Aesthetic: As Science of Expression and General Linguistic
Benedetto Croce is one of the most influential philosophers of the twentieth century. His work in aesthetics and historiography has been controversial, but enduring. When the first edition of Aesthetic appeared in 1902, Croce was seen as foremost in reasserting an idealistic philosophy, which, despite its source in continental idealists from Descartes to Hegel, offers a system that attempts to account for the emergence of scientific systems. Croce thus combines scientific and metaphysical thought into a dynamic aesthetic.
Croce regards aesthetics not merely as a branch of philosophy, but as a fundamental human activity. It is inseparable from historical, psychological, political, economic, and moral considerations, no less than a unique frame of artistic reference. Aesthetic is composed of two parts: Part One concentrates on aesthetic theory and practice. Among the topics it covers are: intuition and expression, art and philosophy, historicism and intellectualism, and beauty in nature and in art. Part Two is devoted to the history of aesthetics. Croce analyzes such subjects as: aesthetic ideas in the Middle Ages and Renaissance, Giambattista Vico's contribution to aesthetics, the philosophy of language, and aesthetic psychologism.
In his new introduction to a classic translation, John McCormick reviews Croce's impact in the fields of aesthetic theory and historiography. He notes that the republication of this work is an overdue appreciation of a singular effort to resolve the classic question of the philosophy of art: art for its own sake or art as a social enterprise. Both find a place in Croce's system.
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iNTurnoN and Art
Art and Philosophy
HlSTORICISM AND INTELLECTUALISM IN ESTHETIC
Analogous Errors in the Theory of History and in Logic
The Theoretic Activity and the Practical Activity
Analogy Between the Theoretical and the Practical
Exclusion of Other Spiritual Forms
Ferments of Thought in the Seventeenth Century
Esthetic Ideas in the Cartesian and Leibnitian Schools and the Esthetic of Baumcarten
Minor Esthetic Doctrines of the Eighteenth Century
Other Esthetic Doctrines of the Same Period
Schiller Schelling Solcer Hegel
Schopenhauer and Herbart
Indivisibility of Expression into Modes or Decrees and Criticism of Rhetoric
Esthetic Feelings and the Distinction Between the Beautiful and the Ugly
Criticism of Esthetic Hedonism
The jEsthetic of the Sympathetic and PseudoAesthetic Concepts
The Physically Beautiful in Nature and in Art
XTV Errors Arising from the Confusion Between Physics and Esthetic
The Activity of Externalization Technique and the Theory of the Arts
Taste and the Reproduction of Art
The History of Literature and Art
Identity of Linguistic and Esthetic
Esthetic Ideas in GrEcoRoman Antiquitv
Esthetic Ideas in the Middle Aces and Renaissance
Humboldt and Steinthal
Minor German Estheticians
Esthetic in France England and Italy During the First Half of the Nineteenth Century
Francesco de Sanctis
Esthetic of the Epiconi
Esthetic Positivism and Naturalism
Esthetic Psychologism and Other Recent Tendencies
Historical Sketches of Some Particular Doctrines
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Page xi - What I call spirit is only that inner light of actuality or attention which floods all life as men actually live it on earth. It is roughly the same thing as feeling or thought; it might be called consciousness; it might be identified with the pense'e or cogitatio of Descartes and Spinoza.