Taking into account later facts when investigating earlier ones is advantageous, Even indispensable, To the historian for the purposes of (1) selecting from the past the most important events; (2) making himself understood to those he speaks to an writes for; (3) more effectively eliminating himself and his own view and perspective from his investigations. (staff).

The history of aesthetics, like the histories of other sciences, may be treated in a two-fold manner: as the history of the men who created the field of study, or as the history of the questions that have been raised and resolved in the course of its pursuit. The earlier History of Aesthetics (3 volumes, 1960-68, English-language edition 1970-74) by the author of the present book was a history of men, of writers and artists who in centuries past have spoken (...) up concerning beauty and art, form and crea tivity. The present book returns to the same subject, but treats it in a different way: as the history of aesthetic questions, concepts, theories. The matter of the two books, the previous and the present, is in part the same; but only in part: for the earlier book ended with the 17th century, while the present one brings the subject up to our own times. And from the 18th century to the 20th much happened in aesthetics; it was only in that period that aesthetics achieved recognition as a separate science, received a name of its own, and produced theories that early scholars and artists had never dreamed of. (shrink)

Learned men have been writing about happiness since antiquity: from Greek times, there is Aristotle's treatise, included in the Nicomachean Ethics; from Roman, Seneca's De Vita Beata. Later came the Christian writings on this subject, especially another De Beata Vita, written by St. Augustine. The point of view is different from Aristotle's or Seneca's but the subject remains the same. In the Middle Ages also treatises on happiness were produced, and these eventually became part of the 'summae'. St. Thomas devoted (...) q. 2-5 of the Prima Secundae to happiness and q. 3 1-39 bear on it indirectly. In more modern times works on happiness continued to be written. Some authors carried on the Christian tradition which maintained that happi­ness is only attainable in the next world; to these belong the earliest works written in Polish. Other treatises - especially those of the Age of Reason - hold the opposite concept, that the only happiness man can expect is to be found on earth. In the 18th century there were so many of these treatises that it was possible to produce a whole anthology: The Temple of Happiness, or as it was originally called Le Temple du bonheur, ou recueuil des plus excellents traites sur Ie bonheur (2nd ed. , 1770). (shrink)

The history of philosophy, like every area of human endeavor, has given rise to criticisms and reservations. Nobody has expressed this more vehemently than Schopenhauer. “To study philosophy, not by reading the actual works of the philosophers, but with the aid of summaries of their doctrines in a history of philosophy, is like having someone else chew one's own food.”In a general way, Schopenhauer's reservations apply to all history of philosophy, not only to one of its aspects. Nor are they (...) directed against history itself, but specifically against the history of philosophy. The plight of the history of philosophy is worse than that of other fields of history precisely because philosophy itself happens to have the most favorable conditions. In effect, political or economic events are in the realm of the past, while philosophical events remain in the present in the form of manuscripts and books. For this reason political or economic history has a raison d'être: in it a historian reconstructs that which no longer exists, whereas a historian of philosophy merely reproduces what is. (shrink)

Bd. 1. Die Ästhetik der Antike -- Bd. 2. Die Ästhetik des Mittelalters -- Bd. 3. Die Ästhetik der Neuzeit.

1. Estetyka starożytna -- 2. Estetyka średniowieczna -- 3. Estetyka nowożytna.

v. 1. Ancient aesthetics.--v. 2. Medieval aesthetics.--v. 3. Modern aesthetics.