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If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. e-Sasse 'heory Aesthetic Ideology ,wry: lntertextuality in Russian Modernism ~-Yves Roy Unconscious for Sale: . and the Public :e Public Sphere and Experience: Toward ·and Proletarian Public Sphere : In Search ofthe Wolf-Fish iubject of Philosophy Paul de Man '.onversation mity and Aesthetic Culture: Inventing Edited with an Introduction · The Multidimensional Text r Sense in Life and Literature by Andrzej W arminski d Death: The Place ofNegativity 'oetics ofBlanchot, Joyce, Kafka, Kleist, eCommunity Modernity: The Politics ofReading Theory and History of Literature, Volume 65 s as Praxis: Text, Social Meaning Making, arice Lispector iterature gemony: A Materialist Critique ofAesthetic rntroduction rd and Phantasm in Western Culture 1 Answer: Forms ofDialogic Understanding 1953-1978 '11W1ication e: The Politics ofInterpretation rd: Construction of the Aesthetic Social Space: Rimbaud and the Paris tlch Reading de Man Reading •hyof Art g re: Nietzsche's Materialism University ofMinnesota Press ect I so Minneapolis I London Ia i•MATERIALISM n no way partakes of mimesis, reflection, would allow a link between sense experi­ ,ption and apperception. Realism postu­ Kant and Schiller which is here being denied or ignored. ,es it ("wie man ihn sieht") is an absolute, ion of reference or semiosis. Yet it is this ,-thetic formalism that will win out in the lie moral world of practical reason, practi­ , Kant's stylistic procedure of dictionary JQates aesthetic judgment in the dynamics lism. Theoreticians of literature who fear world by being too formalistic are worry­ t of Kant's third Critique, they were not I'll have some change in pace today, because this time I have not written out a lec­ ture; it was not necessary in this case because I'm dealing with a much easier text. I wouldn't dare to improvise about Kant, but about Schiller it's a little easier to know what is going on, and so there is no need for such detailed textual analysis. So what I'll be doing will be more in the nature of an exposition than a really tight argument, more in the nature of a class than a lecture. Therefore it is better to speak it-it's a little easier to listen to when it's spoken than when it's read. Yet the point that I try to make, or the question to which I try to address myself by thus juxtaposing Schiller, and trying to take a closer look at just exactly what happened between Kant and Schiller-what happens when Schiller comments very specifically on Kant?-that event, that encounter, and the structure of that encounter, which is, as I say, not too difficult to explain, is in itself complex, and, I suppose, to some extent, important. It has to do with two matters, one of very general historical importance, the second of very much more direct import for these lectures. The first has to do with the general problem of the reception of Kant, the Cri­ tique, and specifically the reception of the Critique of Judgment, an immensely important book that remains exceedingly important throughout the nineteenth and twentieth centuries and that is still steadily invoked, either directly or indirectly. "Kant and Schiller" was transcribed by William Jewett and Thomas Pepper-and revised by the editor-from the audiotape of the fifth Messenger lecture de Man delivered at Cornell (3 March 1983). Notes were supplied by the transcribers and the editor. 129 130 0 KANT AND SCHILLER KANT AND SCHil You'll notice recently that when Walter Jackson Bate had something articulate to in Schiller himself, but which you then b say about the humanities, the authority to which he referred first of all was Kant. in early Nietzsche-The Birth of Tragedy And you may have noticed that when Frank Lentricchia was trying to get certain so on-which you still hear in a certain v, types of contemporary criticism which will remain unnamed, to give them their a certain valorization of art, a priori vu comeuppance, his reference again was to Kant, he went back to Kant. l So this is theme throughout that tradition-it alway almost a joke, this "back to Kant." doubled with a critical approach which is I But the presence of the third Critique within critical discourse-also in this which goes together with this much more p country, and in a different way, of course, in Germany and in France, though saw what the juxtaposition between Schille frequently mediated by all kinds of other names, so that it is no longer Kant one in which Kleist takes you back in a way to c gets but a whole series of names in between-that reception of Kant is very com­ insights in terms of Schiller.3 Or you \11 plex (the reception of the third Critique) and not well known. There are allusions Schopenhauer and Nietzsche, the way in wt to it right and left, but it isn't really explored. There's Rene Wellek's book Kant in of The Birth of Tragedy, but the later Niew England,2 which I looked at recently and which is a remarkably tough-minded to Schopenhauer and, I would say, "de-~ little book, from which it results that actually the English Romantics didn't get Schopenhauer has been saying. Or, I woul1 Kant right at all. But he uses the Critique of Pure Reason rather than the Critique isn't purely German, that something like of Judgment. In that whole field, indeed, a lot remains, of course, to be done, as Heidegger on the one hand and Derrida < usual. It's complex. But it has a pattern which I would to some extent try to evoke Derrida gives of Heidegger, in which Heid here. Derrida would then appear as being closet There seems to be always a regression from the incisiveness and from the im­ examination of a certain claim for the autc pact, from the critical impact of the original. There is an attempt-if indeed there which is being asserted in the wake of Schil is any truth at all in the way in which I suggested that Kant can be read to you two Kant. This is a very complex problem to , days ago, then Kant's statement is a very threatening one, both for the sake of whatsoever, except for looking a little mo philosophy and for the relationship between art and philosophy in general. So relationship between Kant and Schiller. B1 something very directly threatening is present there which one feels the need to recur and which would be a possible way in bridge-the difficulties, the obstacles which Kant has opened up. So there is a reception of Kant throughout the nineteentli regression, an attempt to account for, to domesticate the critical incisiveness of you would find similar elements in England. Schillerian. Who would be the equivalents, the original. And that leads then to texts like those of Schiller, which undertake to Arnold? Ruskin? I don't know. It's worth pl do just that. Out of a text like Schiller's Letters on Aesthetic Education, or the you would find interesting elements of the s1 other texts of Schiller that relate directly to Kant, a whole tradition in Germany­ Okay. The topic also has to do with the in Germany and elsewhere-has been born: a way of emphasizing, of revalorizing cern here, to our discussion here; because i the aesthetic, a way of setting up the aesthetic as exemplary, as an exemplary that ... Since I have now had questions fro category, as a unifying category, as a model for education, as a model even for tances . You are so kind at the beginning the state. And a certain tone that's characteristic of Schiller is a tone which one that I have the feeling that ... But I know thi keeps hearing throughout the nineteenth century in Germany, which you hear first interesting episode in a series of lectures Iii One doesn't necessarily begin in as idyllic 1. See Walter Jackson Bate, "The Crisis in English Studies," Harvard Magazine 85: 1 (September­ doesn't take you too long before you feel th October 1982): 46-53, and Frank Lentricchia, After the New Criticism (Chicago: University of Chicago Press, 1980). Cf. de Man's remarks on Bate in "The Return to Philology," in The Resistance to Theory and that there is a certain reaction which is l (Minneapolis: University of Minnesota Press, 1986), and on Lentricchia in "Kant's Materialism" in this volume. 3. See de Man's "Aesthetic Formalization: Kleist's, 2. Rene Wellek, Immanuel Kant in England 1793-1838 (Princeton, N.J.: Princeton University of Romanticism (New York: Columbia University Pr, Press, 1931). Messenger lecture. ~SCHILLER KANT AND SCHILLER D 131 Jackson Bate had something articulate to in Schiller himself, but which you then hear in Schopenhauer, which you hear to which he referred first of all was Kant. in early Nietzsche-The Birth of Tragedy is purely Schillerian in its tone, and rank Lentricchia was trying to get certain so on-which you still hear in a certain way in Heidegger.

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