somewhat less dynamic than its subsequent sections. The following chapter is more engaging, exploring some well-known moments in Kant's twentieth-century reception. Cheetham brings out the ways that Erwin Panofsky shared affinities with Kant insofar as one might take humanism to have been the latent driving force in their work. Cheetham's most interesting insights come from his contention that the writings of Paul Crowther attempted to preserve and protect a "pure" Kant for disciplinary reasons, and that he therefore strictly controlled Kant's influence in the area of art history. The work here points in the direction of a social-historical exploration of the University, and he could certainly have expanded this section to develop a more overarching critique of contemporary disciplinary boundaries. Cheetham's attempt to review Clement Greenberg's relationship to Kant's work is also stimulating, particularly the section in which he reads Greenberg's efforts to combat kitsch in relation to Kant's "What is Enlightenment?"In his most engaging chapter, Cheetham deals with the contemporary discourse around sublimity, analyzing the way both Derrida and Kant are obsessed with the legislation of borders. He makes a brief, though studied comparison between Kant and Derrida on the role and function of limits, and here makes it clear that he takes substantial distance from Derrida's own project. The book's high point is Cheetham's study of a landscape painting by Joseph Anton Koch. It may indeed leave some readers wishing that Cheetham had done more close readings of Romantic art. He then looks at some sublime tendencies in art today, and the means by which contemporary artists obscure both the standpoint of the observer and the boundaries surrounding art itself. In one section, he looks at the work of the collective known as General Idea and that of the artist Sheila Ayearst. This is fascinating material, although some may find his definition of the sublime to have been too broad. It is made to hold the bulk of contemporary art. Cheetham might have done... (shrink)

BOOK REVIEWS 149 cannot be denied: volumes 2o-2 3 are, in their present form, less than perfect. There- fore, it would be very good if they could be revised. Stark makes a convincing case for this. Yet, it would be a mistake if one were to see the significance of his Nachforschungen just in this negative result. It may ultimately be important for the positive contributions it makes to a better understanding of Kant's extant manuscript materials. It does indeed go (...) some way towards supplying some of the materials that Adickes meant to supply, and it thus represents indeed a first step towards a better edition of Kant's works. I do not see any reasons that would speak against a revised edition of the Academy edition as a whole. MANFRED KUEHN Purdue University Andrew Bowie. ScheUing and Modern European Philosophy: An Introduction. London and New York: Routledge Press, 1993. Pp x + 21 i. Cloth, $65.oo. Paper, $16.95. Andrew Bowie devotes much of his instructive and well-researched text, as the title promises, to locating Schelling on the map of contemporary theory and simultaneously questioning the relevance of that map. Bowie situates Schelling historically within the context of the pantheism debate and his relationship with Fichte. He explores, in detail, questions of Schelling's natural philosophy, makes a brief excursion into Schelling's philosophy of art, looks closely at his identity philosophy and finally at his response to... (shrink)