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Books > Humanities > Philosophy > Western philosophy > Modern Western philosophy, c 1600 to the present > Western philosophy, c 1600 to c 1800
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The Beautiful, the Sublime, and the Grotesque - The Subjective Turn in Aesthetics from the Enlightenment to the Present (Hardcover, Unabridged edition)
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The Beautiful, the Sublime, and the Grotesque - The Subjective Turn in Aesthetics from the Enlightenment to the Present (Hardcover, Unabridged edition)
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The eighteenth-century Enlightenment represents a turn toward
experience, that is, toward the experiencing subject. Still the
Enlightenment involves an aspiration toward objective truth in the
ideals of the newly emerging sciences and in the experiments in
democracy that were beginning to transform the political landscape
of Europe and America. Immanuel Kant's towering philosophical
achievement in his critical works helps to reformulate a meaning of
objectivity that is congenial to the climate of inquiry and freedom
in that remarkable century, a meaning that is unburdened of the
metaphysical commitments of many of his predecessors. Kant's
revolution in philosophical thought gives us an objectivity that is
crucially related to epistemic conditions rooted in subjectivity, a
correlation between subjectivity and objectivity that carries over
as well into his critical treatises concerned with ethics and
aesthetics.This book of essays explores the tension between
subjectivity and objectivity as it develops in the Enlightenment in
Winkelmann, Hume, and Kant. The focus is upon aesthetic theories
concerning the beautiful, the sublime, and the grotesque. The
question by two of the authors as to whether aesthetic enjoyment of
the blues is morally justified underscores an interest in these
essays in the connection between aesthetics and ethics. This
concern of the relation of aesthetics to judgments in cognition and
in morality underlies an area of peculiar interest to Kant, and
therefore to many of these essays.Finally the authors examine a
turn toward the subjective in the Postmodern world of art and
aesthetic theory, a turn that represents a relaxation of the
original Enlightenment tension between subjectivity and
objectivity. It also represents perhaps a grotesque turn toward the
extreme of subjectivity in the realm of Postmodern theory, an
extreme toward which at least one of the authors casts a critical
eye.
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