By Peter C. Caldwell
The thinker of faith and critic of idealism, Ludwig Feuerbach had a far-reaching impression on German radicalism round the time of the Revolution of 1848. This highbrow background explores how Feuerbach’s critique of faith served as a rallying aspect for radicals, and the way they sarcastically sought to create a brand new, post-religious type of religiosity as a part of the innovative target. At factor for the Feuerbachian radicals used to be the emergence of a humanity emancipated from the restrictions of mere associations, capable of show itself freely and harmoniously. Caldwell additionally touches on Moses Hess, Louise Dittmar, and Richard Wagner in his dialogue of the time. This e-book reconstructs the character of Feuerbach’s radicalism and indicates the way it stimulated early works of socialism, feminism, and musical modernism.
“This is a superb paintings. the writer explains rather well and with significant readability Feuerbach’s ideas--no small accomplishment, in view of the notoriously cloudy language of Hegelian philosophy. Caldwell’s demonstration of the impact of Feuerbach’s notion at the figures he considers (an attention-grabbing and intensely assorted staff of people) is eminently convincing.”--Jonathan Sperber, Curator's Professor and division Chair, division of historical past, collage of Missouri
“A high-quality, cutting edge paintings of highbrow historical past. Caldwell reconstructs a occasionally neglected part of the philosophical origins of the historical past of German radical proposal, unearthing a few of its forgotten capability for later counter-cultural routine, but in addition displaying how, within the arms of Wagner, one present of post-Feuerbachian idea veered into extra harmful waters of fable and racism.”--Dr. Andrew Bonnell, Senior Lecturer, historical past and Convener of historical past self-discipline, university of HPRC, collage of Queensland, Australia
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Extra resources for Love, Death, and Revolution in Central Europe: Ludwig Feuerbach, Moses Hess, Louise Dittmar, Richard Wagner
104 The problem was, the new man could not, according to a theory founded on the principles of immanence and sensualism, emerge out of the head of a thinker. It had to emerge from the world itself, indeed to be already part of the world. Feuerbach’s truth would not reach humanity in the form of a revelation; it had to be shown to be already present, already revealed in religious texts themselves. In other words, Feuerbach’s own approach led him to a different method of analysis. His 1844 work on Luther summarized his new method, while surprisingly transforming Luther the theologian from the archreactionary from whom Feuerbach as a young philosophy student had sought to escape to a prophet of a new world.
The common denominator in Hess’s work lies in a restless, often dilettantish, search for a new movement, a new insight, the “new” in general, which would give meaning to the entire course of history. This was true of his vaguely conceptualized “socialism” of the early 1840s, the turn with Marx to an immanent history of the proletarian revolution, the search for the foundations of a redemptive Weltanschauung in natural phenomena, and identifying nationalism as the key to the realization of human potential.
Who is his god? Man with a capital M! What’s the divine? ”49 The redemption that Feuerbach sought in this critique of God seemed to reverse theological priorities, but it did not dismantle theological structures. The same was true Feuerbachian Radicalism ● 23 of the many movements and individuals that tapped into Feuerbach’s ideas. By the mid-1840s, the German Catholic and Free Religious movements, for example, called for a turn away from formal structures of religion and instead to a movement for human dignity, for the realization of humanity’s potential.
Love, Death, and Revolution in Central Europe: Ludwig Feuerbach, Moses Hess, Louise Dittmar, Richard Wagner by Peter C. Caldwell