Beruflich Dokumente
Kultur Dokumente
Ayon Maharaj
Preface x
Acknowledgments xi
Abbreviations of Primary Texts xiii
Art raises its head where religions decline. It takes over a host of feelings
and moods produced by religion, clasps them to its heart, and then itself
becomes deeper, more soulful, so that it is able to communicate exaltation
and enthusiasm which it could not do before . . . Growing enlightenment
has shaken the dogmas of religion and inspired a thorough mistrust of it;
therefore feeling, forced out of the religious sphere by the Enlightenment,
throws itself into art . . .
Friedrich Nietzsche (1878)1
Too much has been asked of art, with the result that too little, or almost
nothing, is now being asked of art.
William Desmond (2003)2
materialist excesses of a modern age that locates the highest efforts of the
human spirit in economic discoveries.5 Shortly thereafter, Hegel sought to
demonstrate that the Enlightenment had grown so enamored with its negative
method that it ended up collapsing into a dogmatic system in its own right.6
Over a century later, Adorno and Horkheimer took Hegels lead in interrogating
the positivist dogma lurking at the basis of Enlightenment instrumental
rationality. From Adorno and Horkheimers dialectical perspective, the
Enlightenment falls prey to the self-contradiction that its very critical stance
toward myth and superstition smuggles in a crude positivist mythology of
what is the case that cuts away the incommensurable7 and spuriously equates
intelligence with hostility to spirit (Geistfeindschaft).8
In short, the increasing dominance of scientific rationality in post-
Enlightenment culture has seemed to many to come at the cost of neglecting or
impoverishing those affective and experiential dimensions of our lives that lie
beyond the scope of empirical or conceptual paradigms. No wonder so many
German thinkers and artists have felt compelled to articulate this modern crisis
in overtly spiritual terms, since the supple term Geist has lent itself to being
mobilized not only as a robustly metaphysical categoryas it was by Schelling
and Hegelbut more often as a negative placeholder for all those subjective
forms of value, knowledge, and experience that Enlightenment rationality tends
to marginalize or deny.
In the wake of the Enlightenment, art gained sudden importance as a
potentially secular means of filling this spiritual void. In a provocative epigram
from 1878 (the first of this introductions epigraphs), Nietzsche observed that
feeling, forced out of the religious sphere by the Enlightenment, throws itself
into art. This is no doubt a tacit exercise in self-critique, a way of historicizing
and thereby distancing himself fromthe Romantic aesthetics of his earlier
Birth of Tragedy (1871), which conceived aesthetic experience as nothing less
than a form of metaphysical solace capable of redeeming man of his empirical
poverty and tragic finitude.9
In Nietzsches case, however, self-critique almost invariably doubled as
trenchant cultural diagnosis. Nietzsche was one of the first to recognize that
many post-Enlightenment thinkers and artists would become increasingly
preoccupied with articulating and defending what I call aesthetic agency, arts
capacity to make available uniquely valuable modes of experience that could
challenge the primacy of Enlightenment norms of rationality.10 Nietzsche proved
even cannier, though, in his recognition that such defenses of aesthetic agency
would tend to conceive the experience of art as a surrogate for religious feeling
and consolation.11
Indeed, I would suggest that Nietzsches epigram lookedat a stroke
both backward and forward in history, deftly isolating the latent metaphysico-
religious impulse at the core of early-nineteenth-century Romanticism as well
as twentieth-century modernism. In the System of Transcendental Idealism
(1800), a foundational text of early German Romanticism, Schelling invoked
tellingly religious language in his effusive paeans to the wonder of art as
the one and only eternal revelation, a feeling of an infinite satisfaction in
which all contradictions are dissolved and all riddles are answered.12 Arthur
Schopenhauer soon followed suit in The World as Will and Representation (1819),
where he conceives the experience of art as a momentary source of redemption.
In the blessedness of aesthetic experience, Schopenhauer writes, we celebrate
the Sabbath of the penal servitude of willing; the wheel of Ixion stands still.13
Twentieth-century aesthetic modernism, for all its strident opposition to
Romanticism, nonetheless often shared the Romantic tendency to ascribe a
redemptive role to art. Many modernist painters, writers, and musicians were
convinced of arts indispensable role in combating the excesses of a capitalist
culture so enamored with scientific and technological advancement that it
seemed to leave little room for more spiritual needs and satisfactions. Yet, the
modernists also remained plagued by lingering doubts that perhaps they were
asking too much of art, burdening art with a quasi-theological role it could
not fulfill. Wassily Kandinskys On the Spiritual in Art (1912) gave exemplary
expression to aesthetic modernisms most elemental hopes and fears:
Only just now awakening after years of materialism, our soul is infected with
the despair born of unbelief, of lack of purpose and aim. The nightmare of
materialism, which turned life into an evil, senseless game, is not yet passed; it
still darkens the awakening soul. Only a feeble light glimmers, a tiny point in an
immense circle of darkness. This light is but a presentiment; and the mind, seeing
it, trembles in doubt over whether the light is a dream and the surrounding
darkness indeed reality.14
If Kandinsky believed that the feeble light of art could awaken us from the
nightmare of materialism, he remained haunted by anxieties about the very
possibility of an aesthetic redemption of modernity.15 Kandinskys appeal to
art as one of the mightiest agents of spiritual life was echoed repeatedly by
other modernists.16 Kasimir Malevich soon went on to indulge in consciously
declared that art had finally become vaporized in a dazzle of pure thought
about itself,23 the poststructuralist theorists Jean-Luc Nancy and Philippe
Lacoue-Labarthe introduced the notion of an eidaesthetics, the inauguration
of arts theoretical project in modernity.24 The notion of arts transformation
into an essentially theoretical or philosophical enterprise has been reaffirmed
in various ways by a host of more recent theorists. Marxist theorists such as
Fredric Jameson, Jacques Rancire, and C. Daniel Blanton reject the ideology
of aesthetic autonomy but reclaim art as an incipiently political discourse
capable of interrogating socioeconomic and power structures.25 Meanwhile,
postmodern thinkers like Gianni Vattimo, Simon Critchley, and Giorgio
Agamben argue that avant-garde artin its very repudiation of the possibility
of aesthetic redemptionaffords valuable philosophical insight into our
inescapably nihilistic predicament.26
However, in their eagerness to reconceive art as a theoretico-conceptual
enterprise, these thinkers seem to me to concede too much to Enlightenment
norms of rationality. If they deny aesthetic agency in order to make room for
arts continued cultural relevance, they nonetheless bind art so closely to the
Enlightenments third-person scientific ideals that they are left with a rather
thin account of what art can accomplish. Art tends to be reduced to a vehicle
for communicating truths about underlying conditions and realitiesbe they
socioeconomic, linguistic, or ontologicalthat could just as easily be disclosed
by a variety of other media and disciplines. William Desmond aptly observes
that in this contemporary climate of suspicion, too little, or almost nothing, is
now being asked of art.27
Those celebrating arts critico-conceptual agency have tended to foreclose
prematurely the possibility that arts most important cultural role in post-
Enlightenment modernity is to make available and vital those experiential and
imaginative dimensions of our lives that lie beyond the purview of scientific
or conceptual discourses. To begin to explore this possibility, we should note
that these suspicious thinkers tend to align aesthetic agency with a purportedly
modernist ideology of full-blown aesthetic autonomy or redemption. But
perhaps it need not be an either/or between a patently extravagant metaphysics
of aesthetic agency and a disenchanted suspicious stance that dismisses
aesthetic agency tout court in favor of arts critico-conceptual agency. Perhaps
this pervasive binary thinking in recent aesthetic discourse is itself symptomatic
of a hegemonic scientific rationality that is virtuosic at parsing and dissecting
but significantly clumsier at detecting synthetic wholes and dynamic processes.
and the second polemical. Although most of the figures considered in this book
(with the possible exception of Schelling) have been widely discussed, I will focus
on aspects of their aesthetic thought that have been neglected or misunderstood
in both Anglo-American and German scholarship. Hence, each chapter can be
read profitably as a stand-alone intervention in a specialized field of German
aesthetics.
At the same time, I seek to balance close exegesis with a more synthetic
interpretive perspective that conceives the aesthetic standpoints of Kant,
Schelling, Schlegel, Hegel, and Adorno as integral conceptual moments in a
collective effort to elaborate the role of art in post-Enlightenment modernity.
My polemical ambition is to revive the all but forgotten discourse of aesthetic
agency by laying the conceptual groundwork for a dialectical approach to art
that avoids the familiar extremes of aesthetic theology and knee-jerk dismissal
of arts aesthetic dimension.
My philosophical narrative begins with Kant, whose Critique of the Power
of Judgment (1790) sought to address the problem of a great gulf between
the sensible realm of causal necessity and the supersensible realm of ethical
freedom.32 As Schiller and Hegel were the first to recognize, although this gulf
originated in a lacuna in Kants critical system, it signaled nothing less than the
fundamental crisis of modernity. With the growing dominance of instrumental
rationality and the waning of religious authority, modernity became the site of
an ever-widening rift between the newly ascendant third-person standpoint of
the empirical sciences and increasingly precarious first-person convictions and
values that were suddenly deprived of religious sanction. Kants third Critique
inaugurated discourse on aesthetic agency by exploring the possibility that
aesthetic experience could play an important role in negotiating the diremptions
plaguing modernity.
However, as I will argue at length in the first two chapters, Kant encounters
considerable difficulties in attempting to specify the precise nature of aesthetic
experience and its role in moral life. In the Analytic of the Beautiful of the third
Critique, Kant seeks to explain how a subjective feeling of aesthetic pleasure can
nonetheless be universally validthat is, carry the demand that everyone ought
to feel the same pleasure in a given beautiful object. His fundamental strategy
is to argue that aesthetic pleasure arises from a free harmony of the cognitive
faculties of the imagination and understanding, which is a universal condition
for cognition in general.33
But this raises an important question: how are we to determine that our
feeling of aesthetic pleasure arises from the harmony of the faculties? Chapter 1
examines Kants vexed efforts to answer this question in the Analytic of the
Beautiful. The basic answer that emerges in the course of the Analytic is that
some phenomenologically distinctive feature of aesthetic pleasure indicates
its source in the harmony of the faculties. However, I will argue that in his
attempt to elaborate this answer, Kant ends up endorsing a variety of conflicting
conceptions of the phenomenology of aesthetic pleasure. Through a detailed
analysis of the Analytic, the chapter isolates a series of subtle and complexly
interwoven tensions plaguing Kants account of the phenomenology of aesthetic
pleasure as well as his core doctrines of the universal voice and the sensus
communis. I make a cumulative case that the various tensions in the Analytic
point to Kants pervasive ambivalence about whether aesthetic pleasure provides
phenomenological certainty of its source in the harmony of the faculties.
Chapter 2 traces Kants ambivalence about the question of phenomenological
certainty to systematic ambiguities in the introduction to the third Critique,
where he makes an oblique and notoriously obscure argument for the role
of aesthetic pleasure in moral life. He introduces the principle of natures
purposivenessthe necessary assumption that nature is in some way amenable
to our cognitive and ethical aimsas a means of negotiating the great gulf
between nature and freedom and then claims that aesthetic pleasure is in some
way intimately linked to the principle of natures purposiveness. However,
I argue that Kants palpable uncertainty about the precise epistemic status of the
principle of natures purposiveness leaves unresolved the question of whether the
great gulf between nature and freedom can indeed be bridged. This lands Kant
in an aporetic situation: he remains torn between inflationary and deflationary
conceptions of the role of aesthetic pleasure in moral life.
Kants central move is to suggest that our affective awareness of the harmony
of the faculties in aesthetic pleasure somehow subjectively evokes or hints at
natures purposiveness. He also repeatedly emphasizes that nothing short of full-
blown certainty of natures purposiveness would allow us to bridge the great gulf
between nature and freedom. Building on the results of Chapter 1, I argue that
everything thus hinges on the question of whether aesthetic pleasure provides
certainty of its universal validity. On the one hand, if aesthetic pleasure provides
phenomenological certainty of its source in the harmony of the faculties, then
we seem to have the basis for a proto-Romantic defense of aesthetic agency:
aesthetic experience helps resolve the diremptions of modernity by assuring us
of a supersensible unity of nature and freedom that lies beyond the scope of
theoretical cognition. On the other hand, if aesthetic pleasure fails to provide
certainty of the harmony of the faculties, then the great gulf between nature
and freedom remains unbridged and we have the basis for more skeptical
approaches to art that deny or downplay the possibilities of aesthetic agency.
This books guiding conviction is that it is precisely the tensions and
uncertainties in Kants third Critique that prove to be so generative and fruitful
for subsequent aesthetic speculation, for they signal fundamental dilemmas
concerning aesthetic agency and arts role in moral life that continue to haunt
contemporary thinkers. Chapters 3 and 4 argue that the tensions plaguing the
third Critique escalate into a full-blown crisis in the aesthetic speculations of
Schelling and Schlegel, who embody the conceptual extremes of early German
Romanticism. At the same time that Schelling develops a Romantic metaphysics
of aesthetic agency that ascribes an outright redemptive role to art, Schlegel
proposes an aesthetics of irony that locates the power of art in its capacity to
revel in the vertigo of abyssal skepticism and to exercise radical suspicion toward
aesthetic or metaphysical appeals to redemption.
Recent commentators have tended to dismiss the aesthetics of Schellings
System of Transcendental Idealism as an extravagant Romantic metaphysics
that bears little resemblance to Kants comparatively sober aesthetic theory.
Chapter 3 challenges this stereotyped view of Schelling by taking seriously
Schellings claim that his philosophical project is nothing but a presentation
of Kantian philosophy through higher principles.34 Schellings aesthetics of
System, I argue, is a sustainedalbeit largely implicitattempt to grapple with
and resolve the aporias of the third Critique without violating the spirit of Kants
critical strictures.
In his philosophical work prior to the System, Schelling proves acutely
aware of the fundamental aporias of the third Critiqueparticularly, Kants
ambivalence about whether the great gulf between nature and freedom can
be bridged. The young Schelling traces this ambivalence to the ambiguous
epistemic status of the principle of natures purposiveness: Kant seems torn
between a weaker conception of purposiveness that fails to bridge the gulf and a
stronger conception that does bridge the gulf by somehow assuring us of natures
objective purposiveness. Schellings strategy for resolving these Kantian aporias
is to adopt the stronger conception of purposiveness latent in the third Critique,
which hints at a special form of objective certainty of natures purposiveness that
is irreducible to theoretical cognition.
In the System, Schelling anchors this nontheoretical form of objective
certainty in aesthetic experience by drawing on key aspects of the third Critique.
His basic strategy is to exploit and amplify the inflationary conception of
aesthetic pleasure aporetically present in the third Critique. For Schelling,
the dogmatic Fichtean epistemology at the basis of irony signals a fatal self-
contradiction: the ironist surreptitiously exempts itself from its own ironic
skepticism.
While Schlegels theory of irony has generated seemingly endless commentary
in recent critical discourse, Hegels critique of Schlegel has tended to be ignored
or, at best, summarily dismissed as an ad hominem attack fueled more by personal
animus than by any genuine insight into the structure of irony. Militating
against this trend, I reconstruct from Hegels scattered remarks on Schlegel a
searching metacritique of irony that pinpoints the metaphysical dogma at its
basis. For Hegel, the ironists hovering between enthusiasm and skepticism
depends tacitly on a ground-level metaphysical enthusiasm. No wonder Schlegel
comes so close to Schelling in his paeans to the modern artist as the priest of
a new mythology that could fill the metaphysical void left by the collapse of
dogmatic religion.44 From a Hegelian vantage, both Schellings metaphysics of
aesthetic agency and Schlegels aesthetics of irony end up apotheosizing art as
a mythological surrogate for religion that could provide a sense of unity and
purpose in a disenchanted age.
Chapter 5 argues that one of the most significant and enduring contributions
of Hegels Lectures on Aesthetics (18239) is its prescient elaboration of the
conceptual underpinnings of a fully modern form of art that repudiates any
such faith in an aesthetic mythology. I suggest that the core of Hegels account
of arts role in modernity consists not in his purported thesis of the end of art
a phrase, in fact, that Hegel never usesbut in his richly bivalent notion
of the after of art (das Nach der Kunst).45 On the one hand, the after of art
signals arts pastnessits inability to fulfill the highest need of the spiritand
anticipates religion and philosophy, the cultural forms that have outstripped arts
capacity to convey the Absolute. On the other hand, Hegel exploits the ambiguity
of the genitive in the after of art, conceiving the after as a property of art itself
rather than as a sphere that supersedes art: arts after indicates arts dialectical
capacity to reflect on its own powers and limits and to point beyond itself to
epistemic possibilities lying beyond the aesthetic domain.46 Art in modernity, as
Hegel puts it in a startling paradox, is the self-exceeding of art, yet within its
own sphere and in the form of art itself.47
Hegels most elemental account of the complex dynamics of arts self-
exceeding is contained in the Historical Deduction of the True Concept of
Art, a relatively neglected section of the introduction to Lectures on Aesthetics.
In the Historical Deduction, I argue, Hegel attempts nothing less than to
reconceive the aesthetic standpoints of his predecessors and contemporaries
and spiritual possibilitya gulf that serves as the precondition for moral action
and revolutionary praxis.55
In the books epilogue, I begin to explore the contemporary implications of
my revaluation of the German aesthetic tradition from Kant to Adorno. Ours
is a Schlegelian age, disenchanted with aesthetic and religious panaceas yet
enamored with its own powers of critical irony. In such a climate of suspicion,
it is no wonder that so many recent thinkers have favored sober, hard-nosed
analysis of arts philosophical or conceptual agency over what seem hopelessly
nostalgic appeals to the powers of aesthetic experience. The now fashionable
suspicious stance, however, is not without its own ironies, for it proves to rely on
a problematic binary thinking about art that this book traces to early German
Romanticism. The Romantic polarities of Schellings metaphysics of aesthetic
agency and Schlegels aesthetics of irony reemerge in contemporary aesthetic
discourse in the form of the widely held assumption that aesthetic agency and
conceptual agency are mutually exclusive. One of this books primary aims is
to argue that the dialectical perspective opened up by Hegel, Kierkegaard, and
Adorno motivates post-Romantic modes of thinking about aesthetic agency
that reject the binary logic still pervading discourse on the arts. Indeed, Hegels
and Kierkegaards speculations about the dialectical possibilities of irony and
Adornos conception of the artwork as a force-field collectively suggest that
one of the basic challenges of art in modernity is to harness its immanent forces
of ironic negativity and reflexive suspicion as dialectical resources for testing
and refining the very experiences and intensities art makes available.
I conclude the epilogue by highlighting the work of the contemporary
theorist and literary critic Charles Altieri, whose dialectical approach to
aesthetic agency offers an urgent and powerful alternative to the dominant
suspicious stance in aesthetic discourse. Altieri seeks to defend arts capacity
to counter the primacy of epistemic valuesthe Enlightenments privileging
of the third-person standpoint of the scienceswithout relying on untenable
ontological or phenomenological assumptions.56 What Adorno calls the spirit
of artworks Altieri calls their force, a dialectical category he adapts from
Hegels Phenomenology of Spirit. For Altieri, aesthetic force is less a positive
ontological phenomenon than a negative category designating those aspects of
art that prove too supple and dynamic to be captured by third-person conceptual
frameworks. In Altieris hands, aesthetic agency becomes a dialectical force
that thrives on the constitutive tensions of the artwork.57 The artwork, Altieri
argues in an Adornian vein, is a field of forces in which evocations of spirit and
Introduction
46 Ibid.
47 Hegel, V I, 11213; Hegel, LA I, 80.
48 Hegel, V I, 989; Hegel, LA I, 69.
49 Kierkegaard (1997: 330). For an English translation, see Kierkegaard (1989: 297).
50 Adorno, T, 134. For an English translation, see Adorno, AT, 86.
51 Adorno, T, 149; Adorno, AT, 97.
52 Adorno, T, 123; Adorno, AT, 79.
53 Adorno, T, 2634; Adorno, AT, 176.
54 Adorno, T, 172; Adorno, AT, 113.
55 Adorno, T, 364; Adorno, AT, 246.
56 Altieri (1998a: 223).
57 Ibid., 211.
58 Ibid., 216.
59 Ibid., 21516.
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