Aesthetic Reconstructions: The Seminal Writings of Lessing, Kant and Schiller by Anthony Savile
01 Sep 1989-The Journal of Aesthetics and Art Criticism (Oxford Academic)-Vol. 47, Iss: 4, pp 379-380
About: This article is published in The Journal of Aesthetics and Art Criticism.The article was published on 1989-09-01. It has received 23 citations till now.
Citations
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TL;DR: For instance, the authors argued that aesthetic pleasure is cognitive in nature and too "disinterested" to be emotional, and this view is supported by many emotion theorists, such as emotion theorists.
Abstract: Beauty has received sparse attention from emotion theorists, some of whom have argued that aesthetic pleasure is cognitive in nature and too “disinterested” to be emotional. This view is supported ...
140 citations
Book•
01 Apr 2020TL;DR: German Aesthetics in the Second Half of the Twentieth Century: 1. German aesthetics between the wars: Lukacs and Heidegger 2. In the wake of Schelling 3. The high tide of idealism 4. The second wave as discussed by the authors.
Abstract: Volume 1: 1. Prologue Part I. Aesthetics in Britain, 1725-1800: 2. Hutcheson to Hume 3. Hogarth, Burke, and Gerard 4. From Kames to Alison and Stewart Part II. French Aesthetics in Mid-Century: 5. Andre to Rousseau Part III. German Aesthetics between Wolff and Kant: 6. The first generation of Wolffian aesthetics 7. German aesthetics at mid-century 8. Coming closer to Kant Part IV. Kant and After: 9. Kant 10. After Kant. Volume 2: Part I. German Aesthetics in the First Half of the Nineteenth-Century: 1. Early Romanticism and idealism 2. In the shadow of Schelling 3. The high tide of idealism 4. In the wake of Hegel Part II. (Mostly) British Aesthetics in the Second Half of the Nineteenth Century: 5. Ruskin 6. Aestheticism 7. Bosanquet and Tolstoy Part III. German Aesthetics in the Second Half of the Nineteenth Century: 8. In the shadow of Schopenhauer 9. Neo-Kantian aesthetics 10. Psychological aesthetics: play and empathy. Volume 3: Part I. German Aesthetics in the Twentieth Century: 1. German aesthetics between the wars: Lukacs and Heidegger 2. German aesthetics after World War II Part II. Aesthetics in Britain until World War II: 3. Bloomsbury, Croce, and Bullough 4. First responses to Croce 5. Collingwood Part III. American Aesthetics in the First Half of the Twentieth Century: 6. Santayana 7. The American reception of expression theory I: Parker to Greene 8. Dewey 9. The American reception of expression theory II: Cassirer and Langer 10. After Dewey and Cassirer Part IV. Wittgenstein and After: Anglo-American Aesthetics in the Second Part of the Twentieth Century: 11. Wittgenstein 12. The first wave 13. The second wave.
87 citations
01 Jan 2006
TL;DR: Kukla and Manning as mentioned in this paper explored a unified account of Kantian sensibility and understanding, and the necessity of receptivity, and explored a post-Kantian paradigm in Kant's Critique of Judgment.
Abstract: 1. Introduction Rebecca Kukla Part I. Sensible Particulars and Discursive Judgment: 2. Thinking the particular as contained under the universal Hannah Ginsborg 3. The necessity of receptivity: exploring a unified account of Kantian sensibility and understanding Richard N. Manning 4. Acquaintance and cognition Mark Orent Part II. The Cognitive Structure of Aesthetic Judgment: 5. Dialogue: Paul Guyer and Henry Allison on Kant's Theory of Taste Paul Guyer and Henry Allison 6. Intensive magnitudes and the normativity of taste Melissa Zinkin 7. The harmony of the faculties revisited Paul Guyer 8. Kant's leading thread in the analytic of the beautiful Beatrice Longuenesse Part III. Creativity, Community, and Reflective Judgment: 9. Reflection, reflective judgment, and aesthetic exemplarity Rudolf A. Makkreel 10. Understanding aestheticized Kirk Pillow 11. Unearthing the wonder: a 'Post-Kantian' paradigm in Kant's Critique of Judgment John McCumber.
62 citations
TL;DR: In this paper, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it, and the connection that Kant makes between an object's expression of rational and the normativity of aesthetic judgements about it is explored.
Abstract: For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful—and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this ‘subjective universalism’ is supposed to work. In doing so, I appeal to Kant's notions of an aesthetic idea and an aesthetic attribute, and the connection that Kant makes between an object's expression of rational and the normativity of aesthetic judgements about it.
35 citations
TL;DR: Schiller's writings from the 1790s dealing with aesthetics and ethics are intertwined, simultaneously, both with an affirmative reception of Kant's ideas and with critical attitudes against them as discussed by the authors. But Schiller's declarations of loyalty to Kant's principles at times harshly contradict his critical positions regarding these very principles.
Abstract: Kant's Critique of Judgment was published in 1790. Schiller's writings from the 1790s dealing with aesthetics and ethics are intertwined, simultaneously, both with an affirmative reception of Kant's ideas and with critical attitudes against them. This applies to, among other, essays such as On Grace and Dignity (1793), Kallias (Schiller's letters to Gottfried K6rner, 1793), On the Sublime (1793/4), On the Risk of Aesthetic Virtues (1795), and especially to the essay On the Aesthetic Education of Man, In a Series of Letters, dated 1795, and to the original letters in this matter sent by Schiller one to two years earlier to Herzog Friedrich-Christian von Augustenburg. In these writings Schiller himself declared his loyalty to Kant's principles, saying that his own ideas are not original but rather committed to the philosopher's basic concepts.' This statement, however, like the philosophical concepts that Schiller often used inconsistently,2 and, in particular, the main theses introduced in his writings, are highly problematic. Schiller's declarations of loyalty to Kant's principles at times harshly contradict his critical positions regarding these very principles. It seems that Schiller maintained a complex, inconstant, and ambivalent attitude toward philosophy in general and toward Kant in particular.3 The most blatant contradiction in Schiller's philosophy in this context pertains to the main concern of his theory-the affinity between the aesthetic realm and the concept of moral society. The letters of On the Aesthetic Education of Man present two incongruent theses: On the one hand they present the assertion that aesthetic education may psychologically serve the realization of morality (a la Kant) and thus also establish a free society.4 Aesthetic educationwhich in this context should not be distinguished essentially from the unmediated aesthetic experience5-is conceived according
25 citations
References
More filters
TL;DR: For instance, the authors argued that aesthetic pleasure is cognitive in nature and too "disinterested" to be emotional, and this view is supported by many emotion theorists, such as emotion theorists.
Abstract: Beauty has received sparse attention from emotion theorists, some of whom have argued that aesthetic pleasure is cognitive in nature and too “disinterested” to be emotional. This view is supported ...
140 citations
Book•
01 Apr 2020TL;DR: German Aesthetics in the Second Half of the Twentieth Century: 1. German aesthetics between the wars: Lukacs and Heidegger 2. In the wake of Schelling 3. The high tide of idealism 4. The second wave as discussed by the authors.
Abstract: Volume 1: 1. Prologue Part I. Aesthetics in Britain, 1725-1800: 2. Hutcheson to Hume 3. Hogarth, Burke, and Gerard 4. From Kames to Alison and Stewart Part II. French Aesthetics in Mid-Century: 5. Andre to Rousseau Part III. German Aesthetics between Wolff and Kant: 6. The first generation of Wolffian aesthetics 7. German aesthetics at mid-century 8. Coming closer to Kant Part IV. Kant and After: 9. Kant 10. After Kant. Volume 2: Part I. German Aesthetics in the First Half of the Nineteenth-Century: 1. Early Romanticism and idealism 2. In the shadow of Schelling 3. The high tide of idealism 4. In the wake of Hegel Part II. (Mostly) British Aesthetics in the Second Half of the Nineteenth Century: 5. Ruskin 6. Aestheticism 7. Bosanquet and Tolstoy Part III. German Aesthetics in the Second Half of the Nineteenth Century: 8. In the shadow of Schopenhauer 9. Neo-Kantian aesthetics 10. Psychological aesthetics: play and empathy. Volume 3: Part I. German Aesthetics in the Twentieth Century: 1. German aesthetics between the wars: Lukacs and Heidegger 2. German aesthetics after World War II Part II. Aesthetics in Britain until World War II: 3. Bloomsbury, Croce, and Bullough 4. First responses to Croce 5. Collingwood Part III. American Aesthetics in the First Half of the Twentieth Century: 6. Santayana 7. The American reception of expression theory I: Parker to Greene 8. Dewey 9. The American reception of expression theory II: Cassirer and Langer 10. After Dewey and Cassirer Part IV. Wittgenstein and After: Anglo-American Aesthetics in the Second Part of the Twentieth Century: 11. Wittgenstein 12. The first wave 13. The second wave.
87 citations
01 Jan 2006
TL;DR: Kukla and Manning as mentioned in this paper explored a unified account of Kantian sensibility and understanding, and the necessity of receptivity, and explored a post-Kantian paradigm in Kant's Critique of Judgment.
Abstract: 1. Introduction Rebecca Kukla Part I. Sensible Particulars and Discursive Judgment: 2. Thinking the particular as contained under the universal Hannah Ginsborg 3. The necessity of receptivity: exploring a unified account of Kantian sensibility and understanding Richard N. Manning 4. Acquaintance and cognition Mark Orent Part II. The Cognitive Structure of Aesthetic Judgment: 5. Dialogue: Paul Guyer and Henry Allison on Kant's Theory of Taste Paul Guyer and Henry Allison 6. Intensive magnitudes and the normativity of taste Melissa Zinkin 7. The harmony of the faculties revisited Paul Guyer 8. Kant's leading thread in the analytic of the beautiful Beatrice Longuenesse Part III. Creativity, Community, and Reflective Judgment: 9. Reflection, reflective judgment, and aesthetic exemplarity Rudolf A. Makkreel 10. Understanding aestheticized Kirk Pillow 11. Unearthing the wonder: a 'Post-Kantian' paradigm in Kant's Critique of Judgment John McCumber.
62 citations
TL;DR: In this paper, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it, and the connection that Kant makes between an object's expression of rational and the normativity of aesthetic judgements about it is explored.
Abstract: For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful—and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this ‘subjective universalism’ is supposed to work. In doing so, I appeal to Kant's notions of an aesthetic idea and an aesthetic attribute, and the connection that Kant makes between an object's expression of rational and the normativity of aesthetic judgements about it.
35 citations
TL;DR: Schiller's writings from the 1790s dealing with aesthetics and ethics are intertwined, simultaneously, both with an affirmative reception of Kant's ideas and with critical attitudes against them as discussed by the authors. But Schiller's declarations of loyalty to Kant's principles at times harshly contradict his critical positions regarding these very principles.
Abstract: Kant's Critique of Judgment was published in 1790. Schiller's writings from the 1790s dealing with aesthetics and ethics are intertwined, simultaneously, both with an affirmative reception of Kant's ideas and with critical attitudes against them. This applies to, among other, essays such as On Grace and Dignity (1793), Kallias (Schiller's letters to Gottfried K6rner, 1793), On the Sublime (1793/4), On the Risk of Aesthetic Virtues (1795), and especially to the essay On the Aesthetic Education of Man, In a Series of Letters, dated 1795, and to the original letters in this matter sent by Schiller one to two years earlier to Herzog Friedrich-Christian von Augustenburg. In these writings Schiller himself declared his loyalty to Kant's principles, saying that his own ideas are not original but rather committed to the philosopher's basic concepts.' This statement, however, like the philosophical concepts that Schiller often used inconsistently,2 and, in particular, the main theses introduced in his writings, are highly problematic. Schiller's declarations of loyalty to Kant's principles at times harshly contradict his critical positions regarding these very principles. It seems that Schiller maintained a complex, inconstant, and ambivalent attitude toward philosophy in general and toward Kant in particular.3 The most blatant contradiction in Schiller's philosophy in this context pertains to the main concern of his theory-the affinity between the aesthetic realm and the concept of moral society. The letters of On the Aesthetic Education of Man present two incongruent theses: On the one hand they present the assertion that aesthetic education may psychologically serve the realization of morality (a la Kant) and thus also establish a free society.4 Aesthetic educationwhich in this context should not be distinguished essentially from the unmediated aesthetic experience5-is conceived according
25 citations