By Paul Gordon
The proposal of art's inherent relation to absolutely the, first explicitly rendered by means of Kant, is tested in significant works from 1790 to 1823. the 1st and final chapters, on Plato and Nietzsche respectively, take care of precursors and "post-cursors” of this concept. Gordon indicates and seeks to reddress the inability of recognition to this concept after Hegel, in addition to in modern reassessments of this era. Art because the Absolute might be of curiosity to scholars and students learning aesthetics from either a literary and philosophical perspective.
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