Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-m6dg7 Total loading time: 0 Render date: 2024-11-08T18:29:42.748Z Has data issue: false hasContentIssue false

Select bibliography

Published online by Cambridge University Press:  06 December 2010

Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2010

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Allison, Henry. Kant's Theory of Taste. Cambridge: Cambridge University Press, 2002.Google Scholar
Aristotle, . Poetics. Trans. Janko, R.. Indianapolis: Hackett, 1987.Google Scholar
Danto, Arthur.Rhetoric. Trans. Rhys Roberts, W.. New York: Modern Library, 1958.Google Scholar
Auden, W.H.Selected Poems. New York: Vintage International, 1989.Google Scholar
Baudelaire, Charles. The Painter of Modern Life and Other Essays. Trans. Mayne, J.. London: Phaidon, 1995.Google Scholar
Behler, Ernst.Frühromantik. Berlin: De Gruyter, 1992.CrossRefGoogle Scholar
Berger, Karol. A Theory of Art. Oxford: Oxford University Press, 2000.Google Scholar
Bernstein, J.M. “Confession and Forgiveness: Hegel's Poetics of Action.” In Eldridge, R.T., ed., Beyond Representation: Philosophy and Poetic Imagination. Cambridge: Cambridge University Press, 1996, 34–65.Google Scholar
Danto, Arthur.The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno (State College, PA: Penn State University Press, 1992).Google Scholar
Boyle, Nicholas.Goethe: The Poet and the Age, vol. i. Oxford: Oxford University Press, 1991.Google Scholar
Danto, Arthur.Goethe: The Poet and the Age, vol. ii. Oxford: Oxford University Press, 2000.Google Scholar
Brogan, T.V.F., ed. New Princeton Handbook of Poetic Terms. Princeton: Princeton University Press, 1994.
Brown, Frederick.Flaubert. New York: Little, Brown and Company, 2006.Google Scholar
Brown, Jane K. “In the Beginning Was Poetry.” In Parsons, James, ed., The Cambridge Companion to the Lied. Cambridge: Cambridge University Press, 2004, 12–32.Google Scholar
Bubner, Rüdiger.Innovations of Idealism. Trans. Walker, N. . Cambridge: Cambridge University Press, 2003.CrossRefGoogle Scholar
Bungay, Stephen.Beauty and Truth: A Study of Hegel's Aesthetics. Oxford: Oxford University Press, 1984.Google Scholar
Carroll, Nöel.Beyond Aesthetics. Cambridge: Cambridge University Press, 2001.CrossRefGoogle Scholar
Cascardi, Anthony J.Consequences of Enlightenment. Cambridge: Cambridge University Press, 1999.CrossRefGoogle Scholar
Cavell, Stanley.Must We Mean What We Say? rev. edn. Cambridge: Cambridge University Press, 2002.Google Scholar
Danto, Arthur.This New Yet Unapproachable America. Albuquerque, NM: Living Batch Press, 1989.Google Scholar
Cohen, Ted.Thinking of Others: On the Talent for Metaphor. Princeton: Princeton University Press, 2008.Google Scholar
Collingwood, R.G.The Principles of Art. Oxford: Oxford University Press, 1958 [1938].Google Scholar
Damrosch, David.What Is World Literature?Princeton: Princeton University Press, 2003.Google Scholar
Danto, Arthur.The Abuse of Beauty. Chicago: Open Court, 2003.Google Scholar
Danto, Arthur.After the End of Art. Princeton: Princeton University Press, 1997.Google Scholar
Danto, Arthur.“The End of Art: A Philosophical Defense.”History and Theory, 37, 4 (1998), 127–43.CrossRefGoogle Scholar
Danto, Arthur.The Philosophical Disenfranchisement of Art. New York: Columbia University Press, 1986.Google Scholar
Danto, Arthur.The Transfiguration of the Commonplace. Cambridge, MA: Harvard University Press, 1981.Google Scholar
Davidson, Donald.Inquiries into Truth and Interpretation. Oxford: Oxford University Press, 2001.CrossRefGoogle Scholar
Man, Paul.Aesthetic Ideology. Minneapolis: University of Minnesota Press, 1996.Google Scholar
Desmond, William.Art and the Absolute. Albany: SUNY Press, 1986.Google Scholar
Dewey, John.Art As Experience. New York: Perigree, 1980 [1934].Google Scholar
Dickinson, Emily.The Poems of Emily Dickinson. Ed. Franklin, R.W.. Cambridge, MA: Belknap Press of Harvard University Press, 1999.Google Scholar
Donougho, Martin.“Remarks on ‘Humanus Heiβt der Heilige.’”Hegel-Studien, 17 (1982), 214–25.Google Scholar
Eldridge, R.T. “Hegel on Music.” In Houlgate, S., ed. Hegel and the Arts. Evanston: Northwestern University Press, 2007, 119–45.Google Scholar
Danto, Arthur.An Introduction to the Philosophy of Art. Cambridge: Cambridge University Press, 2003.Google Scholar
Eldridge, R.T., ed.Stanley Cavell. Cambridge: Cambridge University Press, 2003.CrossRefGoogle Scholar
Emerson, R.W.The Portable Emerson. Ed. Bode, C.. New York: Viking, 1981.Google Scholar
Etter, Brian K. “Hegel's Aesthetic and the Possibility of Art Criticism.” In Maker, William, ed., Hegel and Aesthetics. Albany: SUNY Press, 2000, 31–44.Google Scholar
Flaubert, G.The Letters of Gustave Flaubert: 1830–1857. Ed. Steegmuller, F.. Cambridge, MA: Belknap Press of Harvard University Press, 1980.Google Scholar
Forster, E.M.Aspects of the Novel. New York: Harcourt, 1927.Google Scholar
Fried, Michael.Absorption and Theatricality: Painting and Beholder in the Age of Diderot. Chicago: University of Chicago Press, 1988.Google Scholar
Geiger, Ido.The Founding Act of Modern Ethical Life. Stanford, CA: Stanford University Press, 2007.Google Scholar
Geiger, Ido.“Is Art A Thing of the Past? The Political Work of Art between Hegel and Schiller.”Idealistic Studies, 35, 2–3 (2005), 173–97.CrossRefGoogle Scholar
Gethmann-Siefert, Annemarie. “Einleitung.” In Gethmann-Siefert, A. and Collenberg-Plotnikov, B., eds., Philosophie der Kunst oder Ästhetik: nach Hegel, im Sommer 1826. Munich: Fink, 2004.Google Scholar
Gethmann-Siefert, Annemarie. “Einleitung: Gestalt und Wirkung von Hegels Ästhetik.” In Gethmann-Siefert, , ed. Vorlesungen über die Philosophie der Kunst: Berlin 1823. Hamburg: Meiner, 1998, xv–ccxv.Google Scholar
Gethmann-Siefert, Annemarie.“Hegel über Kunst und Alltäglichkeit. Zur Rehabilitierung der schönen Künste und des ästhetischen Genusses.”Hegel-Studien, 28 (1993), 215–65.Google Scholar
Gethmann-Siefert, Annemarie. “Phänomen versus System.” In Gethmann-Siefert, , ed., Phänomen versus System: Zum Verhaltnis von philosophischer Systematik und Kunsturteil in Hegels Berliner Vorlesungen über Ästhetik oder Philosophie der Kunst. Hegel-Studien, Beiheft 34. Bonn: Bouvier Verlag, 1992.Google Scholar
Gethmann-Siefert, Annemarie. “Schöne Kunst und Prosa des Lebens. Hegels Rehabilitierung des ästhetischen Genusses.” In Jamme, C., ed., Kunst und Geschichte im Zeitalter Hegels. Hamburg: Meiner Verlag, 1996, 115–50.Google Scholar
Goethe, J.W.Goethe: Selected Verse. New York: Penguin, 1964.Google Scholar
Danto, Arthur.Goethe's Literary Essays. Ed. Spingarn, J.E.. New York: Felix Ungar, 1964.Google Scholar
Goethe, J.W.Goethes Werke. Hamburg: Christian Wegner, 1967.Google Scholar
Goodman, Nelson.Languages of Art. Cambridge, MA: Harvard University Press, 1976.Google Scholar
Guyer, Paul.“Kant's Conception of Fine Art.”Journal of Aesthetics and Art Criticism, 52, 3 (1994), 275–85.CrossRefGoogle Scholar
Hale, B. and Wright, C., eds. A Companion to the Philosophy of Language. Oxford: Blackwell, 1999.CrossRef
Hammermeister, Kai.The German Aesthetic Tradition. Cambridge: Cambridge University Press, 2002.CrossRefGoogle Scholar
Harries, Karsten.“Hegel on the Future of Art.”Review of Metaphysics, 27 (1974), 677–96.Google Scholar
Harris, Errol.“Some Difficulties with Hegel's Aesthetics.”Idealistic Studies, 28, 33 (1998), 137–45.CrossRefGoogle Scholar
Harris, H.S.“The Resurrection of Art.”Owl of Minerva, 16 (1984), 5–20.CrossRefGoogle Scholar
Harrison, Charles, Wood, Paul, and Gaiger, Jason, eds. Art in Theory, 1685–1815. Oxford: Blackwell, 2000.
Henrich, Dieter. “Art and Philosophy of Art Today: Reflections with Reference to Hegel.” In Amacher, Richard E. and Lange, Victor, eds., New Perspectives in German Literary Criticism: A Collection of Essays. Princeton: Princeton University Press, 1979, 107–33. (A translation of “Kunst und Kunst Philosophie der Gegenwart.” In H.R. Jauss, ed., Poetik und Hermeneutik 1. Munich: Eidos Verlag, 1964.)Google Scholar
Danto, Arthur. “The Contemporary Relevance of Hegel's Aesthetics.” In Inwood, M., ed., Hegel. Oxford: Oxford University Press, 1985, 199–207.Google Scholar
Herder, J.G.Selected Early Works: 1764–1767. Trans. Menze, Ernest A.. State College, PA: Penn State University Press, 1988.Google Scholar
Hogarth, William.The Analysis of Beauty. London: W. Hogarth, 1810.Google Scholar
Hölderlin, Friedrich.Friedrich Hölderlin: Essays and Letters on Theory. Ed. and trans. Pfau, ThomasAlbany: SUNY Press, 1988.Google Scholar
Houlgate, Stephen.“The ‘End’ of Art.”Owl of Minerva, 29 (1997), 1–21.CrossRefGoogle Scholar
Danto, Arthur. “Hegel and the Art of Painting.” In Maker, William, ed. Hegel and Aesthetics. Albany: SUNY Press, 2000, 61–82.Google Scholar
Houlgate, Stephen. “Hegel on the Beauty of Sculpture.” In Houlgate, , ed. Hegel and the Arts. Evanston: Northwestern University Press, 2007, 56–89.Google Scholar
Houlgate, Stephen. “Hegel's Theory of Tragedy.” In Houlgate, , ed. Hegel and the Arts. Evanston: Northwestern University Press, 2007, 146–78.Google Scholar
Kant, Immanuel.Anthropology from a Pragmatic Point of View. Ed. and trans. Louden, R.. Cambridge: Cambridge University Press, 2006.Google Scholar
Danto, Arthur.Critique of Judgment. Trans. Pluhar, W.S.. Indianapolis: Hackett, 1987.Google Scholar
Kant, Immanuel.Political Writings. Ed. Reiss, Hans. Cambridge: Cambridge University Press, 1991.Google Scholar
Lacoue-Labarthe, Philippe and Nancy, Jean-Luc. The Literary Absolute: The Theory of Literature in German Romanticism. Trans. Barnard, P. and Lester, C. . Albany: SUNY Press, 1988 [1978].Google Scholar
Lamport, F.J.German Classical Drama. Cambridge: Cambridge University Press, 1990.Google Scholar
Law, Stephen C. “Hegel and the Spirit of Comedy.” In Maker, William, ed. Hegel and Aesthetics. Albany: SUNY Press, 2000, 113–30.Google Scholar
Lessing, G.E.Sämtliche Schriften, 3rd edn., 23 vols., ed. Lachmann, Karl and Muncher, Franz. Stuttgart: G.J. Göschen, 1886–1924.Google Scholar
Lewes, G.H.Life of Goethe. London: Smith, Elder & Co., 1875.Google Scholar
Magnus, Katherine Dow.Hegel and the Symbolic Mediation of Spirit. Albany: SUNY Press, 2001.Google Scholar
Danto, Arthur.“Spirit's Symbolic Self-Presentation in Art: A Reading of Hegel's Aesthetics.”Owl of Minerva, 30, 2 (1998), 155–207.Google Scholar
Mark, Thomas Carlson.“On Works of Virtuosity.”Journal of Philosophy, 77, 1 (1980), 28–45.CrossRefGoogle Scholar
Nietzsche, , Friedrich W. The Birth of Tragedy. Trans. Speirs, R.. Cambridge: Cambridge University Press, 1999.Google Scholar
Danto, Arthur.The Use and Abuse of History. Trans. Collins, Adrian. New York: Macmillan, 1957).Google Scholar
Norton, Glyn P., ed.Cambridge History of Literary Criticism, vol. iii, The Renaissance. Cambridge: Cambridge University Press, 1999.Google Scholar
Oelmueller, Willi.Die unbefriedigte Aufklaerung. Frankfurt am Main: Suhrkamp, 1969.Google Scholar
Pillow, Kirk.Sublime Understanding: Aesthetic Reflection in Kant and Hegel. Cambridge, MA: MIT Press, 2000.Google Scholar
Pinkard, Terry.Hegel: A Biography. Cambridge: Cambridge University Press, 2000.Google Scholar
Danto, Arthur.Hegel's Phenomenology: The Sociality of Reason. Cambridge: Cambridge University Press, 1994.Google Scholar
Pinkard, Terry. “Symbolic, Classical and Romantic Art.” In Houlgate, S., ed., Hegel and the Arts. Evanston: Northwestern University Press, 2007, 3–28.Google Scholar
Pinkard, Terry.“Virtues, Morality, and Sittlichkeit: From Maxims to Practices.”European Journal of Philosophy, 7, 2 (1999), 217–38.CrossRefGoogle Scholar
Pippin, Robert. “The Absence of Aesthetics in Hegel's Aesthetics.” In Beiser, F.C., ed., The Cambridge Companion to Hegel and Nineteenth-Century Philosophy. Cambridge: Cambridge University Press, 2008, 394–418.Google Scholar
Danto, Arthur.“Authenticity in Painting: Remarks on Michael Fried's Art History.”Critical Inquiry, 31, 3 (2005), 575–98.Google Scholar
Pippin, Robert. “The Paradoxes of Power in the Early Novels of J.M. Coetzee.” In Leist, Anton and Singer, Peter, eds., J.M. Coetzee and Ethics: Philosophical Perspectives on Literature. New York: Columbia University Press, 2010.Google Scholar
Pippin, Robert.“What Was Abstract Art? (From the Point of View of Hegel).”Critical Inquiry, 29, 1 (2002), 1–24.CrossRefGoogle Scholar
Redfield, James.Nature and Culture in the Iliad. Durham, NC: Duke University Press, 1994 [1975].Google Scholar
Richards, I.A.The Philosophy of Rhetoric. Oxford: Oxford University Press, 1965 [1936].Google Scholar
Richter, Jean Paul.Horn of Oberon: Jean Paul Richter's School for Aesthetics. Trans. Hale, M.R.. Detroit: Wayne State University Press, 1973.Google Scholar
Danto, Arthur.Vorschule der Ästhetik. Hamburg: Meiner, 1990.Google Scholar
Roche, M.W.Tragedy and Comedy: A Systematic Study and a Critique of Hegel. Albany: SUNY Press, 1998.Google Scholar
Rousseau, Jean-Jacques.Letter to d'Alembert, and Writings for the Theater. Hanover, NH: University of New England Press, 2004.Google Scholar
Saul, Nicholas. “Goethe the Writer and Literary History.” In Sharpe, Lesley, ed., The Cambridge Companion to Goethe. Cambridge: Cambridge University Press, 2002, 23–41.Google Scholar
Schaeffer, J-M.Art of the Modern Age. Princeton: Princeton University Press, 2000.Google Scholar
Schelling, F.W.J.Philosophy of Art. Trans. Stott, D.W.. Minneapolis: University of Minnesota Press, 1989.Google Scholar
Danto, Arthur.System of Transcendental Idealism [1800]. Trans. Heath, Peter. Charlottesville, VA: University Press of Virginia, 1997.Google Scholar
Schiller, Friedrich.Essays. Ed. Hinderer, W. and Dahlstrom, D.O.. New York: Continuum, 1993.Google Scholar
Schlegel, A.W.Lectures on Dramatic Art and Literature. Trans. Black, John. London: George Bell, 1904.Google Scholar
Danto, Arthur.Vorlesungen über schöne Literatur und Kunst, vols. I–III. Stuttgart: Göschen, 1884.Google Scholar
Schlegel, F. “Letter on the Novel.” In Bernstein, J.M., ed., Classic and Romantic German Aesthetics. Cambridge: Cambridge University Press, 2003, 287–96.Google Scholar
Danto, Arthur. “On Goethe's Meister.” In Bernstein, J.M., ed., Classic and Romantic German Aesthetics. Cambridge: Cambridge University Press, 2003, 269–86.Google Scholar
Schlegel, F.Philosophical Fragments. Trans. Firchow, P.. Minneapolis: University of Minnesota Press, 1991.Google Scholar
Searle, John. “Metaphor.” In Martinich, A.P., ed., Philosophy of Language. Oxford: Oxford University Press, 1990, 408–29.Google Scholar
Segal, Erich.The Death of Comedy. Cambridge, MA: Harvard University Press, 2001.Google Scholar
Shelley, Percy Bysshe.Shelley's Poetry and Prose. Ed. Reiman, Donald H. and Fraistat, Neil. New York: Norton, 2002.Google Scholar
Shklovsky, Viktor.Theory of Prose. Trans. Sher, Benjamin. Elmwood Park, IL: Dalkey Archive Press, 1990.Google Scholar
Speight, Allen.Hegel, Literature, and the Problem of Agency. Cambridge: Cambridge University Press, 2001.CrossRefGoogle Scholar
Staiger, Emil.Basic Concepts of Poetics. State College, PA: Penn State University Press, 1991 [1946].Google Scholar
Stecker, Robert.Interpretation and Construction: Art, Speech, and the Law. Oxford: Blackwell, 2003.CrossRefGoogle Scholar
Sturm-Maddox, Sara.Petrarch's Laurels. State College, PA: Penn State Press, 1992.Google Scholar
Swales, Martin. “Goethe's Prose Fiction.” In Sharpe, Lesley, ed., The Cambridge Companion to Goethe. Cambridge: Cambridge University Press, 2002, 129–46.Google Scholar
Trilling, Lionel.Sincerity and Authenticity. Cambridge, MA: Harvard University Press, 1971.Google Scholar
Unseld, S.Goethe and His Publishers. Chicago: University of Chicago Press, 1996.CrossRefGoogle Scholar
Vendler, Helen.Poems, Poets, Poetry. New York: Bedford/St. Martin's Press, 1997.Google Scholar
Hammer-Purgstall, Joseph. “Einleitung.” In Hafis, , Der Diwan. Stuttgart and Tübingen: Cotta, 1812.Google Scholar
Wellbery, David.The Specular Moment. Stanford, CA: Stanford U.P., 1996.Google Scholar
Wellbery, David, ed. in chief. A New History of German Literature. Cambridge, MA: Belknap Press of Harvard University Press, 2005.Google Scholar
Wellek, , René, . Dictionary of the History of Ideas, vol. iii. New York: Scribner, 1974.Google Scholar
Wicks, Robert. “Hegel's Aesthetics: An Overview.” In Beiser, F.C., ed., The Cambridge Companion to Hegel. Cambridge: Cambridge University Press, 1993, 349–77.Google Scholar
Danto, Arthur.Hegel's Theory of Aesthetic Judgment. New York: Peter Lang, 1994.Google Scholar
Williams, John R. “Goethe the Poet.” In Sharpe, Lesley, ed., The Cambridge Companion to Goethe. Cambridge: Cambridge University Press, 2002, 42–65.Google Scholar
Wollheim, Richard.Art and its Objects, 2nd edn. Cambridge: Cambridge University Press, 1980.CrossRefGoogle Scholar
Danto, Arthur.Painting as an Art. London: Thames and Hudson, 1987.Google Scholar
Wood, Allen.“Does Hegel Have an Ethics?”, Monist, 74, 3 (1991), 358–85.CrossRefGoogle Scholar
Danto, Arthur.Hegel's Ethical Thought. Cambridge: Cambridge University Press, 1990.Google Scholar
Wood, James.The Broken Estate. New York: Random House, 1999.Google Scholar
Danto, Arthur.How Fiction Works. New York: FSG, 2008.Google Scholar
Wood, James.The Irresponsible Self. New York: FSG, 2004.Google Scholar
Wordsworth, William, and Coleridge, Samuel Taylor. Lyrical Ballads. Ware: Wordsworth Editions, 2003.Google Scholar
Zammito, John.Kant, Herder, and the Birth of Anthropology. Chicago: University of Chicago Press, 2002.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×