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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.

Author Concept Summary/Quotes Sources

Immanuel Kant on Aesthetics - Dictionary of Arguments

Gadamer I 47
Aesthetics /"Urteilskraft"/Kant/Gadamer: What Kant for his part legitimized and wanted to legitimize through his critique of aesthetic judgement was the subjective generality of aesthetic taste, in which there is no longer any knowledge of the object, and in the field of the "fine arts" the superiority of genius over all rule aesthetics. Thus, Romantic hermeneutics and history find a point of reference for their self-understanding only in the concept of genius, which was brought to bear by the Kantian aesthetics. >Urteilskraft/ Kant
That was the other side of the Kantian effect. The transcendental justification of aesthetic judgement established the autonomy of the aesthetic consciousness, from which the historical consciousness should also derive its legitimation.
The radical subjectivation that included Kant's re-foundation of aesthetics has thus truly made epoch. By discrediting any theoretical knowledge other than that of the natural sciences, it pushed the self-contemplation of the humanities into following the methodology of the natural sciences. At the same time, however, it facilitated this dependence by providing the "artistic moment", the "feeling" and the "attitude" as a subsidiary achievement. See >Method/Helmholtz, >Humanities/Gadamer.
Truth/knowledge/episteme/art/Kant/GadamerVsKant: The transcendental function that Kant assigns to aesthetic judgement is capable of distinguishing it from conceptual knowledge.
and in this respect to satisfy the definition of the phenomena of beauty and art. But is it possible to reserve the concept of truth for conceptual knowledge? Should one not also acknowledge that the work of art has truth? We shall see that an acknowledgement of this side of the matter puts not only the phenomenon of art but also that of history in a new light. >Truth of art/Gadamer.
Gadamer I 48
Knowledge/Taste/Gadamer: one will be able to recognize that Kant's reasoning of aesthetics is based on the judgement of taste
Gadamer I 49
does justice to both sides of the phenomenon, its empirical non-generality and its a priori claim to generality. But the price he pays for this justification of criticism in the field of taste is that he denies taste any meaning of knowledge. It is a subjective principle to which he reduces the public spirit. In it nothing is recognized of the objects that are judged beautiful, but it is only asserted that a priori a feeling of pleasure in the subject corresponds to them.
Purposefulness/"Zweckmäßigkeit"/Kant: As is well known, this feeling is
Kant was founded on expediency (...). This is the principle that Kant discovers in aesthetic judgment. It is here itself law. In this respect it is an a priori The effect of beauty, which is somewhere between a merely sensual-empirical agreement in matters of taste and a rationalistic generality of rules in the middle. The taste is "taste of reflection".
Content/taste/Kant/Gadamer: (...) the culture of moral feeling [is] described as the way in which genuine taste can take a certain unchanging form(1). The content-related determination of taste thus falls outside the scope of its transcendental function. Kant is interested only in so far as there is a principle of aesthetic judgement of its own, and therefore pure taste judgement alone is important to him. >Beauty/Kant.

1.Kant, Kritik der Urteilskraft, S. 264.

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.
I. Kant
I Günter Schulte Kant Einführung (Campus) Frankfurt 1994
Externe Quellen. ZEIT-Artikel 11/02 (Ludger Heidbrink über Rawls)
Volker Gerhard "Die Frucht der Freiheit" Plädoyer für die Stammzellforschung ZEIT 27.11.03
Gadamer I
Hans-Georg Gadamer
Wahrheit und Methode. Grundzüge einer philosophischen Hermeneutik 7. durchgesehene Auflage Tübingen 1960/2010

Gadamer II
H. G. Gadamer
The Relevance of the Beautiful, London 1986
German Edition:
Die Aktualität des Schönen: Kunst als Spiel, Symbol und Fest Stuttgart 1977

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