Symbol and Intuition
Comparative Studies in Kantian and Romantic-Period Aesthetics
Edited by Helmut Hühn and James Vigus
Johann Wolfgang von Goethe
Samuel Taylor Coleridge
Legenda: Oxford, 2013
That a symbolic object or work of art participates in what it signifies, as a part within a whole, was a controversial claim discussed with particular intensity in the wake of Immanuel Kant’s Critique of Judgment. It informed the aesthetic theories of a constellation of writers in Jena and Weimar around 1800, including Moritz, Goethe, Schelling and Hegel. Yet the twin concepts of symbol and intuition were not only tools of literary and mythological criticism: they were integral even to questions of epistemology and methodology in the fields of theology, metaphysics, history and natural philosophy. The international contributors to this volume further explore how both the explanatory potential and peculiar dissatisfactions of the symbol entered the Anglo-American discourse, focusing on Coleridge, Crabb Robinson and Emerson. Contemporary debates about the claims of symbolic as opposed to allegorical art are kept in view throughout.
Helmut Hühn is Lecturer in Philosophy at the Friedrich-Schiller-University, Jena, where he directs the Research Unit European Romanticism and Schiller’s Gardenhouse; he is a co-editor of the Historisches Wörterbuch der Philosophie (Schwabe, 1971-2007).
With the contributions:
Helmut Hühn, James Vigus — Introduction