Philosophy 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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Johann Gottlieb Fichte on Aesthetics - Dictionary of Arguments
Gadamer I 63 Aesthetics/Schlegel/Fichte/Gadamer: Kant's justification of aesthetics on the concept of taste cannot (...) be entirely satisfactory. It is far more obvious to use the concept of genius, which Kant developed as a transcendental principle for artistic beauty, as a universal aesthetic principle. Far better than the concept of taste, it fulfils the demand to be invariant to the changes of time. The Kantian phrase "beautiful art Gadamer I 64 is art of genius" becomes (...) the transcendental principle for aesthetics in general. In the end, aesthetics is only possible as a philosophy of art. Schlegel/Fichte/Gadamer: It was German idealism that drew this conclusion. Just as Fichte and Schelling otherwise followed Kant's doctrine of the transcendental imagination, they also made a new use of this term for aesthetics. In contrast to Kant, the standpoint of art as that of unconsciously ingenious production thus became all-embracing and also encompassed nature, which is understood as a product of the mind(1). But this has shifted the foundations of aesthetics. Like the concept of taste, the concept of natural beauty is devalued or understood differently. The moral interest in the beauty of nature, which Kant had described so enthusiastically, now takes second place to the self-encounter of man in the works of art. >Beauty of nature/Hegel. Gadamer I 65 Aesthetics/Fichte/Gadamer: (...) Kant's essential concern to provide an autonomous foundation of aesthetics, freed from the criterion of the concept, and not to pose the question of truth in the field of art at all, but to base the aesthetic judgement on the subjective a priori of the attitude to life, the harmony of our capacity for "knowledge in general", which constitutes the common essence of taste and genius, [came] to meet the irrationalism and the cult of genius of the 19th century. Genius/Fichte: Kant's doctrine of the "increase of the feeling of life" in aesthetic pleasure promoted the development of the term "genius" into a comprehensive concept of life, especially after Fichte raised the standpoint of genius and ingenious production to a universal transcendental standpoint. Thus it came about that Neo-Kantianism, in that it sought to derive all representational validity from transcendental subjectivity, used the term Gadamer I 66 experience as the actual fact of consciousness.(2) >Experience/Gadamer. 1. To what extent the change that occurred between Kant and his successors, which I try to characterize by the formula "standpoint of art", has obscured the universal phenomenon of the beautiful, can be taught by the first Schlegelfragment (Friedrich Schlegel, Fragmente, From the Lyceums 1797): "One calls many artists who are actually works of art of nature". This turn of phrase echoes Kant's justification of the concept of genius in terms of the favor of nature, but it is so little appreciated that it becomes, on the contrary, an objection against an artistic nature that is too little aware of itself. 2. It is the merit of Luigi Pareyson's 1952 book, L'estetica del idealismo tedesco, to have highlighted the importance of spruce for the idealist aesthetic. Accordingly, the secret influence of Fichte and Hegel could be recognized within the whole of the Neo-Kantianism._____________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. |
Fichte I Johann Gottlieb Fichte Zur Politik, Moral und Philosophie der Geschichte Berlin 1971 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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> Counter arguments against Fichte
> Counter arguments in relation to Aesthetics
Ed. Martin Schulz, access date 2024-04-25