In this essay, I investigate Baumgarten’s doctrine of the six perfections of knowledge (wealth, magnitude, truth, clarity, certainty, and life), which is famously one of the most characteristic and enigmatic features of his philosophy. Recent scholarship has almost unanimously stressed the rhetorical background of the categories. Instead, I argue that Baumgarten elaborates his theory in close relationship with coeval philosophy. To support this claim, I examine the position of some Thomasian philosophers, such as Johann Liborius Zimmermann, who had indicated a (...) list of criteria similar to that of Baumgarten. Moreover, I analyse the distinction between formal and material perfections, tracing it back to the Wolffian milieu. On these bases, I propose a new reconstruction of Baumgarten’s doctrine, with particular attention to its aesthetic application. Finally, I outline the reception of the six categories in the late German Enlightenment until Kant. (shrink)

In this discussion piece, I will comment on the collective volume, edited by Jerold J. Abrams, Shusterman’s Somaesthetics. From Hip Hop Philosophy to Politics and Performance Art (2022). I will articulate my reflections around three main themes, which intersect the theme of several of the essays of the volume: I will first of all consider the concept of transfiguration, commenting upon the difference between Danto’s hermeneuticist perspective and Shusterman’s somaesthetic reinterpretation, with special regard to his performative experiment, the Man in (...) Gold. Secondly, I will turn to a possible consequence entailed by this reinterpretation concerning the relation between aesthetics and art. Finally, I will turn to the controversy between somaesthetics and pathic aesthetics, and comment on a possible way to reconcile some elements of both, starting from the condition of the suffering body. (shrink)

In this essay, I analyze the role of physics in Baumgarten’s founding of aesthetics. After examining for the first time his courses on physics and their relationship with aesthetics, I explore the importance of physical metaphors in the issues of aesthetic experiments and aesthetic enthusiasm, with special regard to the influence of Bacon, Boyle, and Leibniz’s doctrine of vis viva.

In the presentation of his project about ‘somaesthetics’, Richard Shusterman claimed that the recurring neglect of the body in aesthetics was disastrously introduced by Alexander Gottlieb Baumgarten (1714–1762) in his first formulation of aesthetics as a discipline in the mid-eighteenth century. In the present essay I aim to call this thesis into question, investigating for the first time the role of the body in Baumgarten’s thought and focusing on its significance for the founding of aesthetics. First, I consider Baumgarten’s doctrine (...) of the body in general and of the human body in particular, in its relationship with the soul. I then turn to discuss Baumgarten’s resumption of the scholastic discipline of ‘somatology’ as a philosophical investigation of the body in both its theoretical and practical – namely, dietetical, side. On these bases, I deal with two examples of dietetic embellishment of the body, one presented by Baumgarten himself (cosmetics) and the other put forward by his pupil and co-founder of disciplinary aesthetics Georg Friedrich Meier (physical exercise and somatic fine arts). Subsequently, I explore the ways in which Meier and Baumgarten use dietetics to foster beautiful thinking. Finally, I conclude that nascent aesthetics is concerned with the aesthetic care of the body both insofar as the body can be a stage of aesthetic value and insofar as the body is a necessary presupposition for beautiful thinking. (shrink)

In this paper, I intend to analyze Baumgarten’s position about the dietetic care of the body in its relation to nascent aesthetics, with special regard to the problem of physical exercise. On the one hand, I will show that physical exercise can acquire aesthetic value with the example of the somatic fine arts. On the other hand, I will demonstrate that dietetics is also seminal for the emergence of every act of beautiful thinking. Eventually, I will bring to the fore (...) the dietetic potential of beauty itself. In this way, it will be possible to better appraise the constitutive link between health and beauty in the founding of aesthetics as an independent branch of philosophy. (shrink)

In this essay, I discuss Baumgarten’s neglected doctrine of taste. In particular I investigate his definition of taste as the judgment of the senses against the backdrop of the philosophical debate of his day, pointing out the biblical and classical sources of the idea of a judging aisthesis. In addition, I analyse the radical change that the definition of taste as the judgment of the senses brings about in the idea of both taste and the judgment of the senses with (...) regard to Wolff. Highlighting the link with the issue of analogon rationis and beauty, I conclude that the concept of taste is at the core of Baumgarten’s new aesthetic project. (shrink)

Although pregnancy as a semantic and perceptual density is a central notion of aesthetics, scholarship has not yet conducted a genealogical inquiry into its early-modern roots. It is the aim of this investigation to make a contribu-tion in this direction. My thesis is, that the idea of aesthetic pregnancy emerges in Alexander G. Baumgarten’s philoso-phy as the outcome of the convergence between Leibnizian assumptions and a series of hermeneutical categories, which have hitherto been overlooked. After analyzing the role of pregnancy (...) in Lutheran hermeneutics, I examine its reception in Baumgarten’s phi-losophy, in the attempt to enhance the relationships with the earlier tradition. By reconfiguring the semantic density with the instruments of empirical psy-chology, I argue, Baumgarten is able to shift pregnancy from the hermeneutical domain of sense to the metaphysical domain of sensibility, thus paving the way for its fortune in future aesthetics. (shrink)

In the present article, I intend to examine the importance of Engel’s mimicry for the corporeal visualization of affects, showing the links with its roots in the early German Enlightenment. If the body serves as a picture of the soul, the aim of this essay is to understand how Engel’s mimicry turns this correspondence to its own purpose, enhancing its role as a privileged observatory of the human mind as well as a building site of a historical form of humanity.