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Apparent Purposes. How Does the Purpose of Purposelessness Operate?

  • Manuel Clemens
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Anti/Idealism
This chapter is in the book Anti/Idealism

Abstract

One field of idealism in combination with anti-idealism is aesthetic education, since it combines the idea of an aesthetic idealist sphere with its intervention into the real world. Friedrich Schiller’s letters Über die ästhetische Erziehung des Menschen [On the Aesthetic Education of Man] (1795) express this ambivalence prominently. His Aesthetic Letters articulate a cultural critique around the 1800s, stating that, on the one hand, his contemporaries are only able to think in terms of economic benefits as it relates to all aspects of existence, rendering human existence one-dimensional and unhappy, and that, on the other, theoretical projects on the grand scale of the Enlightenment and the French Revolution cannot be fully realised since they appeal to human beings -once again one-dimensionally-only through reason.¹ As a result, while Enlightenment ideas are considered and taught, they cannot be implemented properly (if at all) since they do not correspond to the reality of human action. Schiller therefore brings a form of aesthetic education into play, one which he locates in art. Since Enlightenment constructs, such as Kant’s categorical imperative, appeal only to reason, a supplementary form of aesthetic knowledge is introduced, intended to appeal ethically to the senses as well.

Abstract

One field of idealism in combination with anti-idealism is aesthetic education, since it combines the idea of an aesthetic idealist sphere with its intervention into the real world. Friedrich Schiller’s letters Über die ästhetische Erziehung des Menschen [On the Aesthetic Education of Man] (1795) express this ambivalence prominently. His Aesthetic Letters articulate a cultural critique around the 1800s, stating that, on the one hand, his contemporaries are only able to think in terms of economic benefits as it relates to all aspects of existence, rendering human existence one-dimensional and unhappy, and that, on the other, theoretical projects on the grand scale of the Enlightenment and the French Revolution cannot be fully realised since they appeal to human beings -once again one-dimensionally-only through reason.¹ As a result, while Enlightenment ideas are considered and taught, they cannot be implemented properly (if at all) since they do not correspond to the reality of human action. Schiller therefore brings a form of aesthetic education into play, one which he locates in art. Since Enlightenment constructs, such as Kant’s categorical imperative, appeal only to reason, a supplementary form of aesthetic knowledge is introduced, intended to appeal ethically to the senses as well.

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