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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18th Century German Aesthetics

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. Aleander that was aessthetica 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.

But at eighteen, he became more interested in the study of mathematics, botany, and philosophy, and came under the influence of Bodmer and Breitinger. For Leibniz and all his followers, there is one baumgsrten 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.

But what satisfies the faculty of approval is still the activity of the other mental powers. baumgaften

18th Century German Aesthetics (Stanford Encyclopedia of Philosophy)

By using this site, you agree to the Terms of Use and Privacy Policy. Now since the passions have a strong influence on sensible cognition and its presentation, aesthetics for its part can rightly demand a theory of the emotions.

Thus he writes that. Although Baumgarten makes some broad claims for the new science, this is not where the novelty of the Aesthetica lies, for at least in haumgarten extant part of the work Baumgarten never actually develops this theme. For many years, Kant used Baumgarten’s Metaphysica as a handbook or manual for his lectures on that topic.


Leibniz also holds that the perfection that we perceive in other objects is in some sense communicated to ourselves, although he does not say that our pleasure in the perception of perfection is actually directed at the self-perfection that is thereby caused. Thus Mendelssohn writes, first with reference to the power of cognition but then with reference to desire as well, that. However, as he proceeds Wolff makes it clear that the intention of an architect is always to produce a structure that is both formally beautiful as well as useful and comfortable, so the perfection that subsists in the relation between intention and outcome in fact consists in the perfection of both form and utility in the building itself.


Further, Herder’s approach ends rather than begins with definitions. The painter aesthetic nature with brush and colors; the musician through beat and harmony; the poet, however, through a discourse that is rhythmic or otherwise well arranged; or, which is much the same, through a harmonious and good-sounding text, which we call a poem.

His masterpiece Jerusalem, baumvarten on Religious Power and Judaismin which he argued for the civil rights of the Jews gottpieb arguing that the state had no right to recognize any religion at aestheticq and therefore must allow all religions freedom from interference, was published in Herder insists that visible beauty arises only from the most superficial features of objects, not from their full reality, and that only feeling—by which he here means the sense of touch—can put us into direct contact with reality, or with the deeper truth about physical reality.

The aim of aesthetics is the perfection of sensible cognition as such, that is, beauty, while its imperfection as such, that is, ugliness, is to be avoided. 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.

For since a painting is nothing other than a representation of a given object on a tablet or flat surface, everything in it is harmonious if nothing can be discerned in it that one does gottllieb also perceive in the thing itself.

Critique of Pure ReasonA 1, note. Sulzer does not make the mistake of thinking that the experience of fine art, valuable as it can be for sound morality and politics, can substitute for a direct grasp of sound principles of morality and politics.


Alexander Gottlieb Baumgartenborn July 17,BerlinPrussia [Germany]—died May 26,Frankfurt an der OderGerman philosopher and educator who coined the term aesthetics and established this discipline as a distinct field of philosophical inquiry.

Herder’s path to this conclusion is not direct, however, and just what sense or senses of truth he has in mind is difficult to pin down, so we will have to look at baumgwrten classification of the arts in some detail to see how to construe his theory.

Fine art aims to produce pleasure both by setting our cognitive powers into activity through the formal and material beauties of its products and by arousing our baumgarteb feelings.

Meier thereby prepared the way for the tremendous influence that British aesthetics would have in Germany by the end of the s. Nevertheless, it is clear that aesthetic experience does have religious significance for Wolff, because his philosophy culminates in a religious teleology.

Sulzer was elected to the Academy of Sciences in This is the background from which Wolff’s own hints toward aesthetics emerged. InSulzer began work on his Alexwnder Theory of the Fine Artswhich was originally planned gottlieb a revision of Jacques Lacombe’s Dictionnaire portraitif des beaux-arts but became a vehicle for the statement of Sulzer’s own general views about aesthetics and the moral baumgqrten of art as well an outlet for his vast learning and energy.

Aesthetica : Gottlieb Baumgarten Alexander :

Baumgarten identified himself as a Wolffian, and much of his work amounts to alternative presentations of Wolff’s philosophy. The theoretical basis of the work was the Wolffian principle that the theater and other forms of poetry Gottsched had little to say about the emerging medium of the novel should be used to convey important moral truths through images that would make them accessible and engaging for a wide audience.

The next axis of perfection that Mendelssohn considers is the state of our mind in response to perfection or imperfection in a real or represented object. His account further prepares the ground for the full-blown theory of aesthetic experience as based in a play of our powers that will subsequently be achieved by Kant and Schiller.