Aesthetic: As Science of Expression and General Linguistic

Copertina anteriore
Transaction Publishers, 1 gen 1995 - 503 pagine
Benedetto Croce is one of the most influential philosophers of the twentieth century. His work in aesthetics and historiography has been controversial, but enduring. When the first edition of Aesthetic appeared in 1902, Croce was seen as foremost in reasserting an idealistic philosophy, which, despite its source in continental idealists from Descartes to Hegel, offers a system that attempts to account for the emergence of scientific systems. Croce thus combines scientific and metaphysical thought into a dynamic aesthetic.
Croce regards aesthetics not merely as a branch of philosophy, but as a fundamental human activity. It is inseparable from historical, psychological, political, economic, and moral considerations, no less than a unique frame of artistic reference. Aesthetic is composed of two parts: Part One concentrates on aesthetic theory and practice. Among the topics it covers are: intuition and expression, art and philosophy, historicism and intellectualism, and beauty in nature and in art. Part Two is devoted to the history of aesthetics. Croce analyzes such subjects as: aesthetic ideas in the Middle Ages and Renaissance, Giambattista Vico's contribution to aesthetics, the philosophy of language, and aesthetic psychologism.
In his new introduction to a classic translation, John McCormick reviews Croce's impact in the fields of aesthetic theory and historiography. He notes that the republication of this work is an overdue appreciation of a singular effort to resolve the classic question of the philosophy of art: art for its own sake or art as a social enterprise. Both find a place in Croce's system.
 

Sommario

INTUITION AND EXPRESSION
1
INTUITION AND
12
ART AND PHILOSOPHY
22
HISTORICISM AND INTELLECTUALISM IN ESTHETIC
32
1
47
EXCLUSION OF OTHER SPIRITUAL FORMS
61
INDIVISIBILITY OF EXPRESSION INTO MODES Or Degrees
67
ĘSTHETIC FEELINGS AND THE DISTINCTION
74
GIAMBATTISTA VICO
220
MINOR ĘSTHETIC DOCTRINES OF THE EIGHTEENTH CENTURY
235
OTHER ĘSTHETIC DOCTRINES OF THE SAME PERIOD
257
IMMANUEL KANT
272
SCHILLER SCHELLING SOLGER HEGEL
283
SCHOPENHAUER AND HERBART
304
FRIEDRICH SCHLEIERMACHER
312
HUMBOLDT AND STEINTHAL
324

CRITICISM OF ESTHETIC HEDONISM
82
THE PHYSICALLY BEAUTIFUL IN NATURE AND IN
94
ERRORS ARISING FROM THE CONFUSION BETWEEN PHYSICS
104
THE ACTIVITY OF EXTERNALIZATION TECHNIQUE
111
TASTE AND THE REPRODUCTION OF
118
THE HISTORY OF LITERATURE AND
128
IDENTITY OF LINGUISTIC AND ĘSTHETIC
140
ĘSTHETIC IDEAS IN GRECOROMAN ANTIQUITY
155
ĘSTHETIC IDEAS IN THE MIDDLE AGES AND RENAISSANCE
175
FERMENTS OF THOUGHT IN THE SEVENTEENTH CENTURY
189
ĘSTHETIC IDEAS IN THE CARTESIAN AND LEIBNITIAN SCHOOLS AND THE ESTHETIC OF BAUMGARTEN
204
MINOR GERMAN ĘSTHETICIANS
334
ĘSTHETIC IN FRANCE ENGLAND AND ITALY DURING THE FIRST HALF OF THE NINETEENTH CENTURY
350
FRANCESCO DE SANCTIS
358
ESTHETIC OF THE EPIGONI
370
ĘSTHETIC POSITIVISM AND NATURALISM
388
ĘSTHETIC PSYCHOLOGISM AND OTHER RECENT TENDENCIES
404
HISTORICAL SKETCHES OF SOME PARTICULAR DOCTRINES
420
BIBLIOGRAPHICAL APPENDIX
475
INDEX
491
Copyright

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Pagina xi - What I call spirit is only that inner light of actuality or attention which floods all life as men actually live it on earth. It is roughly the same thing as feeling or thought; it might be called consciousness; it might be identified with the pense'e or cogitatio of Descartes and Spinoza.

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