Search results

You are looking at 1 - 7 of 7 items for :

  • non-indifference x
  • Philosophy and Critical Theory x
Clear All
Open Access (free)

white or within new semi-racialised categories like ‘east European’ – with blackness itself (Jović Humphrey 2014) – an identification some Non-Aligned Yugoslavs readily made in solidarity with decolonised Africa (Radonjić 2015 ), and which re-emerged after Yugoslavia, especially in Serbia and Montenegro, for communicating resentment about the region's or country's altered international status. Another route, which goes further in accommodating the region's ‘nesting orientalisms’ (Bakić-Hayden 1995 ) where ethnicity and geopolitics intersect, views especially

in Race and the Yugoslav region
Open Access (free)
Art as the ‘organ of philosophy’

notion of nature as subject, whose ever renewed and destroyed ‘products’ are the predicates of the productivity. Schelling attempts to envisage nature as subject via the following argument, which, as we shall see in Chapter 8, recurs in an unacknowledged way in Schopenhauer: ‘As the object is never absolute [unbedingt] then something per se non-objective must be posited in nature; this absolutely non-objective postulate is precisely the original productivity of nature’ (Schelling I/3 p. 284). The I of Fichte’s Wissenschaftslehre is seen as the highest principle of

in Aesthetics and subjectivity

grounded in the Will, which objectifies itself in different ways in all of nature, but never appears as itself. This conception should already be familiar. Schopenhauer relies, without admitting it, on Schelling’s assumption that: ‘As the object is never absolute then something per se non-objective must be posited in nature; this absolutely non-objective postulate is precisely the original productivity of nature’ (Schelling I/3 p. 284). The Will, Schopenhauer claims, is apparent to us in that kind of consciousness in which each person ‘recognises his own individuality

in Aesthetics and subjectivity
Open Access (free)
The beginning of aesthetic theory and the end of art

philosophy. Hegel claims to achieve what Schelling does not when he argues that: ‘The deficit in Schelling’s philosophy is that he places the point of the indifference of subjective and objective at the beginning; this identity is set up absolutely, without it being proven that this is the truth’ (Hegel 1971 III p. 435). Hegel’s claim is, then, that he can articulate the unity of subject and object – rather than postulate it, as Schelling does in the idea of ‘intellectual intuition’ – by explicating the initially indeterminate content of intellectual intuition. The System of

in Aesthetics and subjectivity

1984 p. 124). The transcendental subject’s connection of intuitions in judgements of the understanding gives rise to a nature whose coherence depends solely upon the subject’s determination of what can be connected within it according to fixed rules. The aesthetic sense, though, also involves a non-determining relationship to the object: the object affects us in ways about which the connection of phenomena in terms of rules can tell us nothing. The object can only affect us in this way because of our freedom, but that freedom is not evoked by every object and it depends

in Aesthetics and subjectivity

domestic and non-field workers. In St Vincent, while planters were compensated £550,777 for loss of labour, the number of slaves freed on the island was 22,266. The average compensation per slave was £26 1s 4d (Levy, 1980 : 113). Apprentices were required to labour for forty-five hours per week for their former owners. In return they received the customary payment in kind. Special officials were recruited

in Frontiers of the Caribbean
Open Access (free)

social force has contracted into the sphere of the individual’ (Adorno 1951 p. 11). It is important to remember the time at which such reflections are written: the point of orientation for Adorno is the barbarism perpetrated very recently by culturally advanced, industrial societies. How far, though, are Adorno’s concerns at the perennial possibility of the repetition of barbarism in modern societies to determine judgements about the contemporary role and status of art and philosophy as means of exploring and articulating human possibilities for non-coercive freedom

in Aesthetics and subjectivity