Economics Dictionary of ArgumentsHome
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| Aesthetics: aesthetics is generally the doctrine of perception in the philosophical tradition. In the narrower sense it is the investigation of the question of why we find certain things beautiful or ugly. Here, historical changes as well as cultural differences are taken into account. In modernity, the question of the enlightenment effect and the social power of works of art has also become relevant. See also art, works of art, beauty, perception, society, autonomy, recognition._____________Annotation: The above characterizations of concepts are neither definitions nor exhausting presentations of problems related to them. Instead, they are intended to give a short introduction to the contributions below. – Lexicon of Arguments. | |||
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Friedrich Theodor Vischer on Aesthetics - Dictionary of Arguments
Pfotenhauer IV 100 Ästhetik/Vischer/NietzscheVsVischer/Pfotenhauer: Friedrich Theodor Vischer, who at an early stage had provoked Nietzsche's disgust as a "renowned aesthete from the Hegelian school of reason"(1) had already made his mark with the relevant publication "Über das Erhabene und Komische", 1837(2). It was about how the initially unaesthetic, the ugly, could be absorbed in the medium of art. Vischer considered "the interest of the senses" as a challenge to aesthetics(2), the disharmony in the "quarrel of indignant forces", the acridness of tragic discord (ibid. p. 69), but also the isolated, the "substance-like atoms" that are present to us in their "massiveness" as an experience of nature (ibid. p. 64). The question was how these elements, which endanger the aesthetic harmony, could be overcome. Solution/Vischer: the key to the solution of the problem lies in Kant's definition of the sublime. The sublime proves "a capacity of the mind that surpasses every measure of the senses." (ibid. p. 71; on Kant's criticism of the power of judgement §25ff, p. 333ff, especially p. 336). >Sublime. Sublime/Vischer: what appears to our sensual imagination to be excessive and monstrous, awakens in us the feeling of a supernatural capacity. The finite in its form, incommensurable to the senses, need not offend our aesthetic sensibility, but can awaken in us the idea of the infinite ex negativo. Ugliness becomes a mere occasion. Beauty/Vischer: beauty produces turbulences, "fermentations" (ibid. p. 69) from within itself in order to be able to lift itself to a higher level because of its own opposition. Sublime/Vischer: the sublime thus becomes a necessary and essential component of the idea of beauty. It proves its increasing ability and superiority. NietzscheVsVischer/Pfotenhauer: Nietzsche could not embrace this belief in referencing and transcending. 1. F. Nietzsche Unzeitgemäße Betrachtungen, 2, KGW III, 1, S. 167. 2. F. Th. Vischer, Über das Erhabene und Komische und andere Texte zur Ästhetik, (Ed.) Willi Oelmüller, Frankfurt/M. S. 71._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. Translations: Dictionary of Arguments The note [Concept/Author], [Author1]Vs[Author2] or [Author]Vs[term] resp. "problem:"/"solution:", "old:"/"new:" and "thesis:" is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition. |
Vischer I Friedrich Theodor Vischer Über das Erhabene und Komische und andere Texte zur Ästhetik Frankfurt/M. 1967 Pfot I Helmut Pfotenhauer Die Kunst als Physiologie. Nietzsches ästhetische Theorie und literarische Produktion. Stuttgart 1985 |
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