Obwohl es verbreitet für ein bloßes Nebenthema gehalten wird, spielt das Thema der Poesie doch eine wichtige Rolle in Kants Denken. Mit dem Ziel, geläufige Missverständnisse zu zerstreuen, versammelt der vorliegende Band Beiträge verschiedener Spezialisten zur Bestimmung des Orts und der Rolle der Poesie in Kants Denken. Es handelt sich um den Versuch einer Neubewertung der Wichtigkeit der Poesie für seine moralische, politische, anthropologische, philosophische und ästhetische Systematik.

Kant and Milton brings to bear new evidence and long-neglected materials to show the importance of Kant’s encounter with Milton’s poetry to the formation of Kant’s moral and aesthetic thought. Sanford Budick reveals the relation between a poetic vision and a philosophy that theorized what that poetry was doing. As Plato and Aristotle contemplate Homer, so Kant contemplates Milton. In all these cases philosophy and poetry allow us to better understand each other. Milton gave voice to the transformation of human understanding effected by the Protestant Revolt, making poetry of the idea that human reason is created self-sufficient. Kant turned that religiously inflected poetry into the richest modern philosophy. Milton’s bold self-reliance is Kant’s as well.Using lectures of Kant that have been published only in the past decade, Budick develops an account of Kant based on his lifelong absorption in the poetry of Milton, especially Paradise Lost. By bringing to bear the immense power of his reflections on aesthetic and moral form, Kant produced one of the most penetrating interpretations of Milton’s achievement that has ever been offered and, at the same time, reached new peaks in the development of aesthetics and moral reason.

The most important poetry reference for more than four decades—now fully updated for the twenty-first century Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more. Now this landmark work has been thoroughly revised and updated for the twenty-first century. Compiled by an entirely new team of editors, the fourth edition—the first new edition in almost twenty years—reflects recent changes in literary and cultural studies, providing up-to-date coverage and giving greater attention to the international aspects of poetry, all while preserving the best of the previous volumes. At well over a million words and more than 1,000 entries, the Encyclopedia has unparalleled breadth and depth. Entries range in length from brief paragraphs to major essays of 15,000 words, offering a more thorough treatment—including expert synthesis and indispensable bibliographies—than conventional handbooks or dictionaries. This is a book that no reader or writer of poetry will want to be without. Thoroughly revised and updated by a new editorial team for twenty-first-century students, scholars, and poets More than 250 new entries cover recent terms, movements, and related topics Broader international coverage includes articles on the poetries of more than 110 nations, regions, and languages Expanded coverage of poetries of the non-Western and developing worlds Updated bibliographies and cross-references New, easier-to-use page design Fully indexed for the first time

"All art should become science and all science art; poetry and philosophy should be made one." Friedrich Schlegel's words perfectly capture the project of the German Romantics, who believed that the aesthetic approaches of art and literature could reveal patterns and meaning in nature that couldn't be uncovered through rationalistic philosophy and science alone. In this wide-ranging work, Robert J. Richards shows how the Romantic conception of the world influenced (and was influenced by) both the lives of the people who held it and the development of nineteenth-century science. Integrating Romantic literature, science, and philosophy with an intimate knowledge of the individuals involved—from Goethe and the brothers Schlegel to Humboldt and Friedrich and Caroline Schelling—Richards demonstrates how their tempestuous lives shaped their ideas as profoundly as their intellectual and cultural heritage. He focuses especially on how Romantic concepts of the self, as well as aesthetic and moral considerations—all tempered by personal relationships—altered scientific representations of nature. Although historians have long considered Romanticism at best a minor tributary to scientific thought, Richards moves it to the center of the main currents of nineteenth-century biology, culminating in the conception of nature that underlies Darwin's evolutionary theory. Uniting the personal and poetic aspects of philosophy and science in a way that the German Romantics themselves would have honored, The Romantic Conception of Life alters how we look at Romanticism and nineteenth-century biology.

The Emergence of Literature is an extension and reworking of a series of significant propositions in philosophy and literary theory: Jean-Luc Nancy and Philippe Lacoue-Labarthe's examination of the concept of the literary absolute; Martin Heidegger's destruction and Giorgio Agamben's archaeology of the metaphysics of will; Maurice Blanchot's delimitation of the space of literature; and Michel Foucault's archaeology of literature. Its core contribution to the history of theory is to understand the literary absolute not simply as philosophical concept, but as a paradigm that delimits the horizon for currents of literary theory through the course of the 20th century where the literary criteria change from the theme of sincerity to the theme of the death of the author. Stretching from Kant to Hegel, from Hölderlin to the Early German Romantics, from John Stuart Mill to New Criticism, from Benjamin to Barthes, The Emergence of Literature examines the relation between continental philosophy and literature in the post-Kantian era.

Romantik: Journal for the Study of Romanticisms includes new research articles on Byron's The Giaour, on spatial memory in Wordsworth and Rousseau, on how the city of Brighton was represented in the early nineteenth century as a centre of fashion, polite sociability, and consumerism, on the construction of a romantic canon in the Faroe Islands, and on Rome as the incubator for romantic artists forming friendships and cultivating artistic communities. Moreover,the issue features reviews of new books published in Scandinavia on the romantic era. Romantik is a multidisciplinary journal dedicated to the study of romantic-era cultural productions and concepts. Romantik is interested in all European and Nordic romanticisms, and not least the connections and disconnections between them - hence, the use of the plural in the subtitle.