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Spinoza, Enlightenment, and Classical German Philosophy

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Diametros
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2014
|
issue 40
22-44
EN
This paper offers a critical discussion of Jonathan Israel’s thesis that the political and moral ideas and values which define liberal democratic modernity should be regarded as the legacy of the Radical Enlightenment and thus as deriving from Spinoza. What I take issue with is not Israel’s map of the actual historical lines of intellectual descent of ideas and account of their social and political impact, but the accompanying conceptual claim, that Spinozism as filtrated by the naturalistic wing of eighteenth-century French thought, is conceptually sufficient for the ideology of modernity. The post-Kantian idealist development, I argue, qualifies as radical, and hinges on Spinoza, but its construal of Spinoza does not fit Israel’s thesis, and reflects an appreciation of the limitations, for the purpose of creating a rational modernity, of the naturalistic standpoint represented by thinkers such as d’Holbach.
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Method and Metaphysics in the Philosophy of Art

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EN
This article is concerned with the question of the proper place of substantial general metaphysics in aesthetics and the philosophy of art. For reasons articulated in writings from the 1950s, analytic aesthetics denies that there is any relation of dependence and regards the intrusion of metaphysics into reflection on art as not merely superfluous but also methodologically inappropriate. Against this I argue (1) that analytic aesthetics in its circumscription of the bounds of the discipline is not metaphysically neutral, (2) that it is vulnerable to the challenge of scientific naturalism, and (3) that a case for the necessity of metaphysics in aesthetics and the philosophy of art can be made on the grounds of the constitutive opacity of art and the aesthetic from the standpoint of ordinary consciousness. The analytic reception of Kant’s aesthetic theory, I argue, supports this conclusion.
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