Reef.
Wahn
6-11-25
12036

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

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

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

V

ANALOGOUS ERRORS IN HISTORY AND IN LOGIC

Critique of the philosophy of History-Esthetic invasions of Logic

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

logical judgments - The syllogism - False Logic and true

Esthetic-Logic reformed

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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36

53

65

77

VII

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.

PAGE

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

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 æsthetic 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.

X

ESTHETIC 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

99

109

-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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121

XI

CRITIQUE OF ESTHETIC 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 ESTHETIC OF THE SYMPATHETIC AND PSEUDO-ÆSTHETIC

CONCEPTS

Pseudo-æsthetic concepts, and the Æsthetic 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

142

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

153

XIV

ERRORS ARISING FROM THE CONFUSION BETWEEN

PHYSIC AND ESTHETIC

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 - The

astrology of Esthetic

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PAGE

170

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

XVI

182

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

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 aesthetic judgment-The method of artistic and

194