BAUMGARTEN’S AESTHETICA. MARY J. GREGOR. Although the content of Alexander Gottlieb Baumgarten’s. Aesthetica1 seems to be familiar in German. L’estetica (Aesthetica) [Alexander Gottlieb Baumgarten] on *FREE* shipping on qualifying offers. Book by Alexander Gottlieb Baumgarten. Aesthetica. by Alexander Gottlieb Baumgarten. Publication date Usage Public Domain Mark Topics bub_upload. Publisher Kleyb.
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Gottsched, Schriftenp. However, it would be a mistake to infer from such comments that Herder does not think that there are underlying commonalities in the arts and tastes of different times and places, or that people living in one time and culture cannot learn to appreciate deeply the art of naumgarten time and culture. In fact, Mendelssohn’s analysis of our mixed emotions in the experience of tragedy is even more subtle than this, for a further aspect of it aesthetia that our knowledge aesthetiac we are experiencing represented rather than real people allows us to enjoy sympathy with the perfections of the noble characters who are depicted rather than pity at their weaknesses or at the fate that overcomes them.
Rhapsody ; Philosophical Writingsp. He shares with Wolff and Batteux the assumption that art derives its beauty from the imitation of nature, and derives the most beauty from the imitation of beauty in nature.
After conceding the point, Baumgarten immediately responds: Sulzer’s more conventional view that the fine arts serve morality by enlivening our moral feelings explains his recognition of the value of the ugly as well as the beautiful in art: Finally, we must ask about the moral and religious implications of Wolff’s contributions to aesthetics.
Moreover, this complex of human mental powers aesthrtica productive of pleasure, through the sensible representation of perfection, in its own right. Although Sulzer himself remained at bottom a baumgaten Leibnizo-Wolffian, his introduction of Hume into German philosophical discourse prepared the way haumgarten Kant’s critique of that philosophy.
Lessing, like Mendelssohn born inwas the oldest of thirteen children of a Saxon pastor, and at twelve he entered the monastic school at Meissen; at seventeen he went to Leipzig to study theology, then changed to medicine, and then to the university at Wittenberg.
AfterWolff’s philosophy enjoyed an influence in most parts of Germany similar to that which the philosophy of Locke exercised in most quarters in Britain by then and in France beginning a decade or two later.
The other alternative would be for the new aesthetic[s] to share the name with speculative philosophy. From Wikipedia, the free encyclopedia.
By their advocacy of Milton and Shakespeare, the most imaginative poets of the preceding century, Bodmer and Breitinger prepared the way for subsequent artistic movements that emphasized the freedom of the imagination, even while they continued to work within the conceptual framework of Wolffian perfectionism. Yet that endeavor is futile.
So the history of German aesthetics after Wolff is a history of the attempt to find room for a fuller account of aesthetic experience within a framework that privileges the idea of cognition, and only gradually was room found for the idea that the free play of our mental powers, including not only imagination but at least for some authors also emotion, could be equally important.
Aesthetics as the perfection of sensuous cognition  .
At twenty-one, he became a tutor in the home of a Jewish silk manufacturer, at twenty-five his accountant, subsequently his manager, and finally a partner in the business, in which he would work full-time for the rest of his life. The next year he published Thoughts on Probability and a translation of Rousseau’s second discourse On the Origins of Inequality.
Aesthetica | work by Baumgarten |
Precisely because the art of Sophocles and the art of Shakespeare rest on the same underlying principle it is possible for people at any time to come to appreciate them both, although no doubt with the considerable effort it would take to appreciate fully their language, their customs, in short, their worlds. Manufacturer warranty may not apply Learn more about Amazon Global Store.
Instead, Herder argues that the phenomenon of distance that Riedel mistakenly characterizes as general quality of disinterestedness in all aesthetic response is a specific feature of the visual perception of beauty, indeed that beauty is properly speaking a property only of the visual.
Baumgarten’s departure from Wolff’s formula that beauty is the sensitive cognition of perfection may easily be overlooked, but in his transformation of that into his own formula that beauty is the perfection of sensitive cognition he is saying that beauty lies not—or as his subsequent practice suggests, not just—in the representation of some objective perfection in a form accessible to our senses, but rather—or also—in the exploitation of the specific possibilities of sensible representation for their own sake.
All of these lower faculties of cognition, in so far as they represent the connections among things, and in this respect are similar to reason, comprise that which is similar to reason analogon rationisor the sum of all the cognitive faculties that represent the connections among things indistinctly. This position, which Herder occupied for the rest of his life, gave him ample time to write and put him into contact with the many other leading figures of late eighteenth-century German literary and intellectual life whom Goethe brought to Weimar.
Before that was to happen, however, the ideas, emphasized more by Meier although already suggested by Baumgarten, that art aims at arousing our emotions and at the pleasurable activity of the mind, and at the former as an instance of the latter, would be further developed by an intervening generation of German thinkers. If you are a seller for this product, would you like to suggest updates through seller support?
18th Century German Aesthetics (Stanford Encyclopedia of Philosophy)
The Neglected Programme of Aesthetics. However, Winckelmann believes that natural beauty itself lies not merely in the superficial appearance of bodies but, at least in the case of human beauty, is an expression of the thought and character of persons:. Baumgarten then defines judgment as the representation of the perfection or imperfection of things.
Herder’s work on Sculpture was interrupted by several of what are now his best-known works, the Treatise on the Origin of Language and This Too a Philosophy of History for the Education of Humanity Herder turns Lessing’s distinction between natural and artificial signs against him, arguing that precisely because poetry uses artificial rather than natural signs its content is in no fundamental way constrained by the natural properties of its signs themselves.
The assthetica three volumes of his next work, the Groves of Criticism Kritische Waelder were published in So let us now turn to the innovations of Alexander Gottlieb Baumgarten and his disciple and ally, Georg Friedrich Meier. Science Logic and Mathematics.
But they also used the concept of perfection in a more ordinary way, in which some actual objects have specific perfections that others do not, and it is this sense of perfection that Leibniz employed when he stated that.
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18th Century German Aesthetics
But Baumgarten’s denomination of the field was an adult baptism: Human judgements of taste and our aesthetic response is universal and unmotivated by any underlying interests. By introducing this faculty, he wants to emphasize that the experience of beauty or other aesthetic qualities is not actual knowledge, nor does it lead to specific desires and actions except perhaps the desire to be able to continue contemplating an object already found to have been beautiful.
English Choose a language for shopping. It is all the more worthy the more that the perfection of rational beings is elevated above the perfection of lifeless things, and also aesthetuca complex because many abilities of the soul and often diverse skills of the external limbs as well are required for a beautiful imitation.
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