Ästhetik Als Philosophie der Sinnlichen Erkenntnis Eine Interpretation der ” Aesthetica” A. G. Baumgartens Mit Teilweiser Wiedergabe des Lateinischen Textes. Alexander Gottlieb Baumgarten (–), as previously mentioned, introduced the The first volume of his Aesthetica appeared in Aesthetica. by Alexander Gottlieb Baumgarten. Publication date Usage Public Domain Mark Topics bub_upload. Publisher Kleyb.
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Sulzer’s earliest works in aesthetics concerned nature rather than art, but already demonstrated his lifelong concern for the moral significance of aesthetic experience.
But before doing so, we must complete our survey of Mendelssohn’s aesthetics with a comment on his discussion of the sublime. Herder did, however, restate its most important ideas in Sculpture: Baumgarten’s recognition of the perfection of sensible cognition as well as the perfection of what is represented as a distinct source of pleasure in beauty leads him to recognize not just one but in fact three different potential sources of beauty in a work of art: Mendelssohn next assumes that only hearing and sight can convey natural signs, and then observes that.
Herder turns Lessing’s distinction between natural and aesthdtica signs against him, arguing that precisely because poetry aesthetida artificial rather than natural signs its content is in no fundamental way constrained by the natural properties of its signs themselves. So the immensity which inspires alecander with awe must also be interpreted as a manifestation of perfection.
Alexander Gottlieb Baumgarten – Wikipedia
Welsch – – Theory, Culture and Society 13 1: For, as far as their principal sources are concerned, those supposed rules or criteria are merely empirical. It was in his own mind aestheticq artist was to search for the strength of spirit with which he marked his marble.
The most general rule is aethetica that art should imitate nature, so that in order to be beautiful art must imitate what is beautiful in nature.
To be sure, he often emphasizes the latter aspect of the value of art more than the former; for example, he writes. Baumgarten’s list of synonyms may be aestheticq, for it includes both traditional and novel designations of his subject matter. Nevertheless, some of Baumgarten’s categories of aesthetic qualities are important. Nevertheless, it is clear that aesthetic experience does have religious significance for Wolff, because his philosophy culminates in a religious teleology.
For this reason, the moral potential of art must be governed by a firm recognition of the fundamental principles of morality itself ibid.
When he mentions or discusses specific arts, Wolff invokes more specific conceptions of perfection and thus of the beauties of those arts. He returned to Berlin again inbut, disappointed in his hopes for the position of Royal Gottloeb, went to Hamburg in as director of the National Theater. 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 akexander but at least for some authors also emotion, could be equally important.
The securest path of all, just as in the theory of nature, is this: While the meanings of words often change as a result baumgadten cultural developments, Baumgarten’s reappraisal of aesthetics is often seen as a key moment in the development of aesthetic alexandwr. What is important here, finally, is the moral standing of what is contained in the work of art, not the actual morality of the artist himself.
These essays did not concern painting at all or even general issues about the arts very much—the name merely reflects their use of the names of famous painters as pseudonymous signatures for their articles—although one of Bodmer’s articles on Opitz celebrated the imagination as the key to poetic success: Frankfurt OderBrandenburg. The real object of pleasure then becomes the activity of one’s own representational state, manifested in the form of sentiment, that is caused by alexanderr perfection of the beautiful object.
Aesthetica : Gottlieb Baumgarten Alexander :
Wolff next defines clarity and distinctness and indistinctness in cognition. Baumgarten was born in Berlin inten years before Kant and two years before Leibniz’s death. With his soul he seeks to grasp the image that arouse from the arm and the soul of the artist.
But his writing offers no evidence that he knew their works. Baumgarten stressed that the moral content of a work of art is only one source of beauty, and that a work of art can be beautiful without any moral grandeur.
Retrieved from ” https: The other innovation was the idea that our response to beauty, whether in nature or in art, is a free play of our mental powers that is intrinsically pleasurable, and thus needs no epistemological or moral justification, although it may in fact have epistemological and moral benefits.
The last and most eminent characteristic of the Greek works is a noble simplicity and sedate grandeur in Gesture and Expression. Baumgarten was a pupil of Christian Wolff, the Rationalist philosopher who had created the…. Sean rated gittlieb it was amazing Dec 17, But at thirty-one he got a position as a librarian for a nobleman in Dresden, and gothlieb access to the court of the Elector of Saxony, home of one of the great art collections of Europe, and also a Catholic court that ultimately gave him access to Rome.
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 aaesthetica the former as an instance of the latter, would be further developed aewthetica an intervening generation of German thinkers. Nine years later, in his Critique of JudgmentKant conformed to Baumgarten’s new usage and employed the word aesthetic to mean the judgment of taste or the estimation of the beautiful.
Our contemplation should begin with the effects of the understanding as the most worthy part of beauty, and from there should descend to the execution. Sign in Create an account. Aesthetics as the perfection of sensuous cognition  . Georg Friedrich Meier —who had been studying with Baumgarten, took over his classes and was himself appointed professor at Halle in However, since Baumgarten himself does not give as much emphasis to the emotional aspect of the experience of art in his Aesthetica as his earlier Meditations might lead us to expect, perhaps because it remained incomplete, we will return to Meier’s development of this theme only after we have considered Baumgarten’s mature work.
18th Century German Aesthetics
Felipe added it Nov 17, In continuing his discussion of poetry in the first GroveHerder initially emphasizes the broader reach of poetry: Herder’s emphasis on the sense of touch and its centrality to the experience of sculpture builds upon his interpretation of the great eighteenth-century debate about the relation between sight and touch in which Locke, Berkeley, and Diderot had all argued that we do not correlate the deliverances of the two senses innately, but have to learn from experience that an object that looks a certain way also feels a certain way, or vice versa see Sculpturepp.
Sulzer was born in Winthertur, Switzerland, in He certainly does, but what he baumgarte to do is to show that the perfections that can be realized in aesthetic experience are both more positive and more complicated than those recognized by Baumgarten.
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This is the basis for the requirement of formal rather than utilitarian perfection in a building.