Aesthetic: As Science of Expression and General Linguistic

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Transaction Publishers, 1 gen 1995 - 503 pagine
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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.

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Indice

Intuition and Expression
1
iNTurnoN and Art
12
Art and Philosophy
22
HlSTORICISM AND INTELLECTUALISM IN ESTHETIC
32
Analogous Errors in the Theory of History and in Logic
39
The Theoretic Activity and the Practical Activity
47
Analogy Between the Theoretical and the Practical
55
Exclusion of Other Spiritual Forms
61
Ferments of Thought in the Seventeenth Century
189
Esthetic Ideas in the Cartesian and Leibnitian Schools and the Esthetic of Baumcarten
204
Giambattista Vico
220
Minor Esthetic Doctrines of the Eighteenth Century
235
Other Esthetic Doctrines of the Same Period
257
Immanuel Kant
272
Schiller Schelling Solcer Hegel
283
Schopenhauer and Herbart
304

Indivisibility of Expression into Modes or Decrees and Criticism of Rhetoric
67
Esthetic Feelings and the Distinction Between the Beautiful and the Ugly
74
Criticism of Esthetic Hedonism
82
The jEsthetic of the Sympathetic and PseudoAesthetic Concepts
87
The Physically Beautiful in Nature and in Art
94
XTV Errors Arising from the Confusion Between Physics and Esthetic
104
The Activity of Externalization Technique and the Theory of the Arts
111
Taste and the Reproduction of Art
118
The History of Literature and Art
128
Identity of Linguistic and Esthetic
140
Esthetic Ideas in GrEcoRoman Antiquitv
155
Esthetic Ideas in the Middle Aces and Renaissance
175
Friedrich Schleiermacher
312
Humboldt and Steinthal
324
Minor German Estheticians
334
Esthetic in France England and Italy During the First Half of the Nineteenth Century
350
Francesco de Sanctis
358
Esthetic of the Epiconi
370
Esthetic Positivism and Naturalism
388
Esthetic Psychologism and Other Recent Tendencies
404
Historical Sketches of Some Particular Doctrines
420
Bibliocraphical Appenddc
475
Index
491
Copyright

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Pagina 441 - Que si él, en muchas partes de sus escritos, dice que el no guardar el arte antiguo lo hace por conformarse con el gusto de la plebe — que nunca consintió el freno de las leyes y preceptos — , dícelo por su natural modestia y porque no atribuya la malicia ignorante a arrogancia lo que es política perfección.
Pagina 97 - Beauty in this physical reproduction of 'expression'. He says : 'Monuments of Art the stimulents of aesthetic reproduction are called beautiful things or physical Beauty. This combination of words constitutes a verbal paradox, for the beautiful is not a physical fact; it does not belong to things, but to the activity of man to spiritual energy'.
Pagina 21 - ... a melting furnace formless pieces of bronze and choicest statuettes. Those choicest statuettes must be melted just like the pieces of bronze, before there can be a new statue. The old expressions must descend again to the level of impressions, in order to be synthesized in a new single expression. By elaborating his impressions, man frees himself from them.
Pagina 206 - The mind, without looking any further, rests satisfied with the agreeableness of the picture and the gaiety of the fancy. And it is a kind of affront to go about to examine it, by the severe rules of truth and good reason; whereby it appears that it consists in something that is not perfectly conformable to them.
Pagina 18 - ... to the world of feeling, and so forth, arise from the failure to realize exactly the theoretic character of simple intuition. This simple intuition is quite distinct from intellectual knowledge, as it is distinct from perception of the real; and the statements quoted above arise from the belief that only intellectual cognition is knowledge. We have seen that intuition is knowledge, free from concepts and more simple than the so-called perception of the real. Therefore art is knowledge, form;...
Pagina 9 - Every one can experience the internal illumination which follows upon his success in formulating to himself his impressions and feelings, but only so far as he is able to formulate them. Feelings or impressions, then, pass by means of words from the obscure region of the soul into the clarity of the contemplative spirit.
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.
Pagina 20 - Not in the least: expression always arises directly from impressions. He who conceives a tragedy puts into a crucible a great quantity, so to say, of impressions: expressions themselves, conceived on other occasions, are fused together with the new in a single mass, in the same way as we can cast into a melting furnace formless pieces of bronze and choicest statuettes. Those choicest statuettes must be melted just like the pieces of bronze, before there can be a new statue. The old expressions must...
Pagina 69 - Here, for instance, it may be asked how an ornament can be joined to expression. Externally ? In that case, either it does not assist the expression and mars it ; or it does form part of it and is not an ornament, but a constituent element of the expression, indivisible and indistinguishable in its unity.
Pagina 11 - We may thus add this to the various verbal descriptions of intuition, noted at the beginning: intuitive knowledge is expressive knowledge. Independent and autonomous in respect to intellectual function; indifferent to later empirical discriminations, to reality and to unreality, to formations and apperceptions of space and time, which are also later: intuition or representation is distinguished as form from what is felt and suffered, from the flux or wave of sensation, or from psychic matter; and...

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