Elizabeth Millán – författare

The origins of early German Romanticism and the philosophical contributions of the movement's most important philosopher.This book addresses the philosophical reception of early German Romanticism and offers the first in-depth study in English of the movement's most important philosopher, Friedrich Schlegel, presenting his philosophy against the background of the controversies that shaped its emergence. Elizabeth Millán-Zaibert begins by distinguishing early German Romanticism from classical German Idealism, under which it has all too often been subsumed, and then explores Schlegel's romantic philosophy (and his rejection of first principles) by showing how he responded to three central figures of the post-Kantian period in Germany-Jacobi, Reinhold, and Fichte-as well as to Kant himself. She concludes with a comprehensive critique of the aesthetic and epistemological consequences of Schlegel's thought, with special attention paid to his use of irony.

The origins of early German Romanticism and the philosophical contributions of the movement's most important philosopher.This book addresses the philosophical reception of early German Romanticism and offers the first in-depth study in English of the movement's most important philosopher, Friedrich Schlegel, presenting his philosophy against the background of the controversies that shaped its emergence. Elizabeth Millán-Zaibert begins by distinguishing early German Romanticism from classical German Idealism, under which it has all too often been subsumed, and then explores Schlegel's romantic philosophy (and his rejection of first principles) by showing how he responded to three central figures of the post-Kantian period in Germany-Jacobi, Reinhold, and Fichte-as well as to Kant himself. She concludes with a comprehensive critique of the aesthetic and epistemological consequences of Schlegel's thought, with special attention paid to his use of irony.

After the Avant-Gardes is a rallying call for all those who challenge artistic modernism. This is a collection of ten provocative essays on the arts by writers of varied orientations who share a skepticism about the exaggerated role of modernism and the successive avant-gardes in shaping what is accepted as valid contemporary art. The essays cover painting and other visual arts, literature, music, and general observations. Not an exercise in hand-wringing, it looks for different directions in which the arts may fruitfully evolve. Paul A. Cantor contributes a study of the Norwegian anti-modernist painter Odd Nerdrum, who sees modernist art as totalitarian. Michelle Marder Kamhi criticizes the avant-gardist neglect of mimesis as a key to the cognitive and emotional functions of art. Henning Tegtmeyer evaluates Hegel's and Danto's views of "the end of art." Jonathan Le Cocq examines Karl Popper's objections to progressivism in music. Frederick Turner presents a manifesto for a new avant-garde based on beauty, science, the general public as audience, and the reunion of "high" with "low" art. Paul Lake offers a new paradigm for literature.Louis Torres questions the privileged position, amounting to an institutional monopoly, of modernist avant-gardism in the arts world.

A rallying call for all those who have been disquieted or disgusted by the excesses of artistic modernism. This is a collection of ten provocative essays on the arts, by writers of varied orientations who share a skepticism about the exaggerated role of modernism and the successive avant-gardes in shaping what is accepted as valid contemporary art. The essays cover painting and other visual arts, literature, music, and general observations about all the arts. It is not an exercise in hand-wringing about the current state of the arts, but looks for different directions in which the arts may now fruitfully evolve. Despite the diverse philosophies of the contributors, these essays together constitute a formidable case against the unhealthy impact of avant-gardism on our lives and aesthetic culture. The essays include the following, among others: a study of anti-modernist painter Odd Nerdrum, who sees modernist art as totalitarian; a critique of the avant-gardist neglect of mimesis as a key to art; an evaluation of “the end of art”; a critique of modern art in light of “the aesthetic harm principle”; an examination of Popper''s objections to progressivism in music; the presentation of a new paradigm for literature.

Argues that there are original positions to be found in the work of Latin American philosophers.This book brings the history of Latin American philosophy to an English-speaking audience through the prominent voices of Mauricio Beuchot, Horacio Cerutti-Guldberg, María Luisa Femenías, Jorge J. E. Gracia, Oscar R. Martí, León Olivé, Carlos Pereda, and Eduardo Rabossi. They argue that Spanish is not a philosophically irrelevant language and that there are original positions to be found in the work of Latin American philosophers.Part I of the book looks at why the history of philosophy has not developed in Latin America. A range of theoretical issues are explored, each focusing on specific problems that have hindered the development of a solid history. Part II details the complex task of writing a history of philosophy for a region still haunted by the specter of colonialism.