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Thesis (Ph. D.)--Universität Greifswald, 1924. / Vita. Includes bibliographical references (p. 222-223).

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Thesis (Ph. D.)--Universität Greifswald, 1924. / Vita. Includes bibliographical references (p. 222-223).

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Bibliography: leaves 436-449 / 449 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--Dept. of German, University of Adelaide, 1990

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Art is the final product of the system and the ground can gain a complete intuition of itself through works of art. Art therefore becomes the final destination of the system. Schelling thinks that only the works of art can completely unify thinking and reality, the infinite and the finite, the universal and the particular, the subjective and the objective, give equal respect to each opposing pole, completely reflect the original identity and fulfill the primordial demand. What Schelling in his philosophy of art reveals is that philosophizing or reflection is not sufficient to solve the ultimate questions asked by itself. Thinking or rationality is not the foundation of world and reality. In fact, thinking and reality are equally the products of the ground. Hence, it is unreasonable and one-sided to make any one product the dominant factor and even the first principle of the unification and the whole system. / Before Schelling, Kant has already placed aesthetics in a system of philosophy, but he is not genuinely concerned about the question of art. Schelling is the first philosopher who places art within a system of philosophy and endows art a paramount role in the system. For Schelling, at least in his early thinking, art is not only a necessary question in philosophy, but is also its very origin and final destination. This position is quite extraordinary to for philosopher. Why does Schelling, as a philosopher, make such claim? How can art become the origin and destination of philosophy and sciences? What is the true essence and significance of art? These are the major questions of this dissertation. Schelling's discourse on art in his System of Transcendental Idealism and Philosophy of Art will be explicated. In order to make Schelling's contention more apparent, the discussions on art in Hegel and the early German romantic such as Friedrich Schlegel, Holderlin and Novalis will be included as well. / From the discourse on art, we see that Schelling, who is known as a German idealist, pays much attention to the question of existence and gives much respect to reality as such. Hence, Schelling's intellectual identity is quite ambivalent and should be re-examined. The second major task of this dissertation is to deliberate whether Schelling is an early German romantic or a German idealist, and whether there is a transition from romanticism to idealism in Schelling's philosophy. In order to answer these questions, the general positions of early German romanticism and German idealism should be first articulated. Then, the consistency of Schelling's thought will be verified. This dissertation argues for consistency of Schelling's system throughout his life and for Schelling's reconciliation of romanticism and idealism. Instead of being a preparation to Hegel's system, this dissertation will show that Schelling's fundamental concern and position are incompatible with that of Hegel. Despite his affinity with the romantic thought, the position of the demand of the ground and the final anticipation of future development are different in Schelling and the romantics. / The ground is for Schelling nothing else but the original One and the primordial demand. In order to explain and attain the unity of everything, the ground is posited as original identity; in order to explain the origin of existence and thinking, the ground is posited as a primordial demand. This demand is the demand for intuiting or knowing itself. Since the first principle is a demand, the system therefore becomes a dynamic and dialectical one. The whole system of Schelling is thus constructed according to two basic activities originated from the primordial demand: separation and unification. / Unlike contemporary aesthetic discussions, Schelling's discourse on art is never detached from the context of philosophy or metaphysics. For Schelling, what philosophy or metaphysics ultimately questions about are the unity and the ground of existence and thinking. Following Kant, Schelling, like his romantic and idealistic contemporaries, recognizes that the problem of unity is the fundamental question of philosophy. But diverging from Kant, Schelling thinks that there is no way to attain and explain the unity unless the ground is first investigated. / Wong, Wing Yuen. / Source: Dissertation Abstracts International, Volume: 71-01, Section: A, page: 0210. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 309-322). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in English and Chinese.

Summary in English / Romanticism as a broad movement of thought developed as a reaction against rationalism and empiricism in the period of Enlightenment. In his critical evaluation of Getman literature Eichendorff as a historian exammes the excessiveness of esoteric theories in the work of the young intellectuals of the early romantic period in Getmany. The romanticists' idealist celebration of the self, and their tendency to overestimate the power of the imagination and the supreme value of art led to self-adulation and subjectivism which was unacceptable to Eichendorff s understanding of art and religion. The "romantic" attempt at creating a new mythology usmg art as a new kind of religion and thereby making the poet an omnipotent creator could only be rejected by Eichendorff whose moral convictions were strongly based on Christian Catholic beliefs. The young romanticists replaced ethics with aesthetics. Eichendorffs judgement of this development is devastating. He describes the early romantic movement as a "premature abortion". / Classics and Modern European Languages / M.A. (German)