In Aesthetica (1750-58), he not only don't confirms Baumgarten gives an outline of sensitive oration, the poetic oration that can arouse the emotions: namely a science of sensitive knowledge. In his thesis for his doctorate ( Meditationes Philosophicae de nonnullis ad poema pertinentibus, 1735), G. The paper concludes by saying that Baumgarten's aesthetics extends poeticity not only to a poem but also to all not-intellectual sectors of knowledge.Įrmanno Migliorini, Baumgarten: "pro positu corporis" The paper also presents Baumgarten's model of a poem as well as his figure of the poet as an analogical maker, emphasizing its problematic character. Baumgarten's overcoming of contemporary gnoseological approaches to knowledge, the paper remarks on the theory of productive imagination, showing that Baumgarten sets no limits to the number and quality of representations to be introduced into poetry, as long as they are clear and make sense and contribute to the perfection of the poetic whole through their selfgenerating power and the rule of brevity. Having first illustrated what seems to be A. In this way Baumgarten, identifying the field, the faculties and the object, marks the legitimate rise of the aesthetic strategy of the beautiful within the cognitive process itself.įrancesco Piselli, Alexander Gottlieb Baumgarten's "Meditationes Philosophicæ" Hence the subjective principle is once again legitimated and is directed aesthetically towards the beautiful and is no longer simply a source of errors. The object of this «gnoseologia inferior» is not truth but the perfectibility of the beautiful as «ars pulcre cogitandi».
#ALEXANDER BAUMGARTEN AESTHETICS FREE#
The dawn of aesthetics was first kindled by Baumgarten's courageous rejection of Descarte's inventories and by the impulse he gave to the revaluation, following on from Leibniz, of a «cognitio sensitiva» seen not merely as sense but also as free play of faculties, imaginative knowledge, thus anticipating the inspiration of Kant's a priori synthesis. The author attributes both modernity and genius to Baumgarten's aesthetic thought. Rosario Assunto, The term "aesthetica" and "sensus communis" Kierkegaards Concepts - Tome I: Absolute to Church, p.The present volume brings together some of the papers presented at the Seminar "Aesthetica bina: Baumgarten and Burke" (Aesthetica bina: Baumgarten e Burke) which was sponsored by the International Study Center on Aesthetics (Palermo, October 18-19, 1985) on the occasion of the Italian edition of the Meditationes philosophophicæ de nonnullis ad poema pertinentibus of Alexander Gottlieb Baumgarten and A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful of Edmund Burke. By far the most frequent usage of the term by Kierkegaard is in the sense of an existential sphere, though the three senses are interrelated. "Aesthetics" designates critical reflection on art. "The aesthetic" in Kierkegaard's work designates (a) the artistic apprehension of beauty and (b) an existential sphere. This in turn gave rise to the notion of the aesthete, as a person who to an extreme degree pursues beauty in everything. Subsequently, aesthetics became the discipline that deals with the beautiful in art and nature. The Danish and English words are derived from the Greek αίσθητά, which means "that which can be sensed." The first modem usage of the word is in the work of the German philosopher Alexander Baumgarten, who in his book 'Aesthetica' (1750-58) defined the beautiful as the sensuous representation of the perfect. 220499 Religion and Religious Studies not elsewhere classifiedĩ70122 Expanding Knowledge in Philosophy and Religious StudiesĢ80119 Expanding knowledge in philosophy and religious studies