The Narrowest Path : Antinomies of Self-Determination in Four Aesthetic Studies /
A strategic reconstruction of modern German thought from the standpoint of aesthetic theory, The Narrowest Path reveals the characteristically modern, revolutionary project of freedom-as-autonomy to be unresolvably antinomic. Basing himself on four seminal texts by Kleist, Hegel, Marx, and Adorno, M...
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Format: eBook
Language: English
Published:
Leiden ; Boston :
Brill,
2025.
Series:
Historical Materialism Book Series ;
330.
Social Sciences E-Books Online, Collection 2025.
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Call Number: N5305
- Acknowledgments
- Abbreviations
- Introduction: 'Not Truth in History, But History in Truth'
- 1 The Opus Against the Apparatus
- 2 The Aesthetic Equation and Its Antinomy
- 3 Antinomic of Form: The Birth of Art's Double Character
- 4 The Special Problematic: What is an Aesthetic Antinomy?
- 5 The General Problematic: Structure Faces History
- 6 A Note on Kleist's Novella
- 1 The Antinomic Act of Literature in Michael Kohlhaas
- 1 Prologue: The Desire of Michael Kohlhaas
- 2 Kohlhaas Follows His Thing: A Failed Forensics
- 3 Luther Stops Kohlhaas: On the Historical Plateau
- 4 The Gypsy Woman Moves Kohlhaas: A Fantastic Tragedy
- 5 Kohlhaas Following Kohlhaas: What is a Literary Act?
- 2 The Human Antinomy in Hegel's Philosophy of Right
- 1 Introduction
- 2 The Human Antinomy and Its Personal Resolution
- 3 The Form of the Person: Infinite Self-Relation
- 4 The Personal Antinomy and Its Political Resolution
- 3 The Political Antinomy in Marx's The Eighteenth Brumaire of Louis Bonaparte
- 1 Introduction
- 2 The Constituted Form: The Proclaimed Republic
- 3 The Constituent Content: The Presuppositions of the Republic
- 4 The Antinomy of the Republic: The Politics of Capital
- 5 The Resolution to Come
- 4 Figuring the Answer: A Reconstruction of Adorno's Aesthetic Theory
- 1 Problematic. Art's Double Character as Antinomy
- 2 Analytic of the Autonomous: Form as Separation
- 3 Analytic of the Social: Form as Repetition
- 4 Dialectic. The Sublime and The Ridiculous: Form as Participation
- 5 Conclusion
- Bibliography
- Index.