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Now in paperback, Forming Humanity reveals bildung, or ethical formation, as the key to post-Kantian thought. Kant's proclamation of humankind's emergence from \"self-incurred immaturity\" left his contemporaries with a puzzle: What models should we use to sculpt ourselves if we no longer look to divine grace or received authorities? Deftly uncovering the roots of this question in Rhineland mysticism, Pietist introspection, and the rise of the bildungsroman, Jennifer A. Herdt reveals bildung, or ethical formation, as the key to post-Kantian thought. This was no simple process of secularization, in which human beings took responsibility for something they had earlier left in the hands of God. Rather, theorists of bildung, from Herder through Goethe to Hegel, championed human agency in self-determination while working out the social and political implications of our creation in the image of God. While bildung was invoked to justify racism and colonialism by stigmatizing those deemed resistant to self-cultivation, it also nourished ideals of dialogical encounter and mutual recognition. Herdt reveals how the project of forming humanity lives on in our ongoing efforts to grapple with this complicated legacy.

Higher education has long established primary importance to the formation of students, manifest in ideas such as Confucian xiushen (self-cultivation) and Bildung. However, despite the shared focus on the idea of humans becoming humans, xiushen and Bildung are built on divergent philosophical traditions. The divergence has led to varied practice in individual formation. This paper conceptually explores, compares, and searches for potential combination of the ideas of xiushen and Bildung in higher education. As such, it provides new insights into student formation in higher education. Specifically, it is argued that the best situation for individual formation is when individual agency is harmonised with the external environment. This points to two essential considerations for student formation in higher education: students’ agency and the necessary support from society and higher education institutions.

This paper offers a detailed and historically oriented analysis of the similarities between the early romantics' theories and Richard Wagner's work, not taking into consideration Wagner's musical dramas. Apart from the intellectual influence, the most important reason for their similarities is the firm foundation of these theories on responses to the changing realities in a progressively industrialized society. The fragmentary 'tone' of the romantics' writings in 1790s placed itself at the heart of a cultural exploration within ideologies looking up to an ideal future. A comparative study of the development of the early romantics' and Wagner's theories demonstrates that their aestheticism displayed an important part of a persuasive social discourse in Germany for a surprisingly long period. Cilj je ovoga članka da ponudi detaljnu i povijesno orijentiranu analizu kao podlogu za jasno sagledavanje ne samo sličnosti izmedu teorija ranih romantičara i opusa Richarda Wagnera nego i razloga zbog kojih takve paralele uopće postoje. Raspon ove studije ograničen je na rane romantičare i Wagnerove teorije i ne uzima u obzir Wagnerove glazbene drame. Teorije ranih romantičara i R. Wagnera obuhvaćaju kao glavno načelo 'estetiziranje' političkog aspekta, tako da se umjetnost, njegovo najviše očitovanje u praksi, shvaća kao estetički ekvivalent njegova modela društvene obnove. Tijekom kasnijeg razvoja navedenih teorija identitet zajednice postaje važna stavka. Uzimajući je za glavnu doktrinu ideje postaju utopijske. Ovaj tip utopijskog predlaže hipotetički razvitak društva prema idealnoj holističkoj zajednici ljudi i potpunu negaciju stvarnosti putem umjetnosti. Prema tim teorijama, umjetnost treba 'pobjeći' pred tim pragmatičkim ograničenjima (tj. referencama na fenomenološku zbilju) i izgraditi temelje nove religije, postajući svjesnom njezine biti a to je 'uzvišeno' (sublimno) u umjetnosti. Takva funkcija osigurava političku učinkovitost umjetnosti: putem pojma 'političkog' ona uspostavlja odnos sa sudbinama ljudi ('identiteti' ili 'podrijetla') uspješnije nego bilo koji društveno 'realistički' parametri i institucije. Glavna ideja ovoga članka jest da paralelnu dinamiku navedenih teorija ne treba tražiti samo u intelektualnom utjecaju ranih romantičkih teorija na Wagnera. Najvažniji razlog za izrazite sličnosti je čvrsto utemeljenje tih teorija u žustrim odgovorima na mijenjajuću stvarnost industrijskog društva u napredovanju. One predstavljaju glavni dio dinamike u kulturi onoga vremena. Stovise, fragmentami 'ton' napisa romantičara iz 1790-ih, koji se pretvorio u reprezentativni stil u doba Wagnerova stvaralaštva u drugoj polovici 19. stoljeća, smjestio se u samo srediste kulturnih istraživanja u spektru ideologija koje su bile uprav-Ijene prema idealnoj budućnosti. U toj perspektivi usporedno ispitivanje razvitka ranih romantičara i Wagnerovih teorija može pokazati da je njihov esteticizam predstavljao važan dio uvjerljivog društvenog diskursa u Njemačkoj tijekom iznenađujuće dugog razdoblja.

This chapter contains sections titled: Introduction Origins of Classical Archaeology Classical Studies in Germany Architects, Artists, and the Study of Greek Archaeology Classical Archaeology in the United States Classical Archaeology in France and Italy Classical Archaeology in Great Britain Classical Archaeology in the Interwar Period Classical Archaeology after World War II Further Reading