Stefanie Buchenau explores the philosophical and conceptual origins of aesthetics and the philosophy of art.

When, in 1735, Alexander Gottlieb Baumgarten added a new discipline to the philosophical system, he not only founded modern aesthetics but also contributed to shaping the modern concept of art or 'fine art'. In The Founding of Aesthetics in the German Enlightenment, Stefanie Buchenau offers a rich analysis and reconstruction of the origins of this new discipline in its wider context of German Enlightenment philosophy. Present-day scholars commonly regard Baumgarten's views as an imperfect prefiguration of Kantian and post-Kantian aesthetics, but Buchenau argues that Baumgarten defended a consistent and original project which must be viewed in the context of the modern debate on the art of invention. Her book offers new perspectives on Kantian aesthetics and beauty in art and science.

Stefanie Buchenau explores the philosophical and conceptual origins of aesthetics and the philosophy of art.

Can an abstract theory of Empfindsamkeit aesthetics have any value to a musician wishing to study composition in the classical style? The eighteenth-century German theorist and pedagogue Heinrich Koch showed how this question could be answered with a resounding yes. Starting with the systematic aesthetic theory of the Swiss encyclopedist Johann Sulzer, Koch was creatively able to adapt Sulzer's conservative ideas on ethical mimesis and rhetoric to concrete problems of music analysis and composition. In this collaborative study, Thomas Christensen and Nancy Baker have translated and analysed selected writings of Sulzer and Koch respectively, bringing to life a little-known confluence of philosophical and musical thought from the German Enlightenment. Koch's appropriation of Sulzer's ideas to the service of music represents an important development in the evolution of Western musical thought.

The German Enlightenment and the Rise of Historicism traces the thought of a large and neglected group of German thinkers and their encounter with the ideas and ideal of the Enlightenment from 1740 to 1790. Concentrating on the nature of their historical consciousness, Peter Hanns Reill addresses two basic issues in the interpretation of the Enlightenment: to what degree can one speak of the unity of the Enlightenment and to what extent can the Enlightenment be characterized as “modern”? Reill attempts to revise the traditional interpretation of the Enlightenment as an age insensitive to the postulates of modern historical thought and to dissolve the alleged opposition of the Enlightenment to later intellectual developments such as Idealism. He argues that German Enlightened thinkers generated the general presuppositions upon which modern historical thought is founded. Asserting that the Enlightenment was not a unitary movement, Reill shows how each phase of it had unique elements and made contributions to Enlightenment thought as a whole. Exploring the forms of thought, the mental climate, and the different intellectual milieus in which the German thinkers operated, Reill demonstrates that they were confronted by two opposing intellectual traditions: German Pietism and rationalism. In attempting to reconcile both without submerging one into the other, these Enlightenment thinkers turned to historical speculation and learning. They discussed the relation between religious and rationalistic assumptions, the transformation of the concepts of religion and law, the interaction between aesthetic and historical thought, the creation of a theory of understanding to support the new idea of history, the use of causation in historical analysis, and the rediscovery of the Middle Ages. Reill reveals how they anticipated the work of more famous thinkers of the nineteenth century and establishes the conceptual similarities between thinkers generally thought to be more different than alike. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1975.

Diotima's Children is the first comprehensive re-examination of the rationalist tradition of aesthetics as it prevailed in Germany in the late seventeenth and early eighteenth centuries. This tradition is of the greatest historical importance because it gave birth to modern aesthetics, art criticism, and art history.

The crisis of tradition early in the twentieth century?signaled by the collapse of perspective in painting and tonality in music and evident in the explosive ferment of the avant-garde movements?opened a new stage of modern art, which aesthetic theory is still struggling to comprehend. David Roberts situates the current aesthetic and cultural debates in a wider historical frame which extends from Hegel and the German Romantics to Luk¾cs and Adorno, Benjamin and Baudrillard. Art and Enlightenment: Aesthetic Theory after Adorno is the first detailed analysis in English of Theodor Adorno?s seminal Philosophy of Modern Music, which can be seen as a turning point between modern and postmodern art and theory. Adorno's diagnosis of the crisis of modernist values points back to Hegel's thesis of the end of art and also forward to the postmodernist debate. Thus the paradoxes of Adorno?s negative aesthetics return to haunt the current discussion by representatives of the second generation of the Frankfurt School, Anglo-American Marxism, and French poststructuralism. Going beyond Adorno's dialectic of musical enlighten-ment, Roberts proposes an alternative model of the enlightenment, of art applied to literature and exemplified in the outline of a theory of parody. In its critique of Adorno, Art and Enlightenment clears the way for a reconsideration of twentieth-century artistic theory and practice and also, in offering a model of postmodern art, seeks to disentangle critical issues in the discussion of the avant-garde, modernism, and postmodernism.