Amir Yaretzky

The paper aims to demonstrate that a proper understanding of the identity of necessity and freedom, as revealed in tragedy, is crucial for interpreting Schelling's dense and complex theory of good and evil in the Freiheitsschrift. Building upon this, the paper will propose a conception of the good that not only avoids but actively rejects the conventional view of the subject as self-determining through self-conscious activity. The central claim is that the identity of necessity and freedom should be understood as a process of clarifying the element of necessity, which tragedy presents as fate and the Freiheitsschrift as "the ground". This clarification, in turn, provides the foundation for understanding goodness or virtue, and their connection with the first-person perspective.

The task of this paper is to offer an interpretation of Kant’s notion of proportionality between morality and happiness, which is fundamental to his conception of the highest good. Kant claims that the complete good of humans as both natural and rational beings is a proportionate relation between virtue and happiness. He takes this to mean that nature is purposively designed so it accords with morality, which is only possible in a divine world where God secures this responsiveness. The paper shows various difficulties with this claim and argues that they can be resolved by a nuanced interpretation of what Kant might mean by “happiness”. This finally leads to a conception of proportionality modeled on Kant’s aesthetics.

This article offers an interpretation of Schelling's theory of ideas within his philosophy of identity, arguing that it should be understood as a theory of the intelligibility of being—that is, the capacity for the world to be meaningfully articulated in thought. By placing Schelling's ideas into dialogue with Wittgenstein's Tractatus Logico -Philosophicus, the author aims to show how Schelling's philosophy might provide valuable insights for contemporary analytic interpretations of German idealism. Schelling's notion of ideas encompasses three key features: (1) they express the principle of identity as the foundation of reality, (2) they constitute totalities or self-contained universes, and (3) they are individuals that are unified within a single totality. The author explains these features and demonstrates how they jointly establish the conditions necessary for the possibility of meaning and coherent thought.

Schelling's philosophy can be seen as perpetrating the philosophical fallacy known as the Myth of the Given, in that it takes rational activity to be affected by an experience which is not conceptually mediated. This is supported by Schelling's repeated claim that there is an experience which is indescribable, and which forces us to silence. In the first part of the paper it will be shown how different readings of Schelling result in this fallacy. In the second and third parts an alternative reading will be developed which avoids the fallacy while still making room for unsayable experience. Finally, the proposed interpretation will enable us to interpret Schelling's claim that expressing the unsayable, conveying it to another, is possible after all. »The wish for intelligibility is a terrible one. It means that we are willing to reveal ourselves through the self 's betrayal of itself.« (Stanley Cavell, The World Viewed

In his early writings up unto his so-called “middle period” Schelling treats art as having a crucial role with respect to philosophy. Yet there is no consensus in the secondary literature as to the nature of this role, and the extent to which Schelling changed his mind on the subject. The paper will defend the claim that Schelling holds consistently, from his early texts to the Philosophy of Art, that philosophy is in some sense prior to art while essentially dependent on it. The paper will explore the development of this position from various perspectives. This will shed light on Schelling’s view on both art and philosophy and his view that in the future the two will merge.