Paradoxically, poetry’s use of artificial rather than natural signs, which allows it to achieve the effects of painting and music combined, also allows it to engage our deepest emotions more thoroughly than those other arts, including ultimately the joyous feeling of being alive itself, even though the other arts use natural signs and might therefore have been thought to be more effective.Īt twenty-one, he became a tutor in the home of a Jewish silk manufacturer, at twenty-five his accountant, subsequently his manager, and finally a partner in the business, in which he would work full-time for the rest of his life. The first thing to be noticed is that Mendelssohn here emphasizes the engagement of our powers of both knowing and desiring in aesthetic experience, not merely the power of knowing. Publication date Usage Public Domain Mark Topics bub_upload.
L’estetica (Aesthetica) on *FREE* shipping on qualifying offers. Aesthetica1 seems to be familiar in German. Although the content of Alexander Gottlieb Baumgarten’s.
The clarifying powers of the poet-aesthetician are replaced by passive “fascination” and a “passion of the image” that delimits a radically different, countercosmic, and thus utopian space of literature.BAUMGARTEN’S AESTHETICA. By contrast, Blanchot’s literature dissolves this triple foundation into a writing of obscurity, distracted fatigue, and a “death resurrected” literature opens aesthetics to that which had been constitutively excluded at its founding moment. He thus opposes the poem to both the obscure fundus animae, the ground of the soul, and to utopian poetry, neither of which can be poetized. Baumgarten, laying the groundwork for much of the “distribution of the sensible” that dominated the field of aesthetics after him, conceives of the poem as the paradigmatic instance of an aesthetic cognition of the sensible that is founded on the triad of clarity, attention, and liveliness. This article analyzes the notions of clarity and obscurity in the work of Alexander Gottlieb Baumgarten and Maurice Blanchot, arguing that the latter’s thought of the “other night” proposes a radical reversal, indeed, a corruption, of Baumgarten’s founding of aesthetics as an ocularcentric discipline governed by clarity.
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