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In this key text in the history of art and aesthetics, Karl
Rosenkranz shows ugliness to be the negation of beauty without
being reducible to evil, materiality, or other negative terms used
it's conventional condemnation. This insistence on the specificity
of ugliness, and on its dynamic status as a process afflicting
aesthetic canons, reflects Rosenkranz's interest in the metropolis
- like Walter Benjamin, he wrote on Paris and Berlin - and his
voracious collecting of caricature and popular prints. Rosenkranz,
living and teaching, like Kant, in remote Koenigsberg, reflects on
phenomena of modern urban life from a distance that results in
critical illumination. The struggle with modernization and idealist
aesthetics makes Aesthetics of Ugliness, published four years
before Baudelaire's Fleurs du Mal, hugely relevant to modernist
experiment as well as to the twenty-first century theoretical
revival of beauty. Translated into English for the first time,
Aesthetics of Ugliness is an indispensable work for scholars and
students of modern aesthetics and modernist art, literary studies
and cultural theory, which fundamentally reworks conceptual
understandings of what it means for a thing to be ugly.
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