Gadamer and the Legacy of German Idealism (Modern European by Kristin Gjesdal
By Kristin Gjesdal
The philosophy of Hans-Georg Gadamer pursuits a large viewers that spans the normal contrast among eu (continental) and Anglo-American (analytic) philosophy. but some of the most vital and complicated features of his paintings - his engagement with German Idealism - has got relatively little realization. during this booklet, Kristin Gjesdal makes use of a detailed research and significant research of Gadamer's fact and strategy (1960) to teach that his engagement with Kant, Hegel, and Schleiermacher is essential to his perception of hermeneutics. She argues failure to have interaction with this element of Gadamer's philosophy ends up in a false impression of the main urgent challenge of post-Heideggerian hermeneutics: the stress among the dedication to the self-criticism of cause, at the one hand, and the flip in the direction of the meaning-constituting authority of culture, at the different. Her research offers an illuminating evaluation of either the benefits and the restrictions of Gadamer's suggestion.
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Extra info for Gadamer and the Legacy of German Idealism (Modern European Philosophy)
II, 501. 28 “Reflections on my Philosophical Journey” (1996), trans. Richard E. Palmer, LLP, 6. a rt a n d he r me ne ut i c r e a s o n 31 hermeneutic philosophy. Again, this can only be explained by taking into account his critique of Hegel’s understanding of the dialectical sublation of the truth of art into religion and, ultimately, philosophy. Although Gadamer claims that only Hegel succeeds in spelling out the full, hermeneutic potential of the third Critique, he still blames him for sacrificing the autonomy of aesthetic experience in favor of a monolithic notion of philosophical reason.
In order to sustain the coherence of his argument, Gadamer must moderate one of his two claims. He must either grant to Kant a more comprehensive notion of moral life in the first place or make it clear that Kant, while developing the idea of a self-encounter in the work of art, does not determine this self-encounter in terms of a concrete, historical world. The fact that Gadamer fails to realize this weakens substantially his reading of the Critique of Judgment. If Gadamer, in his interpretation of §§16 and 17, reads into Kant’s third Critique an empirical-historical notion of morality, he is by no means the first to do so.
By bringing reason to the stage of self-criticism, Kant anticipates the driving impulse of modernist art. ”20 20 Clement Greenberg, “Modernist Painting,” in The Collected Essays and Criticism, ed. John O’Brian (Chicago: Chicago University Press, 1993), vol. IV, 85. 22 a rt , d ial og ue , an d hist or ic al k n owle dg e Within the realm of painting, which is what Greenberg is most interested in, modernism takes the shape of an investigation into the medium of the painterly itself. 21 However, from a Gadamerian point of view, such a formalist approach does not do justice to the Critique of Judgment.