INTRODUCTION

CONTENTS

THEORY

I

INTUITION AND EXPRESSION

Intuitive knowledge-Its independence in respect to the intellect-
Intuition and perception-Intuition and the concepts of space
and time-Intuition and sensation-Intuition and association-
Intuition and representation-Intuition and expression-Illu-
sions as to their difference-Identity of intuition and expression

II

INTUITION AND ART

Corollaries and explanations-Identity of art and of intuitive know-

ledge-No specific difference-No difference of intensity-Dif-

ference extensive and empirical-Artistic genius-Content and

form in Esthetic-Critique of the imitation of nature and of

the artistic illusion-Critique of art conceived as a sentimental,

not a theoretic fact-The origin of Esthetic, and sentiment-

Critique of the theory of aesthetic senses— -Unity and indivisi-

bility of the work of art-Art as deliverer

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20

III

ART AND PHILOSOPHY

Indissolubility of intellective and of intuitive knowledge—Critique

of the negations of this thesis-Art and science-Content and

form another meaning. Prose and poetry-The relation of

first and second degree-Inexistence of other cognoscitive forms

-Historicity-Identity and difference in respect of art—His-

torical criticism-Historical scepticism-Philosophy as perfect

science. The so-called natural sciences, and their limits-The

phenomenon and the noumenon

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36

IV

HISTORICISM AND INTELLECTUALISM IN ESTHETIC

Critique of the verisimilar and of naturalism—Critique of ideas in art,

of art as thesis, and of the typical-Critique of the symbol and

of the allegory-Critique of the theory of artistic and literary

categories-Errors derived from this theory in judgments on

art-Empirical meaning of the divisions of the categories

53

V

ANALOGOUS ERRORS IN HISTORY AND IN LOGIC

Critique of the philosophy of History-Esthetic invasions of Logic

-Logic in its essence-Distinction between logical and non-

logical judgments — The syllogism - False Logic and true

Esthetic-Logic reformed

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VI

THEORETIC AND PRACTICAL ACTIVITY

The will-The will as ulterior grade in respect of knowledge-Ob.

jections and explanations-Critique of practical judgments or

judgments of value-Exclusion of the practical from the aesthetic

-Critique of the theory of the end of art and of the choice of

content-Practical innocence of art-Independence of art-

Critique of the saying: the style is the man-Critique of the

concept of sincerity in art

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77

VII

PAGE

ANALOGY BETWEEN THE THEORETIC AND THE PRACTICAL

The two forms of practical activity-The economically useful-Dis-

tinction between the useful and the technical-Distinction

between the useful and the egoistic-Economic and moral voli-

tion-Pure economicity-The economic side of morality-The

merely economical and the error of the morally indifferent-

-Critique of utilitarianism and the reform of Ethic and of

Economic-Phenomenon and noumenon in practical activity.

89

VIII

EXCLUSION OF OTHER SPIRITUAL FORMS

The system of the spirit-The forms of genius-Inexistence of a

fifth form of activity-Law; sociality-Religiosity-Metaphysic

- Mental imagination and the intuitive intellect — Mystical

Esthetic-Mortality and immortality of art

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IX

INDIVISIBILITY OF EXPRESSION INTO MODES OR GRADES

AND CRITIQUE OF RHETORIC

The characteristics of art-Inexistence of modes of expression-

Impossibility of translations-Critique of rhetorical categories

-Empirical meaning of rhetorical categories- Their use as

synonyms of the aesthetic fact-Their use as indicating various

æsthetic imperfections-Their use as transcending the aesthetic

fact, and in the service of science - Rhetoric in schools

Similarities of expressions-Relative possibility of translations.

109

X

ÆSTHETIC SENTIMENTS AND THE DISTINCTION BETWEEN

THE BEAUTIFUL AND THE UGLY

Various meanings of the word sentiment-Sentiment as activity-
Identification of sentiment with economic activity-Critique of
hedonism-Sentiment as concomitant of every form of activity

-Meaning of certain ordinary distinctions of sentiments-

Value and disvalue: the contraries and their union- The

beautiful as the value of expression, or expression without

adjunct―The ugly and the elements of beauty that constitute it

-Illusion that there exist expressions neither beautiful nor

ugly-Proper æsthetic sentiments and concomitant and acci-

dental sentiments-Critique of apparent sentiments.

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ΧΙ

CRITIQUE OF ÆSTHETIC HEDONISM

Critique of the beautiful as what pleases the superior senses -

Critique of the theory of play — Critique of the theory of

sexuality and of the triumph-Critique of the Esthetic of the

sympathetic-Meaning in it of content and of form-Esthetic

hedonism and moralism -The rigoristic negation, and the

pedagogic negation of art-Critique of pure beauty.

134

XII

THE ÆSTHETIC OF THE SYMPATHETIC AND PSEUDO-ÆSTHETIC

CONCEPTS

Pseudo-æsthetic concepts, and the Esthetic of the sympathetic-

✓

Critique of the theory of the ugly in art and of its surmounting
-Pseudo-æsthetic concepts appertain to Psychology-Impossi-

bility of rigorous definitions of these-Examples: definitions of

the sublime, of the comic, of the humorous-Relation between

those concepts and æsthetic concepts

XIII

THE SO-CALLED PHYSICALLY BEAUTIFUL IN NATURE

AND IN ART

Esthetic activity and physical concepts-Expression in the æsthetic

sense, and expression in the naturalistic sense-Intuitions and

memory-The production of aids to memory-The physically

beautiful-Content and form: another meaning - Natural

beauty and artificial beauty-Mixed beauty-Writings-The

beautiful that is free and that which is not free-Critique of the

beautiful that is not free-Stimulants of production

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153

XIV

ERRORS ARISING FROM THE CONFUSION BETWEEN

PHYSIC AND ÆSTHETIC

Critique of æsthetic associationism-Critique of æsthetic physic-

Critique of the theory of the beauty of the human body-

Critique of the beauty of geometrical figures - Critique of

another aspect of the imitation of nature- Critique of the

theory of the elementary forms of the beautiful-Critique of the

search for the objective conditions of the beautiful

astrology of Esthetic

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The

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XV

THE ACTIVITY OF EXTERNALIZATION.

TECHNIQUE

AND THE THEORY OF THE ARTS

The practical activity of externalization-The technique of external-

ization Technical theories of single arts Critique of the

classifications of the arts-Relation of the activity of external-

ization with utility and morality

182

し

XVI

TASTE AND THE REPRODUCTION OF ART

Esthetic judgment. Its identity with aesthetic reproduction-

Impossibility of divergences-Identity of taste and genius-

Analogy with the other activities - Critique of absolutism

(intellectualism) and of æsthetic relativism-Critique of relative

relativism-Objections founded on the variation of the stimulus

and of the psychic disposition-Critique of the distinction of

signs as natural and conventional—The surmounting of variety

-Restorations and historical interpretation

194

XVII

THE HISTORY OF LITERATURE AND OF ART

Historical criticism in literature and art. Its importance-Artistic
and literary history. Its distinction from historical criticism
and from the æsthetic judgment—The method of artistic and