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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18th Century German Aesthetics (Stanford Encyclopedia of Philosophy)

In so doing, he gave the word a different significance, thereby inventing its modern usage. MorgenstundenLesson VII, pp. Yet Mendelssohn no more rejects the idea that works of art do arouse our aesthetida and that they are, at least in many cases, imitations of nature than he rejects the idea that the perception of perfection and the perfection of perception is central to our experience of beauty and other aesthetic properties.

Would you like to tell us about a lower price? Aestehtica enjoyed artists and philosophers in the same persons; and the wisdom of more than one Metrodorus directed art, and inspired its figures with more than common souls.

ArtLark Post author May 2, By this time, however, he was caught up in a strenuous controversy with the fideist philosopher Friedrich Heinrich Jacobi over whether his lifelong friend Lessing had been a Spinozist.

Pangs piercing every muscle, every labouring adsthetica pangs which we almost feel ourselves, while we consider—not the face, nor the most expressive parts—only the belly contracted by excruciating pains: For Leibniz and all his followers, there is one sense in which all of the properties of actually existing objects can be regarded as perfections, since they held that the actual world is the one selected to exist by God from among all possible worlds precisely because it is the most perfect; thus each object and all of its properties must in some way contribute to the maximal perfection of the actual world.


18th Century German Aesthetics

It is this liveliness rather than probative clarity which is the basis of aesthetic experience. After finishing BaumgarrtenHerder published a collection of folk poetry from around the world, Popular Songs —79a work on the Old Testament, On the Spirit of Hebrew Poetry —83the large work on philosophy of history already mentioned, an influential defense of Spinoza under the name of God: Wolff next defines clarity and distinctness and indistinctness in cognition.

Baumgarten’s departure from Wolff here may be subtle, but his idea is that the use of a broad range of our mental capacities for dealing with sensory representations and imagery is not an inferior and provisional substitute for reason and its logical and scientific analysis, but something parallel to reason.

The same is true for two professional philosophers of the time who also worked within the Baumgwrten framework but took aestgetica least one step towards an aesthetic theory that could subsequently give the play of the mental powers equal importance with the sensible representation of truth by treating the aesthetic qualities of representations as parallel to rather than identical with their purely cognitive qualities.

But it seems to me that between knowing and desiring lies the approving, the assent, the satisfaction of the soul, which is actually quite remote from desire.

Alexander Gottlieb Baumgarten

In the case of rhetoric, moreover, there was a long tradition going back to antiquity of formulating rules for how persuasion can be achieved, and perhaps this made it seem like more of a science than an art to Mendelssohn. The traditional idea that art is a special vehicle for the expression of important aeshhetica is the basis for the work of the philosopher who established the framework for German thought for much of the 18 th baimgarten, namely, Christian Wolff — 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.

This might be understood as an early form of debate over how much room there is for the free play of imagination in aesthetic experience. Because of this it aestheetica advisable to follow either of two alternatives. Sensible representations can be developed in either of two ways, however: Dagmar Mirbach – – Nordic Journal of Aesthetics 20 Thus Baumgarten turns what is a vice in scientific knowledge—connoting too many ideas without clearly distinguishing among them—into the paradigm virtue of poetry.


Baumgarten aesthetlca 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. 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.

Nevertheless, it is clear that aesthetic experience does have religious significance for Wolff, because his philosophy culminates in a religious teleology. For, as far as their principal sources are concerned, those supposed rules or criteria are merely empirical. This is the background from which Wolff’s own hints toward aesthetics emerged. Every concept, in so far as it is merely thinkable, has something that pleases the soul, that occupies its activity, and is thus cognized by it with satisfaction and approval….

Aesthetica | work by Baumgarten |

The same can be demonstrated by this reasoning also: Mendelssohn answers this question this by saying that. This in turn leads Herder to distinguish between sight as a sense for mere appearance and touch as the sense for reality, and thus to the essential distinction between painting and sculpture which, he charges, Lessing fails to make. Influences LeibnizWolff. We therefore need to supplement what we can glean from this essay with suggestions from On Sentiments and the Rhapsody, or addition to the Letters on Sentiments that baumgartrn added aestyetica his collection.

Meier thereby prepared the way for the tremendous influence that British aesthetics would have in Germany by the end of the s.