In this paper I trace a theoretical path along Meinong’s works, by means of which the notion of aesthetic object as well as the changes this notion undergoes along Meinong’s output will be highlighted. Focusing especially on Über emotionale Präsentation, I examine, on the one hand, the cognitive function of emotions, on the other hand, the objects apprehended by aesthetic emotions, i.e. aesthetic objects. These are ideal objects of higher order, which have, even though not primarily, the capacity to attract (...) aesthetic experiences to themselves. Hence, they are connected to emotions, being what is presented by them. These results are achieved on the basis of a fundamental analogy between the domain of value and the aesthetic domain. Finally, the notion of an absolute beauty is discussed. (shrink)

In this paper I trace a theoretical path along Meinong’s works, by means of which the notion of aesthetic object as well as the changes this notion undergoes along Meinong’s output will be highlighted. Focusing especially on "Über emotionale Präsentation", I examine, on the one hand, the cognitive function of emotions, on the other hand, the objects apprehended by aesthetic emotions, i.e. aesthetic objects. These are ideal objects of higher order, which have, even though not primarily, the capacity to attract (...) aesthetic experiences to themselves. Hence, they are connected to emotions, being what is presented by them. These results are achieved on the basis of a fundamental analogy between the domain of value and the aesthetic domain. Finally, the notion of an absolute beauty is discussed. (shrink)

Two perennial questions in aesthetics, among others, are the demarcation question, viz., what, if anything, distinguishes the aesthetic domain from the cognitive or moral domains, and the normative question, viz., what kind of normativity, if any, does the aesthetic domain involve. Although recent attempts to answer these questions can be found in contemporary literature, in this paper I examine the answers defended by the early phenomenologist Edith Landmann-Kalischer. I show that Landmann-Kalischer answers the demarcation question by blending together a cognitivist (...) account of aesthetic judgment with an objectivist account of beauty, and that she builds an account of aesthetic normativity on this cognitivist and objectivist basis. I contend that her subtle and unified account of aesthetic demarcation and normativity has advantages over other competing hedonist and Kantian views and, as such, merits further consideration in contemporary debates. (shrink)

Alexius Meinong is one of the foremost, most independent-minded, most distinctive, most misunderstood and most unjustly maligned of all philosophers. He was pilloried by his own teacher Brentano and his one-time admirer Bertrand Russell as what Gilbert Ryle called “perhaps the supreme entity-multiplier in the history of philosophy.” It is often enough to employ the adjective ‘Meinongian’ to cast a philosopher’s views into the outer darkness. But as supreme commentator J. N. Findlay observes, Meinong was a painstakingly careful and methodical (...) thinker, who inched his way forward to his radical ontological views. Meinong maintained a running interest in ethics and value theory, and the subjective experiences of feeling and desire that correlate to these spheres, from his 1894 Psychological-ethical investigations in value theory to his late works Emotional presentation and the posthumous On the foundation of general value theory. In the process he graduated from value subjectivism to value objectivism. In this paper we will survey Meinong’s mature theory of intentionality and its objects, with particular attention to the otherwise neglected dignitatives and desideratives. (shrink)