Aesthetics

764 Pages·2017·4.12 MB·English

by  Nicolai Hartmann

ISBN 978-3-11027571-1
e-ISBN (PDF) (PDF) 978-3-11-027601-5
e-ISBN (PDF) (EPUB) 978-3-11038134-4
e-ISBN (EPUB) 9783110381344

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Table of Contents
Title Page
Copyright Page
Translator’s Introduction: Hartmann on the Mystery and
Value of Art
1 Beauty and the Perception of Beauty
2 The Stratification of Beholding and the Object Beheld
as Beautiful
3 Hartmann’s Deconstruction of Familiar Antinomies in
Aesthetics
4 Unresolvable Mysteries of Aesthetics
5 The Value of Art
6 The Future of Aesthetics
Introduction
1 The Aesthetical Attitude and Aesthetics as Knowledge
2 Laws of Beauty and Knowledge of Them
3 Beauty as the Universal Object of Aesthetics
4 Aesthetical Act and Aesthetic Object. Four-Part
Analysis
5 Separation from and Attachment to Life
6 Form and Content, Matter and Material
7 Intuition, Enjoyment, Assessment, and Productivity
8 Beauty in Nature, Human Beauty, and Beauty in Art
9 Idealistic Metaphysics of Beauty. Intellectualism and
the Focus on Material Content
10 The Aesthetics of Form and of Expression
11 Psychological and Phenomenological Aesthetics
12 Modes of Being and Structure of the Aesthetic Object
13 Reality and Illusion. De-actualization and Appearance
14 Imitation and Creativity
Part One: The Relationship of Appearance
First Section: The Structure of the Aesthetical Act
Chapter 1: On Perception in General
a) Looking through
b) The perceptual field as practically selected
c) Emotional components
Chapter 2: Aesthetic Perception
a) Return to the original attitude
b) The given-with and the process of revelation
c) Dwelling upon the “picture”
d) The guidance of perception in the aesthetical relation
Chapter 3: Pleasure in Beholding
a) The conservation of the dynamic-emotional element in
aesthetic perception
b) Perception and beholding
c) The role of vital and moral feeling of values
d) Pleasure, delight, enjoyment
e) Kant’s doctrine of aesthetic pleasure
Second Section: The Structure of the Aesthetic Object
Chapter 4: Connection to the Analysis of the Act
a) Two kinds of looking and two strata of the object
b) The necessary correction of Hegel’s “shining-forth of
the idea”
c) The place of aesthetically autonomous pleasure
Chapter 5: The Law of Objectivation
a) The role of “matter”
b) The spiritual content and the living spirit
c) Being in itself and being for us in the objectivated
spirit
d) Foreground and background
Chapter 6: Foreground and Background in the
Representational Arts
a) On ordering the problem and its investigation
b) Stratification in the plastic arts
c) Drawing and painting
d) The fundamental relation in the art of poetry
e) The objective middle stratum of poetic works
f) Theater and the art of the actor
g) Actualization and de-actualization
Chapter 7: Foreground and Background in the Non-
Representational Arts
a) Free play with form
b) Beauty in music
c) The phenomenon of the background in music
d) Composition and musical execution
e) On the appearing background in architecture
f) Practical purpose and free form
g) The place of ornament
Third Section: Beauty in Nature and in the Human World
Chapter 8: The Living Human Being as a Thing of Beauty
a) Human beauty as appearance
b) Beauty in relation to moral and to vital values
c) The appearance of the type
d) Situation and drama in life
Chapter 9: Beauty in Nature
a) The beauty of living things
b) Beauty in dynamic structure
c) Beauty in landscapes and related phenomena
d) Natural beauty and art
Chapter 10: On the Metaphysics of Natural Beauty
a) Formal beauty in nature
b) Indifference, quietude, unconsciousness
c) Perfection, security, unfreedom
d) Creations of nature and creations of art
Part Two: The Bestowal of Form and Stratification
First Section: The Series of Strata in the Arts
Chapter 11: Opening up the Background
a) Modes of being and structures of content
b) An example: The portrait
c) Some discussion of this example. Implications
d) Dependency of appearance and dependency of
composition
e) Filling out ontically the series of strata
Chapter 12: The Order of Strata in Poetry
a) The self-testimony of the art of poetry to its middle
strata
b) Poetic concreteness
c) Distinguishing the strata in poetic works
d) The most inward stratum. Limits to what can be
uttered
e) Ideas in literature
f) Toward a survey of the strata
Chapter 13: The Series of Strata in the Fine Arts
a) The order of strata in sculpture
b) The exterior strata in painting
c) The inner strata in painting
d) Painting and natural objects
Chapter 14: Strata in Musical Composition
a) Levels of musical unity
b) The inner strata of music
c) Composition and psychic life
d) The place of program music
e) Strata in musical performances
Chapter 15: Strata in Architecture
a) The outer strata in buildings
b) The inner strata of architecture
c) Community, tradition, style
Second Section: Aesthetic Form
Chapter 16: Unity, Limits, Form
a) Multiplicity of form
b) Unity of multiplicity
c) Selection and the setting of limits
Chapter 17: The Hierarchical Bestowing of Form in the
Arts
a) The peculiar character of bestowing form in art
b) The hierarchy of form-bestowal by strata
c) Connections in the giving of form within the strata
d) Determining form from within
Chapter 18: Appearance and Form
a) The dependence and independence of form
b) Pure play with form
c) Shallow and profound art
d) Form and content in the structure of the strata
Chapter 19: Theory of the Bestowal of Form in Aesthetics
a) Aesthetical feeling for form
b) Empathy and activity
c) The bestowal of form and self-representation
d) Disengagement from the creator by means of form
Chapter 20: On the Metaphysics of Form
a) Imitation and creativity
b) The finding of form and the phenomenon of style
c) The great styles of art and fashion
d) A sensible interpretation of speculative theses
Third Section: Unity and Truth in Beauty
Chapter 21: Artistic Freedom and Necessity
a) Freedom and arbitrariness
b) The formation of aesthetical ideals
c) Artistic necessity and unity
d) The unity of the work and the freedom of creation
Chapter 22: The Claim of Literature to Truth
a) The false claim to truth
b) The requirement to be true to life
c) The question of strata in the claim to truth
d) The true-to-life in the first and last strata
Chapter 23: The True-to-Life and Beauty
a) The disclosure of life in art
b) Realism and its limits
c) On the dialectics of realistic representation
d) The true-to-life and essential truth
Chapter 24: Truth in the Fine Arts
a) Criteria and standards
b) The true-to-life in painting
c) Essential truth in painting
d) The claim to truth in sculpture
Chapter 25: Truth in the Non-Representational Arts
a) Limits to the question of truth
b) The untruth in deceptions of form and in
indistinctness
c) Traces of the true-to-life in music
d) The situation in program music
Part Three: Values and Genera of the Beautiful
First Section: The Aesthetic Values
Chapter 26: Peculiarity and Multiplicity of Aesthetic
Values
a) The divisions within the problem and the basis of their
classification
b) Differentiations according to the qualia of value
feeling
c) The range of beauty
Chapter 27: The Situation Today in the Problem of Value
a) Classes of values and value-aporia
b) Kinship and contrasts among the classes of values
c) Goods values and moral values
d) Intended value and the value of the intention
e) The metaphysical problem of value
Chapter 28: The Place of Beauty in the Realm of Values
a) An attempt to trace the problem
b) Uselessness of beauty and luxury in life
c) The founding of aesthetic values upon moral values
d) The broadening of the foundation to include vital
values
e) Relation to the lower classes of values
Chapter 29: Survey of the Value-Elements in Beauty
a) Values of the mere being of objects
b) The value of de-actualization
c) Relativity and absoluteness
Second Section: The Sublime and the Charming
Chapter 30: Concept and Phenomenon of the Sublime
a) The domains of appearance of the sublime in life
b) The appearance of the sublime in the arts
c) Kant’s theory of the sublime
Chapter 31: The Structure of the Aesthetical Sublime
a) The special forms of the sublime
b) The tangible essential characteristics of the sublime
c) Intangible essential characteristics
Chapter 32: The Place of the Sublime in the
Organizationof the Strata
a) The preponderance of the inner strata
b) The sublime in the tragic and its aporias
c) Questions on the periphery of the sublime
Chapter 33: The Charming and Its Varieties
a) Phenomena in opposition to the sublime
b) Orientation to the nature of the charming