In _An Introduction to Kant’s Aesthetics_, Christian Wenzel discusses and demystifies Kant’s Critique of the Power of Judgment, guiding the reader each step of the way and placing key points of discussion in the context of Kant’s other work. Explains difficult concepts in plain language, using numerous examples and a helpful glossary. Proceeds in the same order as Kant’s text for ease of reference and comprehension. Includes an illuminating foreword by Henry E. Allison. Offers twenty-six further-reading sections, commenting briefly on (...) books and articles from the English, German, and French, that are relevant for each topic Provides an extensive bibliography and a chapter summarizing Kant's main points. (shrink)

The main ideas in this paper can be summarized in the following three points. (1) Openness, indeterminacy, and exemplarity are elements of both Kant's aesthetics and Wittgenstein's notion of language games. (2) These elements are essential to what makes a person. They are necessary in processes of decision-making and in the development of a person. (3) Such aspects were in the center of discussion during the eighteenth and nineteenth centuries in Europe, especially in the tradition of the so-called Bildungsroman. (...) Unfortunately, they tend to be forgotten nowadays. (shrink)

This article presents how the act of falling has been used as a metaphor for invention within avant-garde art and aesthetics. It takes Lars von Trier’s documentary The Five Obstacles (2003) as its point of departure and seeks to historically contextualize the figure of falling by discussing Charles Baudelaire’s essay ‘De l’essence du rire et généralement du comique dans les arts plastiques’/‘On the Essence of Laughter’ (1955 [1855–1857]). The article also discusses the fascination with falling in early cinema, stressing (...) how cinematic representations of the fall highlight the new medias potential for grasping general modern conditions like motion, speed and contingency. To think of art in terms of falling makes it possible to see a link between cinematic popular culture and so called high modernism. The article concludes with a discussion of the relationship between control and contingency within film aesthetics in the digital age. I will also discuss the aesthetics of Oulipo writers like George Perec and Raymond Queneau, and artists like Jackson Pollock and John Cage as exponents of what can be called an aesthetics of contingency. (shrink)

In the framework of his transcendental philosophy, Kant strictly separates morality from aesthetics. The pleasure in the good and the pleasure in the beautiful are two different kinds of pleasure (Arten des Wohlgefallens). As a consequence, a moral act as such cannot be beautiful. It is only in a second step that Kant indicates possible connections, in his comments on aesthetic ideas, symbolism, the sensus communis, and education in general. In Confucius on the other hand we do not find (...) such a radical separation between beauty and morality. Ritual is a source of both. Moral acts can be beautiful. One might wonder whether Confucius missed a point, or whether Kant overdid the separation. Or is it that their conceptions are so fundamentally different that they cannot easily be translated and identified across different philosophical traditions? (shrink)

In this essay I point out parallels between Kant’s theory of aesthetics and Wittgenstein’s discussion of rule following. Although Wittgenstein did not write an aesthetics and Kant did not discuss Wittgensteinian rule-following problems, and although both Kant and Wittgenstein begin at very different starting points and use different methods, they end up dealing with similar issues, namely issues about rules, particularity, exemplarity, objectivity, practice, and as-if statements.

Why is aesthetic experience of nature important in our everyday lives? This will be my main question. After defining the meaning of 'imagination' and 'aesthetic nature' in the context of Seel's thought, I will reflect on two aspects of this question. Firstly, I will focus on the function of imagination within our aesthetic experience of nature. Secondly, I will expose some ethical implications of the aesthetic approach to nature. My conclusion will emphasize the importance of aesthetic imagination for our personal (...) and collective behaviour towards nature. (shrink)

In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique , the Critique of the Power of Judgment . The latter contains two parts, the 'Critique of the Aesthetic Power of Judgment' and the 'Critique of the Teleological Power of Judgment'. They reveal a new principle, namely the a priori principle of purposiveness ( Zweckmäßigkeit ) of our power of judgment, and thereby offer new a priori grounds for (...) beauty and biology within the framework of Kant's transcendental philosophy. They also unite the previous two Critiques , the Critique of Pure Reason and the Critique of Practical Reason . Besides contributing to general and systematic aspects within his transcendental philosophy, Kant's aesthetics also offers new insights into old problems. It deals with feeling versus experience, subjectivity versus objectivity, disinterested pleasure, aesthetic universality, free and adherent beauty, the sensus communis , genius, aesthetic ideas, beauty as the symbol of morality, beauty of nature versus beauty of art, the sublime, and the supersensible. In this article I will limit myself to this critical aesthetics of Kant. But I will also discuss the ugly and the possibility of beauty in mathematics and see whether Kant's theory can successfully explain or deal with them. I will also compare his theory with philosophical ideas from a very different tradition, namely from Confucius, not only as a challenge to Kant's theory, but also because there is a growing interest from the Chinese side in combining ideas from Confucius and Kant, an interest that might well become influential in both East and West during the 21st century. (shrink)

Wittgenstein in his later years thought about experiences of meaning and aspect change. Do such experiences matter? Or would a meaning- or aspect-blind person not lose much? Moreover, is this a matter of aesthetics or epistemology? To get a better perspective on these matters, I will introduce distinctions between certain subjective and objective aspects, namely feelings of our inner psychological states versus fine-tuned objective experiences of the outer world. It seems to me that in his discussion of meaning-blindness, Wittgenstein (...) unhappily floats between these two extremes, the subjective and the objective. I will also introduce some notions from Kant's aesthetics, to get a better understanding of the interplay between feeling and meaning. This will shed some new light on Wittgenstein's enquiry into meaning- and aspect-blindness. (shrink)

The paper argued for the obligation of architects to make buildings buildings that people will find 'beautiful'. Whilst an obligation to accessible beauty is universal to humanity, its satsfaction can be local for a ny culture. Four objections to the thesis are discussed, but the conclusion is that, amongst the several moral obligations architects are faced with, that to provide accessible beauty is a fundamental obligation.

This essay introduces ideas from Confucius, Xunzi, the Six Dynasties, and Kant about beauty, music, morality, and what we might today call “aesthetic education.” It asks how beauty and morality are related and how they ideally should be related to each other. We know that beauty and morality can drift apart, and we may wonder how aesthetic education might work best. Should the arts be a means for developing morality? Or should it be the other way around? These questions are (...) still relevant today. But our world has changed, not only since Confucius, but also since Kant. We may ask what to make of their ideas in our present time. I argue that there are good reasons for keeping morality and aesthetics apart, somewhat in the spirit of Kant, and in opposition to the idea of “fusing” the two. (shrink)

This volume contains the proceedings of a conference in Meran in October 2015 on intercultural aesthetics with the addition of some external contributions. Two general papers on the topic concerned (Ram Adhar Mall, Giusi Strumiello) are followed by contributions on music (H.-C. Günther on Mahler and on Busoni, Yoon Young Serena Kim on Yun Isang), Indian and Chinese art (Ram Adhar Mall, Harro von Senger, Gabriele Kiesewetter), urban planning (Thilo Hilpert) and film (Udo Steinbach). The contributions on art and (...) urban planning are amply illustrated. The appendix contains colour reproductions of an exhibition of watercolours by the Chinese artist Hong Yi with an introduction to the artist's work and detailed explanations of the painting by Gabriele Kiesewetter. (shrink)

The papyri transmit a part of the testimonia relevant to pre-Socratic philosophy. The ʼCorpus dei Papiri Filosofici‛ takes this material only partly into account. In this volume, a team of specialists discusses some of the most important papyrological texts that are major instruments for reconstructing pre-Socratic philosophy and doxography. Furthermore, these texts help to increase our knowledge of how pre-Socratic thought – through contributions to physics, cosmology, ethics, ontology, theology, anthropology, hermeneutics, and aesthetics – paved the way for the (...) canonic scientific fields of European culture. More specifically, each paper tackles papyrological texts concerning the Orphics, the Milesians, Heraclitus, Empedocles, Anaxagoras, the early Atomists, and the Sophists. For the first time in the field of pre-Socratics studies, several papers are devoted to the Herculanean sources, along with others concerning the Graeco-Egyptian papyri and the Derveni Papyrus. (shrink)

When contrasting something with its opposite, such as positive numbers with negative numbers, repulsion with attraction, good and evil, beauty and ugliness, Kant some-times says the latter are not merely cases of negation or privation of the former, but that they have their own, independent grounds. But do negative judgments of taste really have a priori grounds? There are two kinds of negative judgments of taste: “This is not beautiful” and “This is ugly.” Can they be a priori judgments? Or (...) are they always impure and without a priori basis? In this essay, I argue that they can be pure a priori judgments. I will give detailed analyses of examples involving part-whole relationships, objects of art, and aesthetic ideas. In addition, detailed discussions of opposing interpretations will be offered. (shrink)

Although most interpreters admit that Husserl was not guided by an interest in aesthetics when dealing with the various issues of image consciousness, his considerations are nevertheless usually interpreted in an aesthetic key. The article intends to challenge this line of interpretation by clearly separating between the neutrality of image consciousness, on one hand, and the disinterest of the aesthetic attitude towards reality, on the other hand, as well as by reviewing the elements in Husserl’s theory that led to (...) their association. (shrink)

El primer capítulo del tratado Sobre lo bello inteligible (Enn. V, 8 <31>) proporciona un importante punto de partida para analizar las relaciones entre las estéticas plotiniana y platónica. Plotino plantea algunas objeciones contra el concepto tradicional de mimēsis que parecen contradecir las teorías de Platón en Resp. X. Tras una relectura de pasajes básicos de los diálogos platónicos (de República a Sofista), el ensayo regresa a las Enéadas y trata de entender las razones del «giro» plotiniano. Palabras clave: Creación; (...) Mímesis; Estética; Platón; PlotinoThe first chapter of the treatise On the intelligible Beautiful (Enn. V, 8 <31>) provides an important starting point to analyse the relations between the Plotinian and Platonic aesthetics. Against the traditional concept of mimēsis, Plotinus raises some objections that seem to contradict the theories of Plato in Resp. X. After a rereading of basic passages of the Platonic dialogues (from Republic to Sophist), the essay comes back to the Enneads and tries to understand the reasons of the Plotinian «turn». Keywords: Creation; Mimesis; Aesthetics; Plato; Plotinus. (shrink)

In der Reihe werden herausragende monographische Untersuchungen und Sammelbände zu allen Aspekten der Philosophie Kants veröffentlicht, ebenso zum systematischen Verhältnis seiner Philosophie zu anderen philosophischen Ansätzen in Geschichte und Gegenwart. Veröffentlicht werden Studien, die einen innovativen Charakter haben und ausdrückliche Desiderate der Forschung erfüllen. Die Publikationen repräsentieren damit den aktuellsten Stand der Forschung.

This essay will inform the reader about Kant’s views on mathematics and aesthetics. It will also critically discuss these views and offer further suggestions and personal opinions from the author’s side. Kant (1724-1804) was not a mathematician, nor was he an artist. One must even admit that he had little understanding of higher mathematics and that he did not have much of a theory that could be called a “philosophy of mathematics” either. But he formulated a very influential aesthetic (...) theory that is contained in his “Critique of the Power of Aesthetic Judgment” (1790), and his views on mathematics, especially those that compare it with philosophy, are distinctive and worthy of our attention. Hence, combining mathematics and aesthetics, asking whether mathematics can be beautiful and why and how it can or cannot be so called, according to Kant’s theory, will be particularly interesting. This essay has three parts: it discusses mathematics, aesthetics, and the aesthetics of mathematics, primarily in Kantian perspectives but also in ways that critically evaluate those perspectives. (shrink)

We are living in a time of social and cultural changes. As in other disciplines, the foundations of music education are being increasingly challenged. Thus, it is no longer possible to specify reliably the aims and contents of music education and their implementation in school by simply basing them on lasting musical traditions and changeless forms of life. It has been said that such an assessment leads us to a pluralistic—if not relativistic—view of music education. But it does not help (...) us when we have to make a decision on "What is to be done?" How can we orientate ourselves in our actions and whereupon should we base our judgements when negotiating decisions and trying to convince others? If we are not ready to accept that the decision-making process in the field of music education is just a matter of power, we have to be content with the arguments we can offer. We need to have the courage of independent critical thinking in terms of Didaktik involving all concerned. The situation is similar to that of aesthetic arguing: there is no sure footing; our criteria for evaluation are always up for discussion. (shrink)

Mathematicians often say that their theorems, proofs, and theories can be beautiful. They say mathematics can be like art. They know how to move creatively and freely in their domains. But ordinary people usually cannot do this and do not share this view. They often have unpleasant memories from school and do not have this experience of freedom and creativity in doing mathematics. I myself have been a mathematician, and I wish to highlight some of the creative aspects in doing (...) mathematics. I always had the feeling that there is much freedom in mathematics and that one can do as one pleases as long as one avoids contradictions (and one can even live with contradictions for a while). In mathematics one only needs to define something and there it is! Just imagine it, and it immediately exists. Where else, besides fiction, does one have such power? --- This essay has three parts. In the first, I lay out some historical facts and views that I will need later. Second, I insert an interlude with Kant, pointing out some of his claims and insights in aesthetics, and some aspects in mathematics that I think he overlooked or underestimated. Third, I will bring out some aspects of higher mathematics that I will show are similar to art. These aspects are in the doing and creating of mathematics, not in the finished theories. They are usually not found in textbooks. I want to show that a researcher in mathematics is like a painter or composer, exploring and creating. To see this, one has to adopt a first-person perspective. In this way I will show that aesthetics plays a role and leaves its traces also in mathematics. (shrink)

Name der Zeitschrift: Archiv für Geschichte der Philosophie Jahrgang: 99 Heft: 1 Seiten: 120-123.

In this essay Christiane Thompson discusses the systematic outcomes of Theodor Adorno's philosophical work for a reworked theory of Bildung. In his essay “Theory of Halbbildung,” Adorno revealed the inevitable failure of Bildung, on the one hand, and the necessity of Bildung, on the other. After having exposed this contradiction, Thompson seeks to analyze Bildung's systematic role by turning to Adorno's reflections on art and metaphysics. Adorno's concept of aesthetic experience hints at the possibility of a more genuine approach to (...) Bildung and culture, one that makes the borders of our experience visible and, as a result, suggests a different relation to ourselves and to the world. She concludes by examining the critical dimensions of this different Bildung as well as its pedagogical relevance. (shrink)

***Angaben zur beteiligten Person Zenke: Christian Timo Zenke, Dr. phil. Dipl.-Kult., Erziehungs- und Kulturwissenschaftler, Akademischer Rat an der Fakultät für Erziehungswissenschaft der Universität Bielefeld.

The Heraclitean tradition in the Herculaneum papyri is a topic which involves some of the most important research fields of ancient philosophy: ethics, physics and cosmology, theology and aesthetics. This paper concentrates on Heraclitus’ fr. 18 Marcovich, where the pre-Socratic philosopher talks about an unspecified κοπίδων ἀρχηγόϲ. The fragment occurs in the seventh book of Philodemus’ Rhetoric and is the only direct quotation of Heraclitus in this multi-volume treatise. This article presents a new textual reconstruction of the two columns (...) of the papyrus in which the same passage is quoted and attempts: 1. to contextualize the quotation inside the Philodemean paraphrase of a treatise by the Stoic Diogenes of Babylon against the rhetoricians of his time; 2. to reconsider the grammatical and philosophical problem of the subject of the Heraclitean quotation. Almost all scholars have considered Pythagoras to be the target of Heraclitus. But certain elements allow us to go beyond this old opinion and to understand this fragment as something of more than a personal dispute. Rhetoric, according to its supporters, was an ‘art’ since Homer’s times and gained its professional autonomy with Corax and Tisias. There is no reason to believe that, in quoting Heraclitus, Diogenes has totally changed the subject of the fragment he cites. That subject could originally have been very similar to that attested in the Philodemean paraphrase, that is the education of the rhetoricians. (shrink)

"Die Ablehnung der Mimesis, verstanden als ein Anspruch von Darstellungen auf Naturnachahmung, ist ein charakteristischer Grundzug moderner Ästhetik und Erkenntnistheorie seit dem Ende des 19. Jahrhunderts. Parallel dazu existieren zeitgleich im Raum wissensbildender Institutionen wie den Naturkundemuseen Dispositive, etwa die Habitat-Dioramen, die das traditionell mimetische Ideal auf kreative Weise aufrechterhalten. Diese vermeintlich anachronistischen Dispositive werden hinsichtlich ihrer mimesisproduktiven Dimensionen medienphilosophisch reflektiert und zu Adornos Mimesisverständnis ins Verhältnis gesetzt. The rejection of mimesis, understood as a depiction’s claim on imitation of nature, (...) has been a characteristic feature of modern aesthetics and epistemology since the end of the 19th century. At the same time, there are also dispositives, such as habitat dioramas, which creatively maintain the traditionally mimetic ideal in the space of knowledge-building institutions such as museums of natural science. These supposedly anachronistic dispositions are reflected in media-philosophical terms with regard to their dimensions of mimesis production and are related to Adorno’s understanding of mimesis. ". (shrink)

Rudolf Carnap’s formative years as a philosopher were his time in Jena where he studied mathematics, physics, and philosophy, among others, with Gottlob Frege, the neo-Kantian Bruno Bauch, and Herman Nohl, a pupil of Wilhelm Dilthey.2 Whereas both the influence of Frege and of the neo-Kantians is quite well known,3 the importance of the Dilthey school for Carnap’s intellectual development was recently highlighted by scholars, such as Gottfried Gabriel and Hans-Joachim Dahms.4 Although Carnap himself was interested mainly in the problems (...) of logic and the philosophy of the natural sciences, the community in which he worked until he went to Vienna in 1926 was neither a community of neo-Kantian philosophers nor of logicians or philosophers of the natural sciences but a community of members of the Dilthey school that were interested in history of philosophy,5 pedagogic,6 aesthetics,7 and sociology.8 Carnap and his friends were all members of the so-called Seracircle, a group of young people that met frequently in Jena and, between 1919 and 1926, also in Carnap’s home in Buchenbach near Freiburg.9 The first version of the Aufbau was written in close connection with this group of young people that were interested in a reform of the whole society, including arts, politics, sciences, and everyday life. In Carnap’s Werkstatt in Buchenbach, the Aufbau and at least two more manifestos of a more or less philosophical nature were written: Franz Roh’s “Nach-Expressionismus” and Wilhelm Flitner’s “Laienbildung.”10 Given these historical facts, we must conclude that the Aufbau is the product of an intellectual enterprise that developed in close connection with the Dilthey school, but in which Frege and the neo-Kantians seem to have played only a small role. (shrink)

The special issue’s editors introduce the rationale for the following articles, all of which take up aspects of the relations among the production of artworks, the behavior of audiences, and the state’s interest in assembling, regulating, and transforming what it knows as its people through the responses to art.

The article proposes an interpretation of Kant’s notions of form of, and formal intuition of space to explain and justify the claim that representing space as object requires a synthesis. This involves identifying the transcendental conditions of the analytic unity of consciousness of this formal intuition and distinguishing between it and its content. On this reading which builds upon recent proposals, footnote B160–1n. involves no revision of the Transcendental Aesthetic: space is essentially characterized by non-conceptual features. The article also addresses (...) worries about the infinite magnitude and the unicity of space, by considering the characteristics and requirements of geometric constructions. (shrink)

It is often argued by educators and researchers that access to the arts leads to increased academic performance. However, it is not clear why such access does so. We here use autopoietic enactive embodied cognition and ecological psychology to explain the relationship between dance training and conceptual problem-solving. We investigate four features of dance training that are beneficial for conceptual problem-solving and critical thinking: empathy, affordance exploration, attention change, and habit breaking. In each case, we will see that the embodied (...) sensorimotor skills developed through dance practice are a form of affordance exploration that can carry over into the realm of conceptual problem-solving. Hence, since some of the skills needed in conceptual problem-solving are the same ones developed and trained through dancing, when we train dance, we also train some of the relevant skills for conceptual problem-solving and critical thinking. (shrink)

Rudolf Carnap’s formative years as a philosopher were his time in Jena where he studied mathematics, physics, and philosophy, among others, with Gottlob Frege, the neo-Kantian Bruno Bauch, and Herman Nohl, a pupil of Wilhelm Dilthey.2 Whereas both the influence of Frege and of the neo-Kantians is quite well known,3 the importance of the Dilthey school for Carnap’s intellectual development was recently highlighted by scholars, such as Gottfried Gabriel and Hans-Joachim Dahms.4 Although Carnap himself was interested mainly in the problems (...) of logic and the philosophy of the natural sciences, the community in which he worked until he went to Vienna in 1926 was neither a community of neo-Kantian philosophers nor of logicians or philosophers of the natural sciences but a community of members of the Dilthey school that were interested in history of philosophy ,5 pedagogic ,6 aesthetics ,7 and sociology .8 Carnap and his friends were all members of the so-called Seracircle, a group of young people that met frequently in Jena and, between 1919 and 1926, also in Carnap’s home in Buchenbach near Freiburg.9 The first version of the Aufbau was written in close connection with this group of young people that were interested in a reform of the whole society, including arts, politics, sciences, and everyday life. In Carnap’s Werkstatt in Buchenbach, the Aufbau and at least two more manifestos of a more or less philosophical nature were written: Franz Roh’s “Nach-Expressionismus” and Wilhelm Flitner’s “Laienbildung.”10 Given these historical facts, we must conclude that the Aufbau is the product of an intellectual enterprise that developed in close connection with the Dilthey school, but in which Frege and the neo-Kantians seem to have played only a small role. (shrink)

Kann Mathematik schön sein? Gibt es Leben in der Mathematik? In der Kritik der Urteilskraft (1790) untersucht Kant Prinzipien der Zweckmäßigkeit, eine subjektive Zweckmäßigkeit für die Ästhetik und eine objektive Zweckmäßigkeit für die Teleologie. Die Mathematik aber fällt bezüglich beider durch. Mathematische Gegenstände und Eigenschaften können nach Kant nicht schön sein und bei Erklärungen müssen wir keine Vorstellung von einem Zweck voraussetzen, denn wir können die Gegenstände konstruieren, meint Kant. Jedoch räumt er ein, mathematische „Demonstrationen“ könnten schön sein. Dies hängt (...) mit seiner Unterscheidung von Anschauung und Begriff zusammen. Ich werde diesbezüglich einige seiner Ausführungen darstellen und problematisieren. (shrink)

In this paper I examine the relationship between interpreting a fiction and specifying its content. The former plays a major role in literary studies; the latter is of central concern in the philosophical debate on truth in fiction. After elucidating these activities, I argue that they do not coincide but have interesting interdependencies. In particular, I argue that correct interpretations are metaphysically grounded in fictional content. I discuss this claim in detail and show why it is not in tension with (...) the evidential claim that correct interpretations give us epistemic access to fictional content, which I also endorse. (shrink)

One of the main theses defended in the Critique of Judgment – the specific aesthetic nature of an object solely consists of what is “merely subjective” – offers a wide range of points to be clarified in Kant´s third critical chief work. These includes above all the crucial question of justification of a special type of judgment based, on one hand, on a purely aesthetic satisfaction and claiming, on the other, a general approval and hence some kind of intersubjective validity: (...) a question which according to Kant only can be solved in a transcendental way, what means: on the basis of a principle a priori, universally valid for all aesthetic judgments. One of the most important structural components of this doctrine is undoubtedly Kant´s key concept of a “free play of the faculties of cognition” and the further issue of a “sensus communis aestheticus”. My purpose is to show that in these sections is stated that we have to consider, besides the particular structure of an aesthetic judgment, its specific feasibility conditions, and that in this respect Kant´s concept of an “aesthetic common sense” represents an important systematic complement addition to his transcendental argumentation strategy as a whole. (shrink)

This essay is about the inner and the outer in Wittgenstein, in particular his notion of “meaning experience”. Wittgenstein reminds us that we should not think of the inner, psychological the way we think about the outer, physical world. Again and again he keeps returning to certain views about the soul and our mental states. I think that it is not only therapy he has in mind. I will contrast certain aesthetic and ethical aspects of his thoughts with views from (...) Kant. (shrink)

According to the so-called Sapir-Whorf hypothesis, a language influences the mind of its user. This is more or less trivial, but the problems are in the details. It is difficult to make precise what those influences are, be it in general philosophical or in particular empirical-cultural terms. I will give an account of what I take to be basic aesthetic and grammatical features of the Chinese language compared with what we find in Western languages such as Latin or greek. Then (...) I will indicate what I take to be cultural differences and discuss whether these might be the result of differences in language structure. (shrink)

Mit "Ästhetik als Freiheitsdenken" stellt Christian Tepe die philosophische Ästhetik als geheime Erkenntnistheorie vor: Indem es der ästhetischen Wahrnehmung gelingt, von den Kategorien, Absichten, Zwecken und Geschäften zu abstrahieren, die in unsere alltäglichen Weltbezüge häufig hineinragen, ermöglicht sie es, das je Eigene des Anderen in seiner Besonderheit unverstellt zu erkennen. Es wird gezeigt, wie dem ästhetischen Objekt die Freiheit gewährt wird, dasjenige zu sein, was es von sich aus ist und wie das Subjekt in solcher Hinwendung auf das Andere zugleich (...) zu sich selbst findet. Das Versunkensein des Subjekts im Wahrgenommenen resultiert dabei in einem für die ästhetische Situation charakteristischen Beglückungseffekt, der sich im Empfinden der Schönheit des Angeschauten ausdrückt. (shrink)