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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Mendelssohn next assumes that only hearing and sight can convey natural signs, and then observes that. If you prefer to suggest your own revision of the article, you can go to edit mode requires login. Leyla Haferkamp – – Deleuze and Guatarri Studies 4 1: The contrast between perfection or imperfection in the content of a representation and the enjoyable activity of the mind in representing that content is the heart of Mendelssohn’s theory, so we can interrupt our catalogue of all four of the axes of perfection that he recognizes for some comments on this contrast.

18th Century German Aesthetics

But before doing so, we must complete our survey of Mendelssohn’s aesthetics with a comment on his discussion of the sublime. There he wrote the tragedy Emilia Galotti and his famous plea for religious tolerance in the form of Nathan the Wisea play inspired baumgqrten Mendelssohn. He was born a quarter-century before Herder but his encyclopedic General Theory of the Fine Artsfirst published from towas contemporaneous with such central works of Herder as the essays on Ossian and Baumgagten.

The two key ideas that Wolff takes from Leibniz are, first, the characterization of sensory perception as a clear but confused rather than distinct perception of things that could, at least in principle, be known both clearly and distinctly by the intellect; and, second, the characterization of pleasure as the sensory, and thus clear but confused, perception of the perfection of things. This illustrates his general conception of the force of rules of taste: One of these is to stop using this new name aesthetic[s] in this sense of critique of taste, and to reserve the name aesthetic[s] for the doctrine of sensibility that is true science.

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.


Art aims for the opposite. From to he collaborated with Lessing and Nicolai on the Library of Fine Sciences and Liberal Artsfor which he wrote two dozen reviews of new works in aesthetics and literature, and from to he contributed nearly one hundred reviews to Nicolai’s Letters concerning the newest Literaturediscussing works not only in aesthetics and literature but also metaphysics, mathematics, natural science, and politics Gesammelte Schriftenvol.

With his soul he seeks to grasp the image that arouse from the arm and the soul of the artist.

What we cognize aesyhetica the best in this comparison works on our faculty of desire and stimulates it, where it finds no resistance, to activity. Mendelssohns’ introduction of a faculty of approval in may have been influential for Kant’s elevation of judgment to a faculty on a par with understanding and reason, signaled in his letter of December 25,to Karl Leonhard Reinhold, a decisive step in the genesis of the third critique.

Aesthetic experience is a variety of free and unhindered activity of our representational capacity, and therefore produces pleasurable sentiments which are a primary constituent of happiness.

The Baumgartens thus arrived in Halle just after Wolff had been expelled and the study of his philosophy banned, although the ban was less strictly enforced at the famous Pietist orphanage and school in Halle the Franckesche Stift where they went first than at the university. It must therefore necessarily be gratified with its own strength.

He does not need to mention this, perhaps, in the case of the visual arts, since he holds that the visual artist leaves the audience some freedom of imagination by not depicting the moment of the greatest suffering of his subject, and this freedom may afford the necessary distance, but he might have done well to mention it in the case of poetry.

Aristotle, ancient Greek philosopher and scientist, one of the greatest intellectual figures of Western….

Alexander Gottlieb Baumgarten

Although Baumgarten makes some broad claims for the new science, this is not where the novelty of the Aesthetica lies, for at least in the extant part of the work Baumgarten never actually develops this theme. In continuing his discussion of poetry in the first GroveHerder initially emphasizes the broader reach of poetry: Gregor – – Review of Metaphysics 37 2: It is all the more worthy the more that the perfection of rational beings is elevated above the perfection of lifeless things, and also more complex because many abilities of the soul and often diverse skills of the external limbs as well are required for a beautiful imitation.


With the development of art as a commercial enterprise linked to the rise of a nouveau riche class across Europe, the purchasing of art inevitably led to aesthettica question, “what is good art? Herder did, however, restate its most important ideas in Sculpture: During the most productive part of Baumgarten’s career, German philosophy was unambiguously dominated by the work of Christian Wolffwhose philosophical starting point had been the systematic work aestjetica the arch-rationalist Leibniz.

Kaiser Van Beuren marked it as to-read Dec 08, 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 alwxander in nature. Nevertheless, Baumgarten believed that there was more to be said about the way that gotglieb appear to us in sensation and perception than that they were simply a confused version of ideas that might be apprehended purely intellectually.

Baumgarten described this sort of clarity as ‘extensive clarity,’ and coined the term ‘aesthetics’ to describe the philosophical project of delineating those rules that are responsible for giving extensive clarity to sensible objects.

Alexander Gottlieb Baumgarten – New World Encyclopedia

Inthe same year as he published his Ethicshe was called to a professorship—or more precisely, ordered to accept it—at another Prussian university, in Frankfurt an der Oder. The other alternative would be for the new aesthetic[s] to share the name with speculative philosophy.

Baumgarten may have been motivated to respond to Pierre Bonhours’ opinion, published in a pamphlet in the late 17th century, that Germans were incapable of appreciating art and beauty.