Originally published in 1935, this book charts the development of philosophy in Germany from German Humanism to Heidegger and his contemporaries. Brock also devotes an entire chapter to the lasting impact of Nietzsche and Kierkegaard on German philosophy. This book will be of value to anyone with an interest in the history of German philosophy and its presentation before WWII.

This volume brings together for the first time over a hundred of Oakeshott's essays and reviews, written between 1926 and 1951, that until now have remained scattered through a variety of scholarly journals, periodicals and newspapers. A new editorial introduction explains how these pieces, including the lengthy essay on the philosophical nature of jurisprudence that occupies an important position in Oakeshott's work, illuminate his other published writings. The collection throws new light on the context of his thought by placing him in dialogue with a number of other major figures in the humanities and social sciences during this period, including Leo Strauss, A.N. Whitehead, Karl Mannheim, Herbert Butterfield, E.H. Carr, Gilbert Ryle, and R.G. Collingwood.

A collection of 6 volumes of Oakeshott's work: Notebooks, 1922-86, Early Political Writings 1925-30, The Concept of a Philosophical Jurisprudence, Vocabulary of a Modern European State, Lectures in the History of Political Thought, and What is History?

This work provides a general guide to the domain of contemporary philosophy for the nonspecialist.

Excerpt from An Introduction to Contemporary German Philosophy It is perhaps anunavoidable result of the great advance which philosophical studies are making at the present time in every civilised country, that it becomes more and more difficult to keep abreast of what is going on elsewhere than in one's own. At a moment when we are somewhat depressed by the darker side of recent events in Germany, the ostracism of some of her ablest and most rising young men in various departments Of knowledge brings with it, like the proverbial ill wind, the Opportunity of hearing at first-hand and receiving new stimulus from reports of what is being done there. This is particularly welcome in the field of philosophy where, with the exception Of one or two of the more outstanding names (chiefly of writers such as Edmund Husserl and Nicolai Hartmann, some of whose works have appeared in English translations), recent German philosophy has been largely a closed book. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

With more than 1,100 entries written by an international group of over 150 contributors, the Encyclopedia of Contemporary German Culture brings together myriad strands of social, political and cultural life in the post-1945 German-speaking world. With a unique structure and format, an inclusive treatment of the concept of culture, and coverage of East, West and post-unification Germany, as well as Austria and Switzerland, the Encyclopedia of Contemporary German Culture is the first reference work of its kind. Containing longer overviews of up to 2,000 words, as well as shorter factual entries, cross-referencing to other relevant articles, useful further reading suggestions and extensive indexing, this highly useable volume provides the scholar, teacher, student or non-specialist with an astonishing breadth and depth of information.

Samuel Taylor Coleridge frequently bridged the gap between British and European Romantic thought. This study sets Coleridge's mode of thinking within a German Romantic philosophical context as the place where his ideas can naturally extend themselves, stretch and find speculations of comparable ambition. It argues that Coleridge found his philosophical adventures in the dominant idiom of his times exciting and as imaginatively engaging as poetry. Paul Hamilton situates major themes in Coleridge's prose and poetic writings in relation to his passion for German philosophy. He argues that Coleridge's infectious attachment to German (post-Kantian) philosophy was due to its symmetries with the structure of his Christian belief. Coleridge is read as an excited and winning expositor of this philosophy's power to articulate an absolute grounding of reality. Its comprehensiveness, however, rendered redundant further theological description, undermining the faith it had seemed to support. Thus arose Coleridge's anxious disguising of his German plagiarisms, aspersions cast on German originality, and his claims to have already experienced their insights within his own religious sensibility or in the writings of Anglican divines and neo-Platonists. This book recovers the extent to which his ideas call to be expanded within German philosophical debate.

Though many well-known German philosophers have devoted considerable attention to music and its aesthetics, surprisingly few of their writings on the subject have been translated into English. Stefan Lorenz Sorgner, a philosopher, and Oliver Fürbeth, a musicologist, here fill this important gap for musical scholars and students alike with this compelling guide to the musical discourse of ten of the most important German philosophers, from Kant to Adorno. Music in German Philosophy includes contributions from a renowned group of ten scholars, including some of today’s most prominent German thinkers, all of whom are specialists in the writers they treat. Each chapter consists of a short biographical sketch of the philosopher concerned, a summary of his writings on aesthetics, and finally a detailed exploration of his thoughts on music. The book is prefaced by the editors’ original introduction, presenting music philosophy in Germany before and after Kant, as well as a new introduction and foreword to this English-language addition, which places contemplations on music by these German philosophers within a broader intellectual climate.