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The Romantic AbsoluteBeing and Knowing in Early German Romantic Philosophy, 1795-1804$
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Dalia Nassar

Print publication date: 2013

Print ISBN-13: 9780226084060

Published to Chicago Scholarship Online: May 2014

DOI: 10.7208/chicago/9780226084237.001.0001

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Identity Philosophy and the Philosophy of Art

Identity Philosophy and the Philosophy of Art

Chapter:
(p.225) Chapter Twelve Identity Philosophy and the Philosophy of Art
Source:
The Romantic Absolute
Author(s):

Dalia Nassar

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226084237.003.0015

This chapter explores Schelling’s turn to reason following the System. It contends that the problem with the work of art has to do with the fact that it remains an object, opposed to the subject. As such, it cannot truly present the absolute. The chapter traces the development of Schelling’s thought in the identity philosophy, beginning with the Darstellung meines Systems der Philosophie (1801), and argues that in spite of decisive differences between this work and earlier writings, the Darstellung does not represent a rupture in Schelling’s thought. The chapter shows that the Fernere Darstellung and Schelling’s dialogue, Bruno, represent a return to some of Schelling’s earliest ideas. It concludes with an investigation of the role of art in the identity philosophy, and suggests that although Schelling considers the artwork and the imagination to be less significant than reason, he implicitly accords to them a certain superiority over reason.

Keywords:   Friedrich Schelling, Fichte, Spinoza, German idealism, intellectual intuition, the absolute, the absolute I, identity philosophy, philosophy of art, history of philosophy

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