Æsthetic as science of expression and general linguistic. Benedetto Croce
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Benedetto Croce
Æsthetic as science of expression and general linguistic
Published by Good Press, 2019
EAN 4064066247805
Table of Contents
I
THEORY OF ÆSTHETIC
I 1
INTUITION AND EXPRESSION
Intuitive knowledge—Its independence with respect to intellectual knowledge—Intuition and perception—Intuition and the concepts of space and time—Intuition and sensation—Intuition and association—Intuition and representation—Intuition and expression—Illusion as to their difference—Identity of intuition and expression
II 12
INTUITION AND ART
Corollaries and explanations—Identity of art and intuitive knowledge—No specific difference—No difference of intensity—The difference is extensive and empirical—Artistic genius—Content and form in Æsthetic—Criticism of the imitation of nature and of the artistic illusion—Criticism of art conceived as a fact of feeling, not a theoretical fact—Æsthetic appearance, and feeling—Criticism of the theory of æsthetic senses—Unity and indivisibility of the work of art—Art as liberator
III 22
ART AND PHILOSOPHY
Inseparability of intellectual from intuitive knowledge—Criticism of the negations of this thesis—Art and science—Content and form: another meaning—Prose and poetry—The relation of first and second degree—Non-existence of other forms of cognition—Historicity—Its identity with and difference from art—Historical criticism—Historical scepticism—Philosophy as perfect science. The so-called natural sciences, and their limits—The phenomenon and the noumenon
IV 32
HISTORICISM AND INTELLECTUALISM IN ÆSTHETIC
Criticism of the probable and of naturalism—Criticism of ideas in art, of theses in art, and of the typical—Criticism of the symbol and of the allegory—Criticism of the theory of artistic and literary kinds—Errors derived from this theory in judgements on art—Empirical sense of the divisions of kinds
V 39
ANALOGOUS ERRORS IN THE THEORY OF HISTORY AND IN LOGIC
Criticism of the philosophy of History—Æsthetic intrusions into Logic—Logic in its essence—Distinction between logical and non-logical judgements—Syllogistic—Logical falsehood and æsthetic truth—Reformed logic—Note to the fourth Italian edition
VI 47
THE THEORETIC ACTIVITY AND THE PRACTICAL ACTIVITY
The will—The will as an ulterior stage in respect to knowledge—Objections and explanations—Criticism of practical judgements or judgements of value—Exclusion of the practical from the æsthetic—Criticism of the theory of the end of art and of the choice of content—Practical innocence of art—Independence of art—Criticism of the saying: the style is the man—Criticism of the concept of sincerity in art
VII 55
ANALOGY BETWEEN THE THEORETIC AND THE PRACTICAL
The two forms of the practical activity—The economically useful—Distinction between the useful and the technical—Distinction of the useful from the egoistic—Economic will and moral will—Pure economicity—The economic side of morality—The merely economical and the error of the morally indifferent—Criticism of utilitarianism and the reform of Ethics and of Economics—Phenomenon and noumenon in practical activity
VIII 61
EXCLUSION OF OTHER SPIRITUAL FORMS
The system of the spirit—The forms of genius—Non-existence of a fifth form of activity—Law; sociability—Religion—Metaphysic—Mental imagination and the intuitive intellect—Mystical Æsthetic—Mortality and immortality of art
IX 67
INDIVISIBILITY OF EXPRESSION INTO MODES OR DEGREES AND CRITICISM OF RHETORIC
The characters of art—Non-existence of modes of expression—Impossibility of translations—Criticism of the rhetorical categories—Empirical sense of the rhetorical categories—Their use as synonyms of the æsthetic fact—Their use to indicate various æsthetic imperfections—Their use in a sense transcending æsthetic, in the service of science—Rhetoric in the schools—The resemblances of expressions—The relative possibility of translations
X 74
ÆSTHETIC FEELINGS AND THE DISTINCTION BETWEEN THE BEAUTIFUL AND THE UGLY
Various significations of the word feeling—Feeling as activity—Identification of feeling with economic activity—Criticism of hedonism—Feeling as a concomitant of every form of activity—Meaning of certain ordinary distinctions of feelings—Value and disvalue: the contraries and their union—The beautiful as the value of expression, or expression without qualification—The ugly, and the elements of beauty which compose it—Illusion that there exist expressions neither beautiful nor ugly—True æsthetic feelings and concomitant and accidental feelings—Criticism of apparent feelings
XI 82
CRITICISM OF ÆSTHETIC HEDONISM
Criticism of the beautiful as that which pleases the higher senses—Criticism of the theory of play—Criticism of the theory of sexuality and of triumph—Criticism of the Æsthetic of the sympathetic: meaning in it of content and form—Æsthetic hedonism and moralism—The rigoristic negation, and the pedagogic justification of art—Criticism of pure beauty
XII 87
THE ÆSTHETIC OF THE SYMPATHETIC AND PSEUDO-ÆSTHETIC CONCEPTS
Pseudo-æsthetic concepts, and the Æsthetic of the sympathetic—Criticism of the theory of the ugly in art and of the overcoming of it—Pseudo-æsthetic concepts belong to Psychology—Impossibility of rigorous definitions of them—Examples: definitions of the sublime, of the comic, of the humorous—Relation between these concepts and æsthetic concepts
XIII 94
THE "PHYSICALLY BEAUTIFUL" IN NATURE