The appreciation of nature and natural beauty demands our attention as environmental issues become ever more urgent. In this timely introduction, Glenn Parsons provides an overview of philosophical work on the aesthetics of nature, identifying key conceptual questions, clarifying central theories, and analyzing the ethical ramifications of our experience of natural beauty. Outlining five major approaches to understanding the aesthetic value of nature, this second edition explores the aesthetic appreciation of nature as it occurs in wilderness, (...) in gardens, and in the context of appreciating environmental art. Now updated to cover recent developments in the field, it includes: · A new chapter on the sublime, the picturesque, and the beautiful · Expanded discussion of empirical and evolutionary accounts of nature appreciation, as well as the appreciation of the environment in non-Western cultures · A new chapter on the aesthetic appreciation of animals · An in-depth analysis of the appreciation of nature through cinema and photography · Discussion of the relation between environmental appreciation and climate change __ Combining a clear and engaging style with a sophisticated treatment of a fascinating subject, _Aesthetics and Nature_ explores the aesthetic dimension of humanity's relationship with our physical surroundings. This a must-read for anyone who cares about nature and the future of our environment. (shrink)

The book has two aims. First, to examine the extent and significance of the connection between Hume's aesthetics and his moral philosophy; and, second, to consider how, in light of the connection, his moral philosophy answers central questions in ethics. The first aim is realized in chapters 1-4. Chapter 1 examines Hume's essay "Of the Standard of Taste" to understand his search for a "standard" and how this affects the scope of his aesthetics. Chapter 2 establishes that he treats (...) beauty in nature and art and moral beauty as similar in kind, and applies the conclusions about his aesthetics to his moral thought. Chapter 3 solves a puzzle to which this gives rise, namely, how individuals both accept general standards that they also contravene in the course of aesthetic and moral activity. Chapter 4 takes up the normative aspect of Hume's approach by understanding moral character through his view of moral beauty. The second aim of the book is realized in chapters 5-7 by entertaining three objections against Hume's moral philosophy. First, if morality is an immediate reaction to the beauty of vice and the deformity of virtue, why is perfect virtue not the general condition of every human individual? Second, if morality consists of sentiments that arise in the subject, how can moral judgments be objective and claim universal validity? And third, if one can talk of "general standards" governing conduct, how does one account for the diversity of moral systems and their change over time? The first is answered by showing that like good taste in aesthetics, 'right taste' in morals requires that the sentiments are educated; the second, by arguing against the view that Hume is a subjectivist and a relativist, and the third, by showing that his approach contains a view of progress left untouched by any personal prejudices Hume himself might harbor. The book concludes in chapter 7 by showing how Hume's view of philosophy affects the scope of any normative ethics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetics and Humean Aesthetic Norms in the Novels of Jane AustenEva M. Dadlez (bio)IntroductionThe eighteenth century, Paul Oskar Kristeller tells us, in addition to crystallizing what we now call the fine arts, is also marked by an increased lay interest both in the arts and in criticism.1 Amateurs as well as philosophers ventured critical commentary on the arts. Talk concerning taste or beauty or the sublime was so (...) much a part of general discourse that even novelists of that era incorporated such subjects in their work. Henry Fielding "was able to construct a novel on the true and false sublime in art," according to Samuel Monk, "and to draw an analogy between the sublime in art and the sublime in character."2 So we shouldn't find it surprising that perspectives on aesthetics are sometimes presented in the novels of Jane Austen.3 This subject matter ranges from descriptions of skill in the execution and sensitivity in the appreciation of particular arts to general observations about beauty and taste and what is requisite for the apprehension of the former and the possession of the latter.Consider the following catalog of arts and beauties. Mansfield Park, Sense and Sensibility, and Northanger Abbey contain many references to the beauties of nature, both cultivated and wild. Taste in music is a topic in Persuasion, Mansfield Park, Pride and Prejudice, and Lady Susan. A taste for poetry and literature is the lot of the heroines of Persuasion, Northanger Abbey, Mansfield Park, and Sense and Sensibility. Taste and talent for drawing is exhibited by characters in Sense and Sensibility, Emma, and Northanger Abbey. Both Sense and Sensibility and Mansfield Park contain discussions of the merits of effective reading, that is, reading well aloud. Mansfield Park even comments on [End Page 46] acting ability, albeit rather disapprovingly. More general reflections on taste and beauty, as well as their connection to morality, are equally typical.It is possible to venture several different arguments about the philosophical perspective into which such observations best fit. Kantian analyses have already been ventured in the literature. Anne Crippen Ruderman calls our attention to the Kantian flavor of the connection Austen draws between a sensitivity to natural beauty and one's moral disposition, for instance, and David Kaufman compares Austen to Kant, though primarily in regard to ethics.4 Nonetheless, in this article I will argue that the strongest correlations and correspondences are in fact between Austen's and Hume's positions on aesthetics. Evidence in support of a Kantian analysis will first be canvassed and later compared with claims in favor of a Humean alternative.I will establish that the positions on taste and beauty and delicacy that are explicitly stated in or can be inferred from Austen's novels fit a Humean model—and fit it with a fair degree of precision. In doing so, I hope to demonstrate a correspondence strong enough to serve as the staging area for the further speculations that constitute the second thesis of this article. A great deal has already been said by philosophers about the capacity of literature to elicit moral reactions from the reader. Fictions can present ethical endorsements and invite us to adopt ethical perspectives by making it true in the world of the work that some course of action is right or some character is laudable. They can do this not by telling us that an act is right or a person meritorious but by showing us the rightness of the action and the commendability of the individual—by asking us to imagine traits that call forth our own approval and commendation. I will contend that aesthetic norms can be treated in much the same way as moral norms. That is, I will claim that the fiction of Jane Austen, in addition to evidencing the conscription of a Humean aesthetic, so engages and educates us that we are led imaginatively to adopt certain aesthetic perspectives in the course of its contemplation: not just by being told what is aesthetically pleasing or commendable, but by being made to feel pleasure and to experience commendation; not just by being told what constitutes discriminating taste, but by being led... (shrink)

Evolutionary Aesthetics is a bourgeoning and thriving sub-field of Aesthetics, the main aim of which is “the importation of aesthetics into natural sciences, and especially its integration into the heuristic of Darwin’s evolutionary theory.” Scholars working in the field attempt to determine through the adoption of an interdisciplinary research methodology whether and to what extent Darwinian evolution can shed light on our capacity to have aesthetic experiences, make aesthetic judgments (both of art and natural beauty), and produce literary, visual, musical (...) artworks. Notwithstanding Evolutionary Aesthetics’ growing popularity in the past two decades, a look into the state of current research suggests a significant degree of haziness in the field from both epistemological-methodological and theoretical points of view. The main aim of the present paper is to make a first step towards a revision and extension of the discipline by assessing the role and potential of epigenetics in evolutionarily inspired aesthetic research. Epigenetics is among the youngest and most fascinating research fields in contemporary biology. But one of the most significant occurrences of the word “epigenesis” (the closest “ancestor” of contemporary “epigenetics”) is in Immanuel Kant’s third Critique, his aesthetic masterpiece. What might be the relationship between epigenetics and aesthetics? What is the role of epigenetic mechanisms in the development and functioning of aesthetic behavior in humans? (shrink)

The notion of beauty has been and continues to be one of the main concerns of aesthetics and art theory. Traditionally, the centrality of beauty in the experience of art was widely accepted and beauty was considered one of the key values in aesthetics. In recent debate, however, the significance of the notion of beauty has been discussed controversially. Especially in the second half of the twentieth century, the role of beauty was strongly challenged both by artists and in philosophy (...) and theory of art. Beauty was no longer a central value, but just one aesthetic feature among many others. In recent years, however, the notion of beauty has been re-evaluated, some even speak of a “comeback of beauty”. Against this background it is one of the main tasks and challenges of contemporary aesthetics to develop a more profound understanding of the nature of beauty, its different forms and dimensions, and its place in art theory and practice – and in human life. In the contributions to this volume, leading scholars in the field explore the significance of the notion of beauty, its key aspects, and its relevance in various aesthetic disciplines. The questions addressed in the volume can be summarized in the following three headings: What is beauty? What is beautiful? How does the value of beauty relate to other aesthetical values? The volume contains a selection of invited contributions, including: María José Alcaraz León, Hanne Appelqvist, Allen Carlson, Noël Carroll, Stephen Davies, Richard Eldridge, John Gibson, Peter Lamarque, Catrin Misselhorn, Otto Neumaier, Elisabeth Schellekens, Maria Elisabeth Reicher-Marek, Sonia Sedivy, Davide dal Sasso, and Lisa Kathrin Schmalzried -/- . (shrink)

During the intellectual and cultural flowering of Scotland in the 18th century few subjects attracted as much interest among men of letters as aesthetics - the study of art from the subjective perspective of human experience. All of the great philosophers of the age - Hutcheson, Hume, Smith and Reid - addressed themselves to aesthetic questions. Their inquiries revolved around a cluster of issues - the nature of taste, beauty and the sublime, how qualitative differences operate upon the (...) mind through the faculty of taste, and how aesthetic sensibility can be improved through education. This volume brings together and provides contextual introductions to the most significant 18th century writing on the philosophy of art. From the pioneering study of beauty by Francis Hutcheson, through Hume's seminal essays on the standard of taste and tragedy, to the end of the tradition in Dugald Stewart, we are swept up in the debate about art and its value that fascinated the philosophers of enlightenment Scotland - and continues to do so to this day. Jonathan Friday is Senior Lecturer in History and Theory of Art at the University of Kent. He has published on the philosophy of art and aesthetics, the history of philosophy and moral philosophy. (shrink)

Preview: Beyond Baumgarten, the modern field of aesthetics can be seen as an attempt to go beyond the limits of older philosophies of beauty, sublimity, and taste in order to engage a much wider domain of qualities and judgments relating to our pleasurable and meaningful experiences of art and nature. The defining strategy of Hegelian aesthetics is to take the essence of aesthetics beyond the limits of nonconceptual sensuous experience and to celebrate instead the idea of art as (...) purveying the very highest spiritual truths, albeit in a somewhat sensuous form. The progressive revolutions of artistic forms and styles that define twentieth-century art similarly reflect the same play of dynamic movement in which art and aesthetics advance by challenging and overcoming the determination of established boundaries posited by prior aesthetic theory and practice. The limit-defying trend in aesthetics is evident in the continuing unsuccessful attempts by analytic philosophy to provide a satisfactory definition of art that will perfectly define its extensional limits by either providing its core essence or some formula that will select all and only those objects that are genuine works of art. Like other Wittgensteinian and pragmatist-inspired philosophers, I have criticized such compartmentalizing definitions of art, not simply for their failures to provide perfect extensional coverage of all the diverse works of art, but also for these theories’ explanatory poverty in explaining art’s meanings, purposes, functions, and values. One of the problems with traditional definitions of art is that they attempt to define something that is not a natural kind but a historically constructed field composed of rather diverse practices. These diverse practices employ a variety of different media and issue in a variety of different works of art that appear to belong to different ontological categories. (shrink)

This anthology is remarkable not only for the selections themselves, among which the Schelling and the Heidegger essays were translated especially for this volume, but also for the editors' general introduction and the introductory essays for each selection, which make this volume an invaluable aid to the study of the powerful, recurrent ideas concerning art, beauty, critical method, and the nature of representation. Because this collection makes clear the ways in which the philosophy of art relates to and is (...) part of general philosophical positions, it will be an essential sourcebook to students of philosophy, art history, and literary criticism. (shrink)

Bence Nanay introduces aesthetics, a branch of philosophy that explores the nature of art, beauty, and taste. Looking beyond traditional artistic experiences, he defends the topic from accusations of elitism, and shows how more everyday experiences such as the pleasure in a soft fabric or falling leaves can become the subject of aesthetics.

The relation between gender and aesthetics is central to any formulation of feminist aesthetics, and yet the meanings of these terms are continually contested and revised. Both gender and aesthetics carry diverse, interdisciplinary significations, which are shaped by complex histories of disagreements. When the term “aesthetic” was first introduced in the eighteenth century by the German philosopher Alexander Baumgarten, it did not refer to artistic production but rather to the mode of knowledge gained through the senses. Aesthetics today can have (...) at least three different meanings: (1) a general theory of artistic practices; (2) a theory of reception, focused upon how we appreciate or judge natural beauty and artworks; and (3) a theory of sensibility shaping our experience, practice, and knowledge. In this last sense aesthetics does not have to refer to art at all, but is rather concerned with the role of different senses, such as touch, sight, taste, smell, or with different affects: pleasure, pain, or disgust (Korsmeyer 2012). One could make an argument that the affective turn in feminist and queer theory today is also implicitly informed by this third historical meaning of aesthetics, even if theorists themselves do not engage aesthetics directly (Ahmed 2004; Berlant 2011). Gender is also a contested category in feminist philosophy and theory (Chanter 2007); in general it refers to social and political determinations and regulations of biological sex and sexual practices, but there is no consensus on the relationship of gender to power, the body, sexuality, or sensibility. Following feminist theories of intersectionality, introduced by black feminists (Crenshaw 1991), I assume in this chapter that the category of gender is relational, political, and historical; that is, that its significance and its relation to embodiment are shaped by desire and power relations, which also determine the meaning of class, race, labor, environment, and other political phenomena. (shrink)

The aesthetic skeptic maintains that it is futile to dispute about taste. One and the same work of art might appear beautiful to one person but repellent to another, and we have no reason to prefer one or another of these conflicting verdicts. Hume argues that the skeptic, however, moves too quickly. The crucial question is whether qualified critics will agree on their evaluations. And the skeptic fails to provide sufficient evidence that their verdicts will diverge. We have reason (...) to expect that a consensus will emerge over time, moreover, since aesthetic values are grounded on universal principles of human nature. Skeptics might doubt that there is a natural basis for a standard of taste, but this proposal is supported by recent work in experimental aesthetics and cognitive science. (shrink)

This chapter contains sections titled: Mobile Art Gallery The State of Aesthetic Theory The Female Fleshy Canvas: Body Art from a Feminist Perspective Gadamer's Hermeneutics and Tattoos: Play, Festival, and Symbol Art Cannot Change the World, but it Can Influence Those Who Will.

Environmental aesthetics is an emerging field of study that focuses on nature's aesthetic value as well as on its ethical and environmental implications. Drawing on the research of a number of disciplines, this exciting new area speaks to scholars working in a range of fields, including not only philosophy, but also environmental and cultural studies, public policy and planning, social and political theory, landscape design and management, and art and architecture. _Nature, Aesthetics, and Environmentalism: From Beauty to Duty_ addresses (...) the complex relationships between aesthetic appreciation and environmental issues and emphasizes the valuable contribution that environmental aesthetics can make to environmentalism. Allen Carlson, a pioneer in environmental aesthetics, and Sheila Lintott, who has published widely in aesthetics, combine important historical essays on the appreciation of nature with the best contemporary research in the field. They begin with classic pieces by Ralph Waldo Emerson, Henry Thoreau, John Muir, John Burroughs, and Aldo Leopold, as well as an essay by Eugene Hargrove that lays out the scientific, artistic, and aesthetic foundations of current environmental beliefs and attitudes. The second section of the book addresses prevailing views on the conceptualization of nature and the various debates on how to properly and respectfully appreciate nature. The third section introduces positive aesthetics, the belief that everything in nature is essentially beautiful, even the devastation caused by earthquakes or floods. The essays in the final section explicitly bring together aesthetics, ethics, and environmentalism to explore the ways in which each might affect the others. (shrink)

This collection of essays by one of the preeminent Kant scholars of our time transforms our understanding of both Kant's aesthetics and his ethics. Guyer shows that at the very core of Kant's aesthetic theory, disinterestedness of taste becomes an experience of freedom and thus an essential accompaniment to morality itself. At the same time he reveals how Kant's moral theory includes a distinctive place for the cultivation of both general moral sentiments and particular attachments on the basis of (...) the most rigorous principle of duty. Kant's thought is placed in a rich historical context including such figures as Shaftesbury, Hutcheson, Hume, Burke, Kames, as well as Baumgarten, Mendelssohn, Schiller, and Hegel. Other topics treated are the sublime, natural versus artistic beauty, genius and art history, and duty and inclination. These essays extend and enrich the account of Kant's aesthetics in the author's earlier book, Kant and the Claims of Taste. (shrink)

In _Aesthetics and Material Beauty_, Jennifer A. McMahon develops a new aesthetic theory she terms Critical Aesthetic Realism - taking Kantian aesthetics as a starting point and drawing upon contemporary theories of mind from philosophy, psychology, and cognitive science. The creative process does not proceed by a set of rules. Yet the fact that its objects can be understood or appreciated by others suggests that the creative process is constrained by principles to which others have access. According to her update (...) of Kantian aesthetics, beauty is grounded in indeterminate yet systematic principles of perception and cognition. However, Kant’s aesthetic theory rested on a notion of indeterminacy whose consequences for understanding the nature of art were implausible. McMahon conceptualizes "indeterminacy" in terms of contemporary philosophical, psychological, and computational theories of mind. In doing so, she develops an aesthetic theory that reconciles the apparent dichotomies which stem from the tension between the determinacy of communication and the indeterminacy of creativity. Dichotomies such as universality and subjectivity, objectivity and autonomy, cognitivism and non-cognitivism, and truth and beauty are revealed as complementary features of an aesthetic judgment. (shrink)

This Element examines the entirety of Kant's Critique of Taste with particular emphasis on its political and moral aims. Kant's critical treatment of aesthetic judgment is both an extended theoretical response to influential predecessors and contemporaries, including Rousseau and Herder, and a practical intervention in its own right meant to nudge history forward at a time of civilizational crisis. Attention to these themes helps resolve a number of puzzles, both textual and philosophic, including the normative force and meaning of (...) judgments of taste, and the relation between natural and artful beauty. (shrink)

Does this Bonnes-Mares really have notes of chocolate, truffle, violets, and merde de cheval? Can wines really be feminine, profound, pretentious, or cheeky? Can they express emotion or terroir? Do the judgements of 'experts' have any objective validity? Is a great wine a work of art? Questions like these will have been entertained by anyone who has ever puzzled over the tasting notes of a wine writer, or been baffled by the response of a sommelier to an innocent question. Only (...) recently, however, have they received the serious philosophical attention they deserve. Touching on issues in metaphysics, epistemology, the philosophy of mind, and aesthetics, this book provides a clear and engaging discussion of the philosophical significance of wine that will be accessible to all wine lovers, specialists and non-specialists alike. The author offers throughout a sustained defence of the objectivity of wine judgements, a demystification of the nature of expertise, and a theory of the aesthetic value of wine and its appreciation. (shrink)

An excerpt from the INTRODUCTORY chapter: THE word "aesthetic," which originally meant perception by the senses, has had its meaning particularized so that it usually is associated with perception of a specific kind. In this sense it is applied to the appreciative attitude of the discerning mind towards the beautiful in art and in nature. Philosophy has spent not a little time and trouble on the attempt to formulate and define the essential nature of the beautiful; but what (...) one regards as beautiful, another will either lack interest in or even positively dislike, and such attempts, therefore, have not been particularly successful. This conflict of tastes is particularly noticeable in the case of the Art of Music. One age has its ideals which are often — if not usually — opposed to those of the succeeding generation; people in one country will take pleasure in a type of music which appears incomprehensible to those of another; and, even in the case of individuals of the same time and place, what one may admire and love another will abhor and detest. In the case of Music, therefore, it seems well-nigh hopeless to attempt to formulate or define what is the "beautiful," and I have no intention in this little book of trying such an unpromising task. Each of us has his or her own ideas of what constitutes musical beauty, and in most cases the criteria on which our judgments are based are not themselves fixed but are in a state of flux and development. Many people, it is true, seem obliged to adopt a fixed standard of artistic value to which they refer and on which their artistic judgments depend, and strenuously endeavor to prevent any change in, or deviation from, the rigorous formulae which regulate their musical thinking. An enlightened and progressive attitude is, naturally, for such, an impossibility, and the inevitable and necessary developments of Art pass unnoticed or misunderstood. Some aesthetic standards, however, are necessary, and if they are allowed to share in the inevitable process of development — if they are living, not dead — assist that process by giving it both direction and progressive energy. It is not even necessary that the musician should be able to formulate clearly what are the conditions and factors in a work in virtue of which it appeals to him as beautiful or the reverse. To reduce these aesthetic values to a clean-cut statement of relations intellectually apprehended, would, by that very act, tend to induce reference to dead and mechanical standards. The feeling of the beautiful is something which is intuitive, and which neither needs to be explained, nor can be explained, in terms of reason. In fact, it is something apprehended immediately, "perceived through the senses," and can no more be "explained" than those sensations which we call heat, cold, sweet, sour, etc. The Art of Music as practised in countries which owe their culture and civilization to Western Europe is the outgrowth of a body of doctrine and dogma which is extremely elaborate and complex. But for the fact that much of it is obviously derived from convention and custom rather than from natural law, it might almost be called a Science. It is very doubtful, however, if the feeling for the beautiful in Music is more keen in the case of the individual expert in the niceties of this quasi-science than in him who is entirely ignorant of its laws and conventions. (shrink)

This paper argues that Kant presents two different accounts of beauty, one that applies properly to art and one that applies properly to nature. The judgment of beauty that applies properly to nature can be free and thus judged without concepts. The work of art, however, is judged beautiful when it expresses aesthetic ideas. This distinction then enables me to explain several problematic passages in Kant's text: those that serve to distinguish these two conceptions of beauty from one (...) another as well as those passages in which Kant views them as overlapping. With respect to the latter, I argue that Kant lays especial significance on cases where we apply the conception of artistic beauty to natural objects, as in doing so we view nature as expressing ideas that step beyond nature. (shrink)

The discovery of fragmentary classical sculpture in the fifteenth and sixteenth centuries reorients the making of art toward broken bodies, changing the nature of sculpture as an aesthetic form. But this category shift in the ideal of beauty also makes an opening for the emergence of disability aesthetics: the recognition that the disabled body becomes a valuable resource for the creation and appreciation of new art forms. The idea of disability aesthetics may be traced via disability signposts in which (...) ancient works reminiscent of disability and modern works devoted to disability cross historically to create a powerful line of descent for the emergence of disability as an aesthetic value in itself. (shrink)

When we talk about natural beauty perhaps we think of the products or forces that we commonly associate with nature: rivers, birds, trees, the sky, the moon, the sun, and so on. That is, objects that, we assume, have not been generated by human technique such as chairs, computer tables or works of art. However, this presentation will approach a non-objectifying perspective of nature. Trying to return to Kant’s and Schiller’s interpretation of beauty, that of both art and (...) nature, I intend to take a step back and remain in the consideration of the judgment of taste itself, parenthesizing to which object it refers. From the perspectives of the Husserlian concept of modification of neutrality and the Kantian notion of disinterestedness, we will consider that the concept of nature in Kant’s and Schiller’s aesthetics does not refer to the empirical objects that we commonly associate with nature but to a specific mode of appearing exclusive to the aesthetic dimension and different from that developed from the empirical sciences. Finally, we will see how these considerations can be transferred to other phenomenologies of art such as Dufrenne’s. (shrink)

This chapter discusses four principal themes of Scottish aesthetics over the course of the eighteenth century. The first is the question of ‘taste’ and its relation to the perception and reality of beauty. Does beauty exist independently of its being perceived, or is it in some sense the product of our perception? The second is the matter of aesthetic criticism. Can aesthetic judgements be rational, and if so on what basis? The third main topic is the rhetorical use of (...) language. Is oratory an art? If it is, how does rhetoric relate to literary and poetic language, to the expression of thought and the cogency of argument? Finally, is there something to be learned on these subjects from the study of the origins of language? On each of these topics, the Scottish philosophers had interesting, insightful, and in some cases enduringly important things to say. (shrink)

The first part of the following text does make the map of an answer to the question of knowing if and how it is possible to speak of beautiful art in the context of Immanuel Kant’s Critique of the Power of Judgment. There is an appeal to the conditions of the freedom of the imagination, to an interpretation of representation as exemplification and to a reference to aesthetic purposes and constraints. This way it will be made evident it is possible (...) to think the judgment by means of which one declares a work of art a beautiful one as a pure judgment of taste and the artistic beauty as free beauty. Starting from a reflection on what it does mean to speak of aesthetic purposes and constraints, it will be put at stake, in the second part of the text, the univocity of meaning of the notion of taste in Kant’s third Critique. Perhaps in the case of the pure judgment of taste by means of which one declares a work of art a beautiful one it is mandatory to appeal not only to taste as aesthetic power of judgment, but to another taste: a corpus which is narrowly connected with the mechanical, compulsory and academic side of beautiful art. (shrink)

This book reconsiders the fate of the doctrine of mimesis in the eighteenth century. Standard accounts of the aesthetic theories of this era hold that the idea of mimesis was supplanted by the far more robust and compelling doctrines of taste and aesthetic judgment. Since the idea of mimesis was taken to apply only in the relation of art to nature, it was judged to be too limited when the focus of aesthetics changed to questions about the constitution (...) of individual subjects in regard to taste. Tom Huhn argues that mimesis, rather than disappearing, instead became a far more pervasive idea in the eighteenth century by becoming submerged within the dynamics of the emerging accounts of judgment and taste. Mimesis also thereby became enmeshed in the ideas of sociality contained, often only implicitly, within the new accounts of aesthetic judgment. The book proceeds by reading three of the foundational treatises in aesthetics—Burke’s _Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful_, Hogarth’s _Analysis of Beauty_, and Kant’s _Critique of Judgment_—with an eye for discerning where arguments and analyses betray mimetic structures. Huhn attempts to explicate these books anew by arguing that they are pervaded by a mimetic dynamic. Overall, he seeks to provoke a reconsideration of eighteenth-century aesthetics that centers on its continuity with traditional notions of mimesis. (shrink)

Philosophers should listen to punk rock. Though largely ignored in analytic aesthetics, punk can shed light on the nature, limits, and value of art. Here, I will begin with an overview of punk aesthetics and then extrapolate two lessons. First, punk intentionally violates widely held aesthetic norms, thus raising questions about the plasticity of taste. Second, punk music is associated with accompanying visual styles, fashion, and attitudes; this points to a relationship between art and identity. Together, these lessons (...) suggest that art appreciation is not just about finding beauty or aesthetic worth but is also about constructing a self. (shrink)

This chapter discusses four principal themes of Scottish aesthetics over the course of the eighteenth century. The first is the question of ‘taste’ and its relation to the perception and reality of beauty. Does beauty exist independently of its being perceived, or is it in some sense the product of our perception? The second is the matter of aesthetic criticism. Can aesthetic judgements be rational, and if so on what basis? The third main topic is the rhetorical use of (...) language. Is oratory an art? If it is, how does rhetoric relate to literary and poetic language, to the expression of thought and the cogency of argument? Finally, is there something to be learned on these subjects from the study of the origins of language? On each of these topics, the Scottish philosophers had interesting, insightful, and in some cases enduringly important things to say. (shrink)

I try to identify the characteristic and distinguishing features of a theory of natural beauty (as opposed to the sublime) that can be found in Kant's Critique of Judgement. Lest this may seem superfluous, I argue first that, contrary to a common view, Kant's theory does not take the experience of beauty in nature as theoretically basic and that he does not deal with beauty in art only as a derivative case of aesthetic experience. I then try to understand (...) what it means to require, as Kant famously does, that beautiful nature has to look as if it were art. Does this commit him to a projectionist view, according to which we appreciate nature aesthetically only for what it really is not (namely art) rather than for what it is? Pursuing this question we find that for Kant nature can be the object of pure judgements of taste only insofar as nature can be explained scientifically, which in Kant's framework means purely mechanically. This ‘blind mechanism’ of nature plays an important role in Kant's explication of the moral significance the experience of beautiful nature has for us. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 65-77 [Access article in PDF] In Defense of Observational Practice in Art and Design Education Howard Cannatella Introduction It is increasingly debatable whether observational drawing and making in nature are still regarded as principal activities of art and design learning. Against this, the aim of this article is to strengthen sympathetically a teacher'sunderstanding of observational creative work from nature and (...) to assert that such an approach should be central to art and design teaching and learning.My reasons for writing this article are to reconsider observational aspects of this approach that are not generally expounded in existing art and design educational practice circles. The reluctance by some to debate theimportance of the observational creative process may be construed as a questionable position to take, for a number of educational practitioners in art and design appear to see observations in nature as irrelevant to current art and design learning, as if it were a fashion item, one that has lost its appeal. Creative poiesis, some would argue, could never extend sufficiently to observations in nature. When observations in nature are seen as trite, not high art, there is the perception that art and design may have lost something precious, unable to nurture, becoming too introverted and sensational at the expense of grappling with common human realistic experiences. A decline in observational visual sensibilities may seem inevitable under these conditions.There is a persistent view in art and design education that seems to me to be a misconception — that observations in nature are restrictive and superficial, an experience that deals only with archaic approaches in learning. In the work of Immanuel Kant, imitation could not be an original factuality. 1 In Kantian terms, to imitate exactly a thing of beauty would be an act considered as "wholly destitute of taste." 2 A similar kind of sentiment is echoed by Georg Hegel, who considers imitation in art as "deceptive" and goes on to say: "the pursuit of imitation is on the same lines as the feat of the man who has taught himself to throw lentils through a small aperture [End Page 65] without missing." 3 More recently, Norman Bryson criticizes the idea of a "natural attitude" toward observations in natureas he denounces any suggestion of the purity of the universal visual image. 4 This backlash may make us feel a little uneasy as to why observations in nature should play a primary role in art and design education.My argument will be that although creative observations in nature do involve mimetic and regulative factors, these factors, when sensitively handled,can enlarge our imagination, touching us deeply in the process. Along these lines, it does not follow that because a work is mimetic in kind that it necessarily fails to produce significant learning. In accepting that there is a degree of control exerted normatively by what is being observed in the nature of such work, these perceptions in art and design become, through the creative process, refined and subtle experiences. Normative features and experiences may spur the artist or designer to create powerful expressions of them in the work.I will try to demonstrate that observational creative work, for all its reality checks, has the capability to be powerfully expressive and make discoveries that seem pertinent and true. As I see it, this encounter involves moral, social, perceptual, cognitive, and aesthetic orchestrations.Of course, some might insist that artistic autonomy could be a problem when having to work from observation in nature but the idea of autonomy relates to self-rule, a condition that is perhaps best understood, as Robert Young states, as being predominately dispositional as opposed to occurrent. 5 Educators like myself may want to argue that art and design teaching and learning requires, apart from other things, an understanding of theworld in which one lives as we come into contact with what actually and candidly stands publicly before us. This position cannot be reached through channelling our efforts exclusively via autonomist means.Certainly, in education, motivation, prior experience, personality, student... (shrink)

The authors included in this anthology of historical texts on aesthetics and philosophy of art, address the big questions. They attempt to place art within experience generally or within the life of a community; or they attempt to understand the nature of the aesthetic and its role within experience. Topics include mimesis, the relation between art and truth, the metaphysics of beauty, the function of art, and the ontology of art. All of the extracts included were written prior to (...) the middle of this century. The only aspect of this anthology which suggests that it was published recently is the inclusion of three Chinese pieces and one Indian piece. (shrink)

Conventional wisdom suggests that aesthetic experiences - those moments when the senses come to life - are important only after more basic needs have been met. In this inspiring wealth of provocative ideas, Yi-Fu Tuan demonstrates that feeling and beauty are essential parts of life and society. The aesthetic is shown to be not merely one aspect of culture but its central core - both its driving force and its ultimate goal. Beginning with the individual and the physical world, the (...) author's exploration progresses from the simple to the complex. Tuan starts by examining the building blocks of aesthetic experience - sight, hearing, smell, touch, taste - and gradually expands his analysis to include the most elaborate of human constructs, including art, architecture, literature, philosophy, music, and landscape. This leads him to the realm of politics, where he grapples with the fundamental question of the relationship between goodness and beauty, and of how the aesthetic can become a moral force within society. To guide the reader along this journey, the author describes how the aesthetic operates in four widely disparate cultures: Australian aboriginal, Chinese, medieval European, and modern American. Yi-Fu Tuan, one of our most influential and original thinkers, brilliantly conveys the profound fascination of multisensory reality, and in so doing enables us to make connections among even the most diffuse elements of our lives. While Tuan does not ignore human folly, Passing Strange and Wonderful is a celebration of the world around us, our experiences, and our creations. (shrink)

In The Aesthetics of Grace: Philosophy, Art, and Nature, Raffaele Milani traces the fascinating history of the idea of 'grace' from ancient times to the 1700s. Although this term has been displaced by other concepts with the advent of modernism and postmodernism, the complex ideas related to the notion of 'grace' remain an important aesthetic category, and Milani presents an impressive panorama of reflections on and interpretations of the subject. The subtitle of the work indicates the broad scope of (...) a study that recounts the origins of the term in Latin gratias (favor, regard, or gift), corresponding to the Greek Kharites (givers of beauty and charm). The volume then goes on to examine the Middle Ages, when the concept acquires a more specifically religious meaning (divine mercy, thanks), the Renaissance, when the terms 'gracefulness' and 'elegance' come to dominate in the treatises of the time, and the Ages of Romanticism and Neoclassicism, with their particular treatment of the topic. In the process, Milani meditates on the visual representations of these multiple meanings in the form of second-century frescoes, fifteenth-century paintings by Botticelli, Raphael, Titian, Da Vinci, Mantegna, Correggio, and Carracci, seventeenth-century canvases by Poussin and sculptures by Bernini, and eighteenth-century sculptures by Antonio Canova and paintings by Fragonard. This engaging work weaves with skill and subtlety philosophical, theological, and artistic ideas into a stimulating tapestry. (shrink)

John Dewey puts aesthetic experience at the center of his reflection on art and beauty, reconsidering it dynamically. Nowadays, this view opened the path to somaesthetics, a term coined by Richard Shusterman, and aesthetic anthropology. Here, it is argued that the contribution of pragmatist aesthetics could be further developed by exploring its analogies with techno-aesthetics, a paradigm proposed by French philosopher Gilbert Simondon in the early 1980s. Art occupies accordingly a special place within the different forms of aesthetic experience, being (...) considered as a way of experimenting the impact of new technologies in the human experience. It is a process by which technologies create ‘devices’ for experimenting perception and reflection: namely, ways of reconstructing the nature of the human mind in-between body and technology, and by means of their interaction. Cinema reconsidered after Dewey’s fellow George H. Mead, offers an exemplary case as both artistic and technological devices. (shrink)

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral changes, (...) such as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences (Study 1). Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity (Study 2). Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect (Study 3). Exploring the breadth of this effect we also found anAnaesthetic Self Effect.That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games (Study 4). Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (shrink)

Logoi : the history and definition of art and aesthetics -- The broader context -- An ontological foundation -- Doxa : the nature of art -- Inspired by the spirit -- Universal beauty -- Aesthetics of hope -- Praxis : the purpose of art -- Art and creation as play -- Serious art qo -- Church art.

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 93-101 [Access article in PDF] A Political LifeArendtian Aesthetics and Open Systems Sue Spaid Since the 1990s, artists have broken ground by producing works that are "open systems." That is, they are incomplete, participatory, and elastic. In this paper, I will argue that open systems exemplify Hannah Arendt's conception of vita activa, in contrast to art's traditional role as inspiring vita contemplativa. Since (...) they do not explicitly affirm or refute political policies, such works are generally not considered "political" art. However, they accommodate Arendt's notion of the political life, since they incorporate process, durability, pluralities of spectators, and unpredictability. Furthermore, because they do not resemble what ordinarily passes for art, reflective judgment is required to engage them, and to determine whether they are art.Echoing Diotima's interest in immortality, Arendt links beauty to durability. Open systems are particularly durable because we remember them as a public experiences that include participants and spectators. Such performative and pleasurable worldly actions entail aesthetic engagements that are very much in line with Arendt's description of the political life. Critical Engagement In the sphere of fabrication itself, there is only one kind of object to which the unending chain of means and ends does not apply, and this [End Page 93] is the work of art, the most useless and, at the same time, the most durable thing human hands can produce... It is the reification that occurs in writing something down, painting an image, composing a piece of music, etc. which actually makes the thought a reality; and in order to produce these thought things, which we usually call art works, the same workmanship is required that through the primordial instrument of human hands builds the other, less durable and more useful things of the human artifice. (Arendt 2000, 177-78) In a 1964 interview with Gunter Gaus, Hannah Arendt described herself as a political theorist, who though trained as a philosopher had "said good-bye to philosophy once and for all." In identifying the tension between philosophy and politics, she differentiated man as a thinking being from man as an acting being, and she identified with the latter. She found that, because philosophers cannot be neutral or objective with regards to politics, they share a certain enmity toward politics, and she sought to avoid that response. Not surprisingly, she named Kant as an exception, because he understood this enmity to lie in the nature of the subject itself. In The Critique of Judgement, experience precedes reflective judgement, thus affirming a place for each subject's particular experiences. Kant, too, was a man of action.Kant's aesthetic judgment of taste, which is a normative but non-prescriptive process, makes room for Arendt's notions of worldliness and unpredictability. Critics have decried Arendt's political theory for its anti-rationalism, political existentialism and "aestheticization of politics," yet much can be learned from her clear commitment to equality, and the way she trusted and perhaps even idealized humanity (Curtis 1999, 18). She wrote, "Only action and speech relate specifically to this fact that to live always means to live among men, among those who are my equals. Hence, when I insert myself into the world, it is a world where others are already present" (Arendt 2000, 179). Given her interest in freedom, active engagement, critical thinking, and anti-instrumentalism, it is perhaps not surprising that Arendt found inspiration in Kant's conception of aesthetic judgment as requiring only communicative sociability, the object's purposeless purposiveness, and the spectator's free play of imagination and understanding.I am interested here in Arendt's aesthetics of the political life in relation to recent art that unwittingly fosters an engaged and open conception of the political. The works in question are not necessarily conscious of their political capacity. Rather, their presence assumes that spectators are [End Page 94] equals, and facilitates an active life, what Arendt described as the vita activa, as opposed to the vita contemplativa, the contemplative life. An active life, which requires a public space, entails active... (shrink)

'Place in garden, lawn, to beautify landscape.'When Don Featherstone's plastic pink flamingos were first advertised in the 1957 Sears catalogue, these were the instructions. The flamingos are placed on the cover of this book for another reason: to start us asking questions. That's where philosophy always begins.Introducing Aesthetics and the Philosophy of Art is written to introduce students to a broad array of questions that have occupied philosophers since antiquity, and which continue to bother us today--questions like: - Is there (...) something special about something's being art? Can a mass-produced plastic bird have that special something? - If someone likes plastic pink flamingos, does that mean they have bad taste? Is bad taste a bad thing? - Do Featherstone's pink flamingos mean anything? If so, does that depend on what Featherstone meant in designing them?Each chapter opens using a real world example -- such as Marcel Duchamp's signed urinal, The Exorcist, and the ugliest animal in the world -- to introduce and illustrate the issues under discussion. These case studies serve as touchstones throughout the chapter, keeping the concepts grounded and relatable.With its trademark conversational style, clear explanations, and wealth of supporting features, Introducing Aesthetics and the Philosophy of Art is the ideal introduction to the major problems, issues, and debates in the field. Now expanded and revised for its second edition, Introducing Aesthetics and the Philosophy of Art is designed to give readers the background and the tools necessary to begin asking and answering the most intriguing questions about art and beauty, even when those questions are about pink plastic flamingos. (shrink)

In this essay I wish to discuss the theme of wisdom from within the field of aesthetics and to present the aesthetics of Japanese flower art of ikebana, kadô, as an example. Concepts of nature, beauty and wisdom will be related to each other: we have plenty of knowledge of nature, but we need deep wisdom to understand nature of beauty, and spiritual wisdom to see and enjoy beauty of nature. Through flower art of ikebana I (...) search to discover the essence of beauty of nature, a path to wisdom within the saying “See beauty in nature, cultivate elegance in spirit”. (shrink)

What is beauty? What is art? What is taste and fashion? Is beauty something to be observed coolly and rationally or is it something dangerously involving? So begins Umberto Eco's intriguing journey into the aesthetics of beauty, in which he explores the ever-changing concept of the beautiful from the ancient Greeks to today. While closely examining the development of the visual arts and drawing on works of literature from each era, Eco broadens his enquiries to consider a range of (...) concepts, including the idea of love, the unattainable woman, natural inspiration versus numeric formulas, and the continuing importance of ugliness, cruelty, and even the demonic. Professor Eco takes us from classical antiquity to the present day, dispelling many preconceptions along the way and concluding that the relevance of his research is urgent because we live in an age of great reverence for beauty, "an orgy of tolerance, the total syncretism and the absolute and unstoppable polytheism of Beauty." In this, his first illustrated book, Professor Eco offers a layered approach that includes a running narrative, abundant examples of painting and sculpture, and excerpts from writers and philosophers of each age, plus comparative tables. A true road map to the idea of beauty for any reader who wishes to journey into this wonderful realm with Eco's nimble mind as guide. (shrink)

Unlike most anthologies in aesthetics and the philosophy of art, the present selection does not try to collect representative extracts from the writings of most, or even many, important aestheticians throughout the ages. It aims for depth rather than width and tries to do as much justice as possible to those aestheticians which it does include, without bothering much about those left out. The result is really impressive. No less than 138 pages are devoted to Plato and Aristotle alone, where (...) the reader may find not only the usual passages from the Poetics and the Rhetoric but also relevant material from De Partibus Animalium and Politica. Such an anthology, so it seems, must be an opinionated one. Thus, while it contains some 70 pages of Dewey's Art as Experience, there is not a single line of Santayana in it. Although I disagree with the choice made in this case, I cannot but admire the courage it took to make it. Another surprise is the inclusion of the relatively obscure mediaeval thinker, Marsilio Ficino, in an anthology which excludes Baumgarten, Lessing, Burke, Schiller, Coleridge, Bosanquet and Alexander, to mention but few, and whose sole contemporary representative is Heidegger. The extracts from Ficino's commentary on Plato prove, however, to be highly interesting and relatively original, too. Thus, even if Ficino is not as great as some of the aestheticians not included in this volume, I, for one, would not regret this mark of personal, off-beat, taste. The last selection, Heidegger's "The Origin of the Work of Art," appearing for the first time in English translation, comes as special bonus to the reader. The editors' introductions to each selection are generally concise, precise, and very helpful. Sometimes, however, one may find an exception: in their introduction to the Heidegger translation, the editors characterize the Kehre as a "reversal... from the stress on anxiety, nothingness... to a stress on more affirmative moods." This is, to say the least, a grossly misleading remark, which is likely to confuse the student of the later Heidegger rather than help him.—E. M. Z. (shrink)

Introductory essay / Peter Jones -- The usefulness of the arts and the humanities : the case of Descartes / Gábor Boros -- Roads of remembrance : the treatment of imagination and memory in Gerard's Essay on genius / Zsolt Komáromy -- Diderot's untimeliness / László Kisbali ; transl. Márton Dornbach -- Melody vs. harmony : Rousseau, or, The aesthetics of vowels / Mária Ludassy ; transl. Zsolt Komáromy -- Judgement and taste : from Shakespeare to Shaftesbury / Ferenc (...) Hörcher -- Lord Shaftesbury's "aesthetic freedom" / Endre Szécsényi -- Why one should imitate the Greeks : on Winckelmann / Sándor Radnóti ; transl. Márton Dornbach -- Beauty or beast, or, Monstrous regiments? : Robertson and Burke on women and the public scene / László Kontler -- The concept of nature and the theodicy problem in the Malebranche-Arnauld-Leibniz debate / Dániel Schmal -- Lessing's anti-candide : between reason and revelation / Krisztina Utasi ; transl. Márton Dornbach. (shrink)

When viewing the picture of a beautiful sunset, how many of us realize that, while we admire it as a work of art, we have just taken the very first step toward pornography? And that both the beauty in the sunset and the senses that recognize such beauty are very likely to be anti-art? Making a radical departure from the conventional wisdom on art and beauty, ART, BEAUTY, AND PORNOGRAPHY presents the startling thesis that things of beauty are not only (...) unrelated to art but often responsible for pornography. How is this possible? In this controversial work, Huer argues that beauty pleases the senses, which demand to be pleased with each new stimulation. In a society whose members put a premium on pleasurable things, it is natural that the visual medium occupies a commanding position among forms of cultural expression. In the process of competing to please the human eye, American society (the most graphic and visual civilization to date) concentrates on objects and events that please consumers and, by doing so, sell products. Much of this sense-pleasing business takes place in the name of art. But those senses pleased by what is beautiful are the same senses that receive gratification from the pornographic. Art has no place in this process. Based on these arguments, Huer makes a strong case for re-orienting the purpose of art. Drawing on historical experience in the West, he defines art as a statement about life: pain, wisdom, and happiness embodied in the life process. The artist is a teacher of life, the artwork his philosophy, and the art public the beneficiaries of his teaching. Neither beauty nor sensory pleasure, therefore, has anything to do with art. This important volume is, above all, a critique of contemporary American culture directed most especially to society's confusion about art, beauty, and pornography, and its willingness to allow business to assert dominion over artistic impulse. ART, BEAUTY, AND PORNOGRAPHY is a searing commentary on the follies of our time as well as an inspired defense of high art and the creative spirit. (shrink)

Kant uses the concept of the symbol to show the complicated relationship between the autonomy of beauty and its systematic function as a transition from nature to freedom, which are the two most important topics in the third Critique. Beauty’s symbolism of morality lies in the analog between aesthetic reflection and moral disposition; concretely, it lies in the purity or disinterestedness and self-legislation as negative and positive freedom in both subjective states of mind. In this scenario, beauty’s symbolism does (...) not refer to aesthetic ideas that either involve intelligent interests (in the beauty of nature) or presuppose an end (in the beauty of art); it also cannot be grounded in the supersensible substrate, which is an elevated and metaphysical principle of the judgment of taste given in the Dialectic but not the original principle of subjective purposiveness in the Analytic. With this formal relationship, beauty and morality accelerate each other in the empirical-anthological sense—but they are also not a sufficient or necessary condition for each other. Furthermore, through symbolism, taste looks toward the intelligible and serves as a transition from nature to freedom from the transcendental perspective. (shrink)

This paper will look at Kant’s views of the aesthetic experience, in relationship to Buddhist philosophical and political discussions of art and social organization. The primary focus in Kantian literature explores the relationship between free and dependent beauty, as well as Kant’s paradox of taste. The central argument of the Kantian portion is going to navigate the paradox of taste via Graham Priest’s epistemic and conceptual distinction pertaining to the limits of thought. Secondly, I shall contextualize the debate (...) with similar argumentation found in medieval Tibetan literature, by thinkers such as Tsongkhapa and Drakpa Gyaltsen. Lastly, I shall look at the political and artistic state of affairs in Yuan and Ming Dynasties and assert the applicability of both Kantian and Tibetan discussions of effibility in the context of Tibetan poetry and Thangkas. (shrink)

ABSTRACT In his essay, “Of the Nature of That Imitation Which Takes Place in What Are Called the Imitative Arts,” Adam Smith discusses two examples, topiary and false jewels, apparently coming to opposed conclusions: that aesthetic value is, and that it is not, independent of market value. I unpack the reasoning behind these conclusions, arguing that Smith’s position is consistent: he recognizes that aesthetic value can be occluded by market prices—as when one dismisses the beauty of something cheap out (...) of snobbery—or heightened by them, as in the case of the aesthetic value of magnificence. Because aesthetic value can thus be heightened or corrupted by market value on Smith’s analysis, I suggest, speculatively, that for Smith the bad influence of economic considerations in aesthetic matters (faulty snobbery or an economically-derived corruption of taste) is identified by reference to moral, not purely aesthetic criteria. (shrink)

By the eighteenth century, the term 'sublime' was used to communicate a sense of unfathomable and awe-inspiring greatness, whether in nature or thought. The relationship of sublimity to classical definitions of beauty was much debated, but the first philosopher to portray them as opposing forces was Edmund Burke. Originally published in 1757 and reissued here in the revised second edition of 1759, this influential treatise explores the psychological origins of both ideas. Presented as distinct consequences of very separate emotional (...) lineages, beauty and sublimity are traced back through a web of human feelings, from self-preservation instincts to lust. Burke's doctrine of the sublime was to have far-reaching effects. In Britain, it informed perceptions of landscape in art and literature for years to come. Meanwhile, on the continent, Kant regarded Burke as 'the foremost author' in 'the empirical exposition of aesthetic judgments'. (shrink)

This essay endeavours to cover and clarify the extraordinarily long and complicated approval process – unparalleled in the history of European aesthetics – of the first Austrian court-approved university textbook of aesthetics of local provenance, Franz Ficker’s Aesthetik. The detailed account of the negotiations preceding the approval is followed by general conclusions concerning the nature of Austrian aesthetics, the operation of Austrian universities, and Austrian university policy in the period preceding the March 1848 revolution. The article includes translation of (...) selected passages from the Ficker’s textbook. (shrink)

Aesthetics is the part of contemporary academic philosophy that is concerned with art, beauty, criticism, and taste. As such, it must address metaphysical issues, epistemic problems, and questions of value. This makes it difficult to present a coherent account of the subject matter of aesthetics. In this article, I argue that this difficulty is the result of ambiguities and contradictions that arose in disputes about the relationship between the science of aesthetics, the critique of taste, and the philosophy (...) of art in German philosophy during the eighteenth and early nineteenth century. By reconstructing the history of these debates, I hope to shed new light on the origins of aesthetics as a discipline and to explain why its subject matter and status within philosophy are still so difficult to define. (shrink)