Fred Rush – författare

Irony and Idealism investigates the historical and conceptual structure of the development of a philosophically distinctive conception of irony in early- to mid-nineteenth century European philosophy. The principal figures treated are the romantic thinkers Friedrich Schlegel and Novalis, Hegel, and Kierkegaard. Fred Rush argues that the development of philosophical irony in this historical period is best understood as providing a way forward in philosophy in the wake of Kant and Jacobi that is discrete from, and many times opposed to, German idealism. Irony and Idealism argues, against the grain of received opinion, that among the German romantics Schlegel's conception of irony is superior to similar ideas found in Novalis. It also presents a sustained argument showing that historical reconsideration of Schlegel has been hampered by contestable Hegelian assumptions concerning the conceptual viability of romantic irony and by the misinterpretation of what the romantics mean by 'the absolute.' Rush argues that this is primarily a social-ontological term and not, as is often supposed, a metaphysical concept. Kierkegaard, although critical of the romantic conception, deploys his own adaptation of it in his criticism of Hegel, continuing, and in a way completing, the arc of irony through nineteenth-century philosophy. The book concludes by offering suggestions meant to guide contemporary reconsideration of Schlegel's and Kierkegaard's views on the philosophical significance of irony.

Sculpture has been a central aspect of almost every art culture, contemporary or historical. This volume comprises ten essays at the cutting edge of thinking about sculpture in philosophical terms, representing approaches to sculpture from the perspectives of both Anglo-American and European philosophy. Some of the essays are historically situated, while others are more straightforwardly conceptual. All of the essays, however, pay strict attention to actual sculptural examples in their discussions. This reflects the overall aim of the volume to not merely "apply" philosophy to sculpture, but rather to test the philosophical approaches taken in tandem with deep analyses of sculptural examples.There is an array of philosophical problems unique to sculpture, namely certain aspects of its three-dimensionality, physicality, temporality, and morality. The authors in this volume respond to a number of challenging philosophical questions related to these characteristics. Furthermore, while the focus of most of the essays is on Western sculptural traditions, there are contributions that features discussion of sculptural examples from non-Western sources. Philosophy of Sculpture is the first full-length book treatment of the philosophical significance of sculpture in English. It is a valuable resource for advanced students and scholars across aesthetics, art history, history, performance studies, and visual studies.

Architecture is a philosophical puzzle. Although we spend most of our time in buildings, we rarely reflect on what they mean or how we experience them. With some notable exceptions, they have generally struggled to be taken seriously as works of art compared to painting or music and have been rather overlooked by philosophers. In On Architecture, Fred Rush argues this is a consequence of neglecting the role of the body in architecture. Our encounter with a building is first and foremost a bodily one; buildings are lived-in, communal spaces and their construction reveals a lot about our relation to the environment as a whole. Drawing on examples from architects classic and contemporary such as Le Corbusier and Frank Lloyd Wright, and exploring the significance of buildings in relation to film and music and philosophers such as Heidegger and Merleau-Ponty, Fred Rush argues that philosophical reflection on building can tell us something important about the human condition.

Critical Theory constitutes one of the major intellectual traditions of the twentieth century, and is centrally important for philosophy, political theory, aesthetics and theory of art, the study of modern European literatures and music, the history of ideas, sociology, psychology, and cultural studies. In this volume an international team of distinguished contributors examines the major figures in Critical Theory, including Horkheimer, Adorno, Marcuse, Benjamin, and Habermas, as well as lesser known but important thinkers such as Pollock and Neumann. The volume surveys the shared philosophical concerns that have given impetus to Critical Theory throughout its history, while at the same time showing the diversity among its proponents that contributes so much to its richness as a philosophical school. The result is an illuminating overview of the entire history of Critical Theory in the twentieth century, an examination of its central conceptual concerns, and an in-depth discussion of its future prospects.

Critical Theory constitutes one of the major intellectual traditions of the twentieth century, and is centrally important for philosophy, political theory, aesthetics and theory of art, the study of modern European literatures and music, the history of ideas, sociology, psychology, and cultural studies. In this volume an international team of distinguished contributors examines the major figures in Critical Theory, including Horkheimer, Adorno, Marcuse, Benjamin, and Habermas, as well as lesser known but important thinkers such as Pollock and Neumann. The volume surveys the shared philosophical concerns that have given impetus to Critical Theory throughout its history, while at the same time showing the diversity among its proponents that contributes so much to its richness as a philosophical school. The result is an illuminating overview of the entire history of Critical Theory in the twentieth century, an examination of its central conceptual concerns, and an in-depth discussion of its future prospects.

Theodor Adorno's Aesthetic Theory (1970) offers one of the most powerful and comprehensive critiques of art and of the discipline of aesthetics ever written. The work offers a deeply critical engagement with the history and philosophy of aesthetics and with the traditions of European art through the middle of the 20th century. It is coupled with ambitious claims about what aesthetic theory ought to be. But the cultural horizon of Adorno's Aesthetic Theory was the world of high modernism, and much has happened since then both in theory and in practice. Adorno's powerful vision of aesthetics calls for reconsideration in this light. Must his work be defended, updated, resisted, or simply left behind? This volume gathers new essays by leading philosophers, critics, and theorists writing in the wake of Adorno in order to address these questions. They hold in common a deep respect for the power of Adorno's aesthetic critique and a concern for the future of aesthetic theory in response to recent developments in aesthetics and its contexts.

Composed whilst in exile in the United States during the Second World War, Max Horkheimer and Theodor W. Adorno’s Dialectic of Enlightenment is the most famous and influential text of the Frankfurt School. A theoretical exploration of history, modernity, and culture, its core warning of crisis and regression remains highly relevant today. However, it is also a notoriously complex work of philosophy.The Routledge Guidebook to Horkheimer and Adorno’s Dialectic of Enlightenment is the first fully contextualized introduction to this foundational text in philosophy and social theory, addressing its central themes, reception, and influence. This Guidebook examines:The conceptual and intellectual background to Dialectic of Enlightenment. The ideas, themes, and arguments of the text.The reception and legacy of Dialectic of Enlightenment.A comprehensive and clearly written guide to this important text, The Routledge Guidebook to Horkheimer and Adorno’s Dialectic of Enlightenment will be invaluable to students coming to the work for the first time, as well as more advanced students and researchers in philosophy, politics, sociology, and the history of ideas.

Composed whilst in exile in the United States during the Second World War, Max Horkheimer and Theodor W. Adorno’s Dialectic of Enlightenment is the most famous and influential text of the Frankfurt School. A theoretical exploration of history, modernity, and culture, its core warning of crisis and regression remains highly relevant today. However, it is also a notoriously complex work of philosophy.The Routledge Guidebook to Horkheimer and Adorno’s Dialectic of Enlightenment is the first fully contextualized introduction to this foundational text in philosophy and social theory, addressing its central themes, reception, and influence. This Guidebook examines:The conceptual and intellectual background to Dialectic of Enlightenment. The ideas, themes, and arguments of the text.The reception and legacy of Dialectic of Enlightenment.A comprehensive and clearly written guide to this important text, The Routledge Guidebook to Horkheimer and Adorno’s Dialectic of Enlightenment will be invaluable to students coming to the work for the first time, as well as more advanced students and researchers in philosophy, politics, sociology, and the history of ideas.

Sculpture has been a central aspect of almost every art culture, contemporary or historical. This volume comprises ten essays at the cutting edge of thinking about sculpture in philosophical terms, representing approaches to sculpture from the perspectives of both Anglo-American and European philosophy. Some of the essays are historically situated, while others are more straightforwardly conceptual. All of the essays, however, pay strict attention to actual sculptural examples in their discussions. This reflects the overall aim of the volume to not merely "apply" philosophy to sculpture, but rather to test the philosophical approaches taken in tandem with deep analyses of sculptural examples.There is an array of philosophical problems unique to sculpture, namely certain aspects of its three-dimensionality, physicality, temporality, and morality. The authors in this volume respond to a number of challenging philosophical questions related to these characteristics. Furthermore, while the focus of most of the essays is on Western sculptural traditions, there are contributions that features discussion of sculptural examples from non-Western sources. Philosophy of Sculpture is the first full-length book treatment of the philosophical significance of sculpture in English. It is a valuable resource for advanced students and scholars across aesthetics, art history, history, performance studies, and visual studies.

The prospect for a philosophy of nature is, together with that of a new grounding for philosophy, a topic of pointed discussion in philosophy after Kant. The relation of freedom to nature is here one of the central themes. Emerging research in biology, chemistry, and physics is also taken into account and integrated in a comprehensive theory of the relation of nature to Spirit. Volume 8 of the Internationales Jahrbuch des Deutschen Idealismus/International Yearbook of German Idealism pursues the multifarious responses of post-Kantian philosophy to this problematic.Contributors: Gideon Freudenthal, Michael Friedman, Hans-Peter Neumann, Wolfgang Neuser, Konstantin Pollok, Sebastian Rand, Pirmin Stekeler-Weithofer, Thomas Sturm, Lars-Thade Ulrichs, Eric Watkins, John Zammito, Paul Ziche, Rachel Zuckert

Der zehnte Band des Internationalen Jahrbuchs des Deutschen Idealismus widmet sich dem Thema „Geschichte“. Die hier versammelten Beiträge behandeln aus unterschiedlichen Perspektiven die verschiedenen Rollen, die die Geschichte, die Philosophiegeschichte, die Geschichtsphilosophie sowie die philosophische Geschichtsschreibung in der klassischen deutschen Philosophie spielen und untersuchen ihre Wirkung im 19. und 20. Jahrhundert.