Thematische Bibliographien / Kant Coleridge and Tagore

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Auswahl der wissenschaftlichen Literatur zum Thema „Kant Coleridge and Tagore“

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Veröffentlicht am 18. Mai 2024

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Zeitschriftenartikel zum Thema "Kant Coleridge and Tagore"

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Kelly, Nancy Webb. „Homo aestheticus: Coleridge, Kant, and play“. Textual Practice 2, Nr. 2 (Juni 1988): 200–218. http://dx.doi.org/10.1080/09502368808582032.

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De Paolo, Charles. „Kant, Coleridge, and the Ethics of War“. Wordsworth Circle 16, Nr. 1 (Januar 1985): 3–13. http://dx.doi.org/10.1086/twc24040564.

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Rathi, Biraj Mehta. „National Self Determination and Justice: Rawls and Tagore“. Culture and Dialogue 7, Nr. 2 (26.11.2019): 117–39. http://dx.doi.org/10.1163/24683949-12340063.

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Abstract This essay is a study on national self-determination and justice from the differing perspectives of John Rawls and Rabindranath Tagore. Both thinkers have addressed the problem of conflict caused by national loyalties. Influenced by Immanuel Kant’s philosophy of cosmopolitanism, John Rawls articulates the “Law of People(s)” that suggests that mutual consent consists in economic interdependence among nations and tolerance for cultural diversity under monitored conditions of the international relations. Such an arrangement is not inclusive as it excludes the subaltern perspectives and reinforces the hierarchies between East and West. Tagore offers post-colonial versions of nationalism and cosmopolitanism that call for a creative and spiritual unity of nations through cultural exchange where each is equal in dialogue. The essay makes a case for Tagore’s cosmopolitanism being more inclusive than Rawls, yet, limited in its accommodation of the “other” as Tagore’s creative unity domesticates this “other” on the basis of spiritual familiarity. The essay also critiques Martha Nussbaum’s cosmopolitanism that suggests reconciliation of both. It makes a case for a paradoxical understanding of hospitality, friendship and otherness theorized by Jacques Derrida (influenced by Kant) as the basis of self-determination and global justice.
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Simons, Thomas R. „Coleridge Beyond Kant and Hegel: Transcendent Aesthetics and the Dialectic Pentad“. Studies in Romanticism 45, Nr. 3 (2006): 465. http://dx.doi.org/10.2307/25602061.

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Hore, Shouvik Narayan. „Imaginary Conversations: Weiskel Versus Coleridge“. Dialogue: A Journal Devoted to Literary Appreciation 18, Nr. 1 (25.06.2022): 01–10. http://dx.doi.org/10.30949/dajdtla.v18i1.8.

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From Robert Southey's prima facie mockery of Samuel Taylor Coleridge's The Rime of the Ancient Mariner (1798, expanded 1834, also alternatively spelt The Rime of the Ancyent Marinere) in the October 1798 issue of the Critical Review, to John T. Netland transfixing the religious sublime on the poem, the Coleridgean Sublime, vis-à-vis his arguably classic piece, has walked a perilous way.Whether Southey contests (not unreasonably) the arcane elevation of a poetical theme Germanized by an inwoven philosophical texture, or Netland hinting at the antithetical, if not antinomial (I use it in the sense of unresolved) tension between the supernaturally acquired Sublime (hence heathenic, taking its deus ex machina into consideration) and its counterpart, the residual sublimity accessed, or rendered accessible after the spoils of civilization, it remains clear, adequately enough, that The Rime's erhabene traverses sublimes, or sublimities, instead of being cooped up within one. This assertion, as it now stands, receives its necessary share of emphasis from Thomas Weiskel who, in Chapter Four ('The Logic of Terror') of The Romantic Sublime (1976), contends with its broader argument, projecting Romantic Sublimity across genres of rhetoric, aesthetic and moral enhancement. I take my cue from Weiskel in this essay, expatiating through a Landoresque dialogue (if not a discourse), on how the Coleridgean Sublime, both consciously and unconsciously, walks its ideological path from Longinus to Kant, and why. I shall also contest how the “Logic” (I shall interchange it with limits, the reason being self- explanatory) of terror slowly winds its way from the terror of rhetorical annexation, to the terror of an infinite antithesis, culminating in the terror of moral imperialism, as opposed to superiority. Unless otherwise mentioned in-text, the 1798 edition of the Rime has been accepted as the standard text by the author, instead of the 1834 text.
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Poštić, Svetozar. „To Act or not to Act: How Coleridge Changed the Way We See Hamlet“. Respectus Philologicus 26, Nr. 31 (25.10.2014): 133–43. http://dx.doi.org/10.15388/respectus.2014.26.31.10.

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Exactly 200 years ago, from 1811 to 1819, Samuel Taylor Coleridge, one of the most famous English Romantic poets, held a series of influential lectures about William Shakespeareand his plays. His presentation of “Hamlet”, a play hitherto not only negatively appraised, but even viewed quite negatively by the leading critics, most notably Samuel Johnson, was especially significant. His insightful analysis helped to change the general opinion about the play, and pointed to the qualities of “Hamlet” that made it into perhaps the best known and most frequently played drama in the next 200 years. In this paper, I examine the way Coleridge was able to recognise the neglected features of Shakespeare’s profound tragedy up to that point. First of all, he identified with the main protagonist of the play, the Prince of Denmark, and described the unbridgeable gap between ambitions and power of imagination on the one hand, and inability to act on the other. Like Hamlet, Coleridge had "great, enormous, intellectual activity, and a consequent proportionate aversion to real action" (Coleridge 2014: 345). Aware of this shortcoming, but unable to correct it, the extremely talented and educated Coleridge presented it in fascinating detail. Secondly, he used his knowledge of the most influential contemporary philosophers, especially Kant, Locke and Hobbes, and the increasingly popular psychological approach to character analysis in order to paint an internal portrait of leading characters of the play. Due to the increasingly popular trend in recent literary theory and analysis focusing on the political and material context of an art work, the universal qualities of Coleridge's intepretation of “Hamlet” that contributed to the lasting influence of his critique have been largely neglected. This article intends, therefore, to re-establish the significance of Coleridge's “Hamlet” lectures
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Dutta, Tinni. „A Study on Two Distinguished Culture by Poets’ on ‘Nature’“. International Journal of Culture and History 10, Nr. 2 (25.12.2023): 102. http://dx.doi.org/10.5296/ijch.v10i2.21556.

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The concept of culture is the characteristic way of behaving and believing that a group of people in a country or region have evolved over time. Thus a people’s culture gives them a sense of who they are, provides them the capacity to adapt to circumstances, affect their emotion and lives. In human history, nature attraction and land cultivation are merged from the perspectives of culture. Natural beauty attracts the poets and they spontaneously reflect it in their writings. It is applicable for both the poets of east & west, especially in Romantic arena. They each require different psychological adaptations and transformations- needs, wishes, conflicts, anxieties and defenses. Wordsworth, Coleridge, Blake, Keats, Datta and Tagore beautifully mingle nature’s beauty and sooth human sufferings. We, the human beings, identify with them and feel beauty and joy from our unconscious and are able to transform our owes and pain. They are the symbols of unique cultural identity.
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Phillips, Dana. „Thoreau's Aesthetics and ‘The Domain of the Superlative’“. Environmental Values 15, Nr. 3 (August 2006): 293–305. http://dx.doi.org/10.1177/096327190601500304.

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Recently, ‘ecocritics’ have tried to show how literature might help us weather the global environmental crisis both emotionally and intellectually. Their arguments have been based, in part, on the assumption that despite its obvious strengths natural science has well-defined intellectual and ethical ‘limits’, and that environmental values are (therefore) best articulated by concerned humanists more in touch with the imagination. This essay addresses some of the problems faced by green humanists in their uneasy, mistrustful relationship with natural science, using passages from Thoreau as touchstone texts and juxtaposing those passages with remarks made by Bachelard, Coleridge, Stevens, Nietzsche, and Kant.
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Wilczyński, Marek. „The Americanization of the Sublime: Washington Allston and Thomas Cole as Theorists of Art“. Polish Journal for American Studies, Nr. 11 (Spring 2017) (30.08.2023): 19–27. http://dx.doi.org/10.7311/pjas.11/1/2017.02.

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The idea of the sublime, borrowed by the painter Washington Allston from Jousha Reynolds and – through S.T. Coleridge – possibly also from Kant, at the beginning of the nineteenth century in the United States still had mostly European connotations. Both as a theorist of art and a poet, Allston explicitly pledged his cultural allegiance to Great Britain. It was paradoxically Thomas Cole, a British-born immigrant, who was the first to associate a much less strictly defined concept of the sublime with the American landscape of the Catskills, thus initiating the discourse of the US cultural nationalism both in his diary and essays related to painting, and poetry.
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Khan, Jalal Uddin. „Literature of the New Year: Literary Variations on the Celebration of the New Year“. IJOHMN (International Journal online of Humanities) 5, Nr. 4 (05.08.2019): 1–29. http://dx.doi.org/10.24113/ijohmn.v5i4.105.

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Is the New Year really new or old? Happy or sad? Is it only part of the process and the cycle of seasons making one look back and think of death? Is it a time to wish to stay where one is or hope for opportunities and possibilities? Like a point in a circle, is every day a New Year’s day? Is it a time for nostalgia and reminiscence or promises and resolutions for the future? With the (Gregorian and the British Government) changes in the Western calendar at different times in history and with different countries/cultures celebrating the New Year at different times of the year and with the fiscal year, political (election) year, and academic year being different from the traditional New Year of January 1st, does the New Year mark the beginning and the ending in just an arbitrary way? Centuries ago Britain’s earliest Poets Laureate introduced the tradition of writing a New Year poem. Since then there have been many authors writing New Year essays and poems. They include Robert Herrick, Charles Cotton, Johann Von Goethe, S. T. Coleridge, Charles Lamb, Lord Alfred Tennyson, William Cullen Bryant, Helen Hunt Jackson, Emily Dickinson, George Curtis, Thomas Hardy, Fiona Macleod (William Sharp), D. H. Lawrence, Rabindranath Tagore, and Sylvia Plath, among others.
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Dissertationen zum Thema "Kant Coleridge and Tagore"

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Roy, Sanjay Kumar. „The Concepts of imagination: Kant Coleridge and Tagore a study in linkage“. Thesis, University of North Bengal, 1999. http://hdl.handle.net/123456789/57.

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Hipolito, Jeffrey Nevin. „Extremes meet : Coleridge on ethics and poetics /“. Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/9427.

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Masson, Scott James. „Silence and the crisis of self-legitimation in English Romanticism“. Thesis, Durham University, 2000. http://etheses.dur.ac.uk/4221/.

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My thesis depicts the crisis of self-legitimation that has accompanied the onset of modern hermeneutics, with its historicised and organicised version of the Enlightenment's 'universal perspective.' In this it follows the lead of the contemporary hermeneuticist Hans- Georg Gadamer in resuscitating the notion of prejudice, but contrasts it with Hannah Arendt's discussion of the human condition. She implicitly locates the problem in modern hermeneutics, the aporia, in the very philosophy of life that Gadamer embraces as its solution. Gadamer confuses the task of the humanities as a search for truth with what it ought to be, a search for meaning. I begin with his depiction of Kant's attack on the sensus communis; I conclude with an examination of the consequences of this attack on the orientation and interpretative practices of current schools of literary criticism with specific reference to Keats's Ode on a Grecian Urn. In the central chapter, I focus upon Coleridge's attack on Wordsworth's Preface to Lyrical Ballads (1802) in the Bioeraphia Literaria, reading it as a fundamental defence of prejudice based on the very fact that man has been made in imago Dei. The consequent logocentricity of humanity that Coleridge insists upon opposes Wordsworth's emphasis upon a transcendental idea of 'feeling.' This fundamental notion forms the basis of Coleridge's definition of the primary imagination. I argue the distinctiveness of his definition from that of the other Romantics and maintain its necessity to escape the aporia. This point is proved negatively by Shelley's Mont Blanc, which seizes upon the radical consequences of Wordsworth's poetics, presenting both heresy and obscurity in the poem. The word 'crisis' thus reflects the urgency with which I advocate the need to re-adopt Coleridge's emphases in contemporary literary criticism.
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Jordan, Susanna Maria. „The authority of the invisible : an interpretation of the aesthetics of Burke, Kant, Coleridge and Shelley“. Thesis, Queen Mary, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270949.

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Carbó, Mònica (Carbó i. Ribugent). „F. Hölderlin i S.T. Coleridge: recepció immediata i influència de la Crítica del Judici de Kant en els poetes del romanticisme“. Doctoral thesis, Universitat de Girona, 2005. http://hdl.handle.net/10803/7818.

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La tesi contrasta les conseqüències filosòfiques i la constel·lació temàtica de la Crítica del Judici, amb les manifestacions poeticofilosòfiques de F. Hölderlin i S.T. Coleridge. La font principal de recerca són aquelles tesis de la Crítica del Judici rellevants per comprendre l'esclat de l'idealisme allà on aquest nou sistema involucra significativament art i experiència estètica. Hölderlin s'instal·la de manera genuïna en la tensió entre l'idealisme i la filosofia crítica. Per la radicalitat dels seus plantejaments podrem presentar-lo també com a poeta romàntic o precedent del romanticisme. Pel que fa a Coleridge estudiem la recepció immediata de la filosofia Kantiana en el medi cultural britànic per contrastar el paper del poeta en la importació de la ideologia romàntica alemanya. L'objectiu és presentar Coleridge com a poeta que assumeix els postulats del romanticisme alemany i investigar si aquests postulats poden relacionar-se amb el balanç de la filosofia kantiana expressat a Crítica del Judici.
The thesis compares the philosophical consequences of Critique of Judgement to the poetic and philosophical productions of F.Höldelrin and S.T. Colerige. The main source of research are those aspects of Critique of Judgement relevant to understand the outbreak of idealism particularly where this new system deals significantly with art and aesthetic experience. Hölderlin stands in a genuine position beneath the tensions of idealism and kantian criticism, and his radical aproach to poetry allows to present him as a romantic poet or forerunner of romanticism. For S.T. Coleridge we study the immediate reception of kantian philosophy in british soil in order to highlight his role as a mediator of the german romantic ideology. The aim is to portrait Coleridge as a poet who assumed the main postulates of german idealism and to investigate how far those postulates can be connected to the final conclusions of kantian philosophy as formulated in Critique of Judgement.
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Senturk, Uzun Neslihan. „Coleridge’s Revisionary Practice from 1814 to 1818“. Doctoral thesis, Humboldt-Universität zu Berlin, 2021. http://dx.doi.org/10.18452/23246.

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Die Dissertation untersucht Samuel Taylor Coleridges Praxis der Selbstredaktion in den Jahren von 1814 bis 1818 und beleuchtet dabei die zentrale Rolle, die William Wordsworths The Excursion, 1814 als Teil von The Recluse erschienen, in der Herausbildung von Coleridges Œuvre einnimmt. Die Arbeit entwickelt ihre zentrale These zu Coleridges Überarbeitungspraxis durch eine detaillierte Analyse der Verfahren, über die Coleridge aufhörte, durch Wordsworth zu sprechen. Ich beziehe mich dabei in erster Linie auf die Überarbeitungen von Biographia Literaria (1817), Sibylline Leaves (1817) und dem 1818 erschienenen rifacciamento zu dem Periodikum The Friend, das ursprünglich 1809–1810 publiziert worden war. Vor dem Hintergrund von Coleridges in den 1790er- und 1800er-Jahren neu aufgekommener und sich später weiterentwickelnder Rezeption von Immanuel Kants kritischer Philosophie werde ich argumentieren, dass sich die „radikale Differenz“ zwischen Coleridge und Wordsworth, die seit den Lyrical Ballads (1798) und dem „Preface“ (1800) bestand, weiter verstärkte, nachdem es Wordsworth nicht gelungen war, das groß angelegte Konzept eines „first genuine philosophical poem“ – The Recluse – zu vollenden. Insbesondere nachdem Coleridge 1807 The Prelude gehört hatte, enttäuschte The Excursion nach den Maßstäben seiner „vergleichenden Kritik“ seine lang gehegten Erwartungen. Während sein organisches Weltbild einen aktiven Geist kannte, der nach universaler „Wahrheit“ sowohl durch innere synthetisierende Kräfte als auch empirische Naturgesetze strebt, gründete sich Wordsworths Gedicht auf ein obskur-labiles Fundament zwischen Außenwelt und Selbst. Coleridges aus seinen eigenen Theorien zu Sprache und Einbildungskraft erwachsene Enttäuschung über The Excursion und die nachfolgende Loslösung von Wordsworth und ihrem gemeinsamen Werk verschafften ihm letztendlich die notwendige Autonomie, die einerseits einen nüchternen Blick auf die eigene Vergangenheit und andererseits eine dialogische Freundschaft zu Wordsworth ermöglichten, innerhalb derer Coleridge die Bedeutsamkeit erkannte, zu einem Freund zu sprechen.
This thesis is an examination of Samuel Taylor Coleridge’s revisionary activity from 1814 to 1818, considering the integral role of William Wordsworth’s The Excursion, published as part of The Recluse in 1814, on Coleridge’s conception of his discrete oeuvre. It is via a detailed analysis of the way Coleridge ceased to speak “through” Wordsworth that this thesis unfolds its principal argument on Coleridge’s revisionary activity. I principally consider the revisions at work in the Biographia Literaria (1817), Sibylline Leaves (1817) and the 1818 rifacciamento to The Friend (the periodical originally issued in 1809-1810). Taking into account Coleridge’s newly-emerging and subsequently evolving responses to Immanuel Kant’s critical philosophy in the 1790s and 1800s, I will argue that the already-existing “radical Difference” between Coleridge and Wordsworth ever since the Lyrical Ballads (1798) and the “Preface” (1800) further intensified following Wordsworth’s failure to bring their grand scheme for a “first genuine philosophical poem”, The Recluse, into completion. Especially after The Prelude Coleridge heard in 1807, The Excursion by means of his “comparative censure” fell short of meeting the long-cherished expectations. Whereas Coleridge’s organic view of the world involved the recognition of an active mind seeking universal “Truth” through the inner synthetic faculties as well as the empirical laws in nature, Wordsworth’s poem was founded upon an obscurely precarious ground between the phenomenal world and the inner self. Ultimately, Coleridge’s disappointment with The Excursion on the basis of his theories on language and imagination, and the ensuing detachment from Wordsworth and their joint oeuvre gave him the autonomy to revise his past works in a way that ensured formation of a more sober relationship with his own past and a dialogic friendship with Wordsworth in which Coleridge came to realise the importance of speaking to a friend.
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Brocious, Elizabeth Olsen. „Transcendental Exchange: Alchemical Discourse in Romantic Philosophy and Literature“. Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2301.pdf.

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„F. Hölderlin i S.T. Coleridge: recepció immediata i influència de la Crítica del Judici de Kant en els poetes del romanticisme“. Universitat de Girona, 2005. http://www.tesisenxarxa.net/TDX-0206106-114149/.

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Bücher zum Thema "Kant Coleridge and Tagore"

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Brooks, Linda Marie. The menace of the sublime to the individual self: Kant, Schiller, Coleridge, and the disintegration of romantic identity. Lewiston, NY: Edwin Mellen Press, 1995.

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Melville, Peter. Romantic Hospitality and the Resistance to Accommodation: Rousseau, Kant, Coleridge, and Mary Shelley. Wilfrid Laurier University Press, 2007.

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Coleridge And Kantian Ideas In England 17961817 Coleridges Responses To German Philosophy. Bloomsbury Publishing PLC, 2014.

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Brooks, Linda Marie. The Menace of the Sublime to the Individual Self: Kant, Schiller, Coleridge and the Disintegration of Romantic Identity. Edwin Mellen Press, 1996.

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Cheyne, Peter. Coleridge's Contemplative Philosophy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851806.001.0001.

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‘PHILOSOPHY, or the doctrine and discipline of ideas’ as S. T. Coleridge understood it, is the theme of this book. It considers the most vital and mature vein of Coleridge’s prose writings to be ‘the contemplation of ideas objectively, as existing powers’. A theory of ideas emerges in critical engagement with thinkers including Plato, Plotinus, Böhme, Kant, and Schelling. A commitment to the transcendence of reason, central to what Coleridge calls ‘the spiritual platonic old England’, distinguishes him from his German contemporaries. This book pursues a theory of contemplation that draws from Coleridge’s theories of imagination and the ‘Ideas of Reason’ in his published texts and extensively from his thoughts as they developed throughout published works, fragments, letters, and notebooks. He posited a hierarchy of cognition from basic sense intuition to the apprehension of scientific, ethical, and theological ideas. The structure of the book follows this thesis, beginning with sense data, moving upwards into aesthetic experience, imagination, and reason, with final chapters on formal logic and poetry that constellate the contemplation of ideas. Coleridge’s Contemplative Philosophy is not just a work of history of philosophy; it addresses a figure whose thinking is of continuing interest, arguing that contemplation of ideas and values has consequences for everyday morality and aesthetics, as well as metaphysics. The book also illuminates Coleridge’s prose by analysis of his poetry, notably the ‘Limbo’ sequence. The volume will be of interest to philosophers, intellectual historians, scholars of religion, and of literature.
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Young, Malcolm Clemens. The Natural World. Herausgegeben von Joel D. S. Rasmussen, Judith Wolfe und Johannes Zachhuber. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198718406.013.37.

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In the early eighteenth century nature seemed to be governed by universal mathematical laws benevolently established by the Creator. Over the next hundred years, philosophical and cultural changes led to a new experience of nature’s meaning. Kant concluded that the tension between inert matter and living beings, between necessity and freedom, means that we cannot ultimately understand nature (the ground and origin of everything). Schelling’s idealism and its presumption of an immanent pre-existing harmony of mind and nature undermined this conclusion and ultimately led to new expectations for nature. Romantic ideas, from Schleiermacher (who located the religious impulse in the intuition of the universe as a whole) to Goethe, Wordsworth, Coleridge, Emerson, and Thoreau (with their faith that an encounter with nature could be suffused with holiness) came to be central to the modern environmental movement. The ideas of Charles Darwin changed how Christians came to understand the natural world.
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Milnes, Tim. Literature and Philosophy. Herausgegeben von David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.38.

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This chapter proposes that our very notions of ‘literature’ and ‘philosophy’ are, to a great extent, forged in the Romantic era. The chapter surveys the eighteenth-century background to this issue in the sceptical empiricism of David Hume and the German transcendental idealism of Immanuel Kant, F. W. von Schelling, and J. G. Fichte. In examining the writings of William Blake, Edmund Burke, Samuel Taylor Coleridge, William Wordsworth, and William Hazlitt, it also charts the ways in which the revolutionary debates of the 1790s politicized the disciplines of philosophy and ‘theory’, leading to an anti-philosophical rhetoric in the work of writers such as Thomas Love Peacock, Charles Lamb, and Lord Byron. Finally, the chapter scrutinizes the boundaries between Romantic philosophy and the Scottish common-sense philosophy of Thomas Reid and Dugald Stewart, before examining the philosophical significance of the idea of ‘Literature’ in the work of Romantic writers, particularly Percy Shelley and John Keats.
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Hunnekuhl, Philipp. Henry Crabb Robinson. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621785.001.0001.

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Henry Crabb Robinson (1775–1867) earned his place in literary history as a perceptive diarist from 1811 onwards. Drawing substantially on hitherto unpublished manuscript sources, Henry Crabb Robinson: Romantic Comparatist, 1790–1811 discusses his formal and informal engagement with a wide variety of English and European Romantic literature prior to this point. Robinson thus emerges as a pioneering literary critic whose unique philosophical erudition underpinned his activity as a cross-cultural disseminator of literature during the early Romantic period. A Dissenter barred from the English universities, he educated himself thoroughly during his teenage years, and began to publish in radical journals. Godwin’s philosophy subsequently inspired Robinson’s first theory of literature. When in Germany from 1800–05, Robinson became the leading British scholar of Kant’s critical philosophy, which informed his discussions of Goethe, Schiller, Lessing, August Wilhelm Schlegel, and other German literature. After his return to London, Robinson aided Hazlitt’s understanding of Kant and early career as a writer; this also laid the foundation for Robinson’s lifelong critical admiration of Hazlitt’s works. Robinson’s distinctive comparative criticism further enabled him to draw compelling parallels between Wordsworth, Blake, and Herder, and to discern ‘moral excellence’ in Christian Leberecht Heyne’s Amathonte. This excellence also prompted Robinson’s transmission of Friedrich Schlegel and Jean Paul to England in 1811, as well as a profound exchange of ideas with Coleridge. Robinson’s ingenious adaptation of Kantian aesthetic autonomy into a revolutionary theory of literature’s moral relevance, Philipp Hunnekuhl finds, anticipated the current ‘ethical turn’ in literary studies.
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Scholar, John. Henry James and the Art of Impressions. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198853510.001.0001.

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Henry James and the Art of Impressions examines the concept of the ‘impression’ in the essays and late novels of Henry James. Although Henry James criticized the impressionism which was revolutionizing French painting and French fiction, and satirized the British aesthetic movement which championed impressionist criticism, he placed the impression at the heart of his own aesthetic project, as well as his narrative representation of consciousness. This book tries to understand the anomaly that James represents in the wider history of the impression. To do this it charts an intellectual and cultural history of the ‘impression’ from the seventeenth century to the twentieth, drawing in painting, philosophy (John Locke, David Hume, Immanuel Kant, J.L Austin), psychology (James Mill, J.S. Mill, William James, Ernst Mach, Franz Brentano), literature (William Wordsworth, Samuel Taylor Coleridge, Walter Pater, Oscar Wilde), and modern critical theory (Jacques Derrida, Paul de Man, Judith Butler, J. Hillis Miller). It then offers close readings of James’s non-fictional and fictional treatments of the impression in his early criticism and travel writing (1872–88), his prefaces to the New York Edition (1907–9), and the three novels of his major phase, The Ambassadors (1903), The Wings of the Dove (1902), and The Golden Bowl (1904). It concludes that the term ‘impression’ crystallizes James’s main theme of the struggle between life and art. Coherent philosophical meanings of the Jamesian impression emerge when it is comprehended as a family of related ideas about perception, imagination, and aesthetics—bound together by James’s attempt to reconcile the novel’s value as a mimetic form and its value as a transformative creative activity.
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Buchteile zum Thema "Kant Coleridge and Tagore"

1

Swinden, Patrick. „Coleridge and Kant“. In Literature and the Philosophy of Intention, 111–71. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1007/978-1-349-27297-6_3.

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2

Leask, Nigel. „Aesthetics and Idealism: Kant, Schelling and Coleridge“. In The Politics of Imagination in Coleridge’s Critical Thought, 108–16. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19283-0_11.

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3

Afejuku, Tony E. „Three Cosmic Poets: Samuel Taylor Coleridge, Rabindranath Tagore and Ezenwa-Ohaeto, and Cosmic Nature of Imagination“. In The Cosmos and the Creative Imagination, 311–19. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-21792-5_22.

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4

Vigus, James. „Coleridge's Kant“. In Platonic Coleridge, 35–62. Routledge, 2017. http://dx.doi.org/10.4324/9781351194433-3.

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5

Townsend, Chris. „Inside Outness in Coleridge“. In George Berkeley and Romanticism, 87–123. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192846785.003.0004.

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Coleridge’s reading in philosophy is often thought of as a process of ‘ousting’, where Hartley was surpassed by Berkeley, and Berkeley by Kant. This chapter shows that, whilst Kant did irrevocably change Coleridge’s philosophical views and drew him away from what he came to call Berkeley’s ‘dogmatic idealism’, elements of his reading of Berkeley lived on after Coleridge’s exposure to German philosophy. Central here is the experience Coleridge called ‘outness’—the sense that the world around us is external, even if it might actual exist in our minds. After reconstructing our knowledge of Coleridge’s reading of Berkeley, this chapter argues that Coleridge took from Berkeley the notion of ‘outness’ and a rhetoric of semblance that would animate his poetry and theological prose well after his Kantian turn.
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6

„4 Emerson, Coleridge, Kant (Terms as Conditions)“. In Emerson’s Transcendental Etudes, 59–82. Stanford University Press, 2003. http://dx.doi.org/10.1515/9781503620285-007.

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7

Craig, Cairns. „‘Kant has not answered Hume’: Hume, Coleridge and the Romantic Imagination“. In Associationism and the Literary ImaginationFrom the Phantasmal Chaos, 41–84. Edinburgh University Press, 2007. http://dx.doi.org/10.3366/edinburgh/9780748609123.003.0002.

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8

„1 ‘Kant has not answered Hume’: Hume, Coleridge and the Romantic Imagination“. In Associationism and the Literary Imagination, 41–84. Edinburgh University Press, 2007. http://dx.doi.org/10.1515/9780748628162-004.

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9

Scholar, John. „Contexts (II)“. In Henry James and the Art of Impressions, 95–132. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198853510.003.0004.

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Chapter 3, continuing Chapter 2’s intellectual history of the impression, begins by exploring British aestheticism and its roots in Kant and romanticism (Walter Pater, Oscar Wilde, Immanuel Kant, Samuel Taylor Coleridge, William Wordsworth). It then turns to twentieth-century theories of performativity, which, it argues, combine elements of the empiricist and the aesthetic (J. L. Austin, Jacques Derrida, Paul de Man, Judith Butler, J. Hillis Miller). James followed Pater in resurrecting the ‘impression’. Pater found in Hume’s impression a role for the imagination at the heart of consciousness. But the interpretive excesses of James’s protagonists’ cognitive impressions must also be understood alongside the more flamboyant aestheticism of Pater’s disciple Wilde, and his ‘critic as artist’. The most active of James’s impressions, however, are performative: they are impressions made, not received. Performativity helps frame an account of the impression that encompasses both the receiving and making of impressions, and the confusion between the two.
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