Kant's views on logic and logical theory play an important role in his critical writings, especially the Critique of Pure Reason. However, since he published only one short essay on the subject, we must turn to the texts derived from his logic lectures to understand his views. The present volume includes three previously untranslated transcripts of Kant's logic lectures: the Blumberg Logic from the 1770s; the Vienna Logic (supplemented by the recently discovered Hechsel Logic) from the early 1780s; and the (...) Dohna-Wundlacken Logic from the early 1790s. Also included is a new translation of the Jasche Logic, compiled at Kant's request and published in 1800 but which also appears to stem in part from a transcript of his lectures. Together these texts provide a rich source of evidence for Kant's evolving views on logic, on the relations between logic and other disciplines, and on a variety of topics (e.g. analysis and synthesis) central to Kant's mature philosophy. They also provide a portrait of Kant as lecturer, a role in which he was both popular and influential. This volume contains substantial editorial apparatus: a general introduction, linguistic and factual notes, glossaries of key terms (both German/English and English/German) and concordances relating Kant's lectures to Georg Frederich Meier's Excerpts from the Doctrine of Reason, the book on which Kant lectured throughout his life and in which he left extensive notes. (shrink)

One of the most important concepts Baumgarten introduces in his Reflections on Poetry is the concept of sensible perfection. It is surprising that Baumgarten does not elaborate upon this concept in his Metaphysics, since it plays such an important role in the new science of aesthetics that he proposes at the end of the Reflections on Poetry and then further develops in the Aesthetics. This article considers the significance of the absence of sensible perfection from the Metaphysics and its implications (...) for Baumgarten’s aesthetics, before tuming to the use Meier and Kant make of Baumgarten’s concept. In the end, this article shows that Baumgarten did not abandon his conception of sensible perfection in the Metaphysics, though its influence declined significantly after Kant rejected the idea that sensibility and the understanding could be distinguished by the perfections of their cognition. (shrink)

Broad in its geographic scope and yet grounded in original archival research, this book situates the inception of modern aesthetic theory – the philosophical analysis of art and beauty - in theological contexts that are crucial to explaining why it arose. Simon Grote presents seminal aesthetic theories of the German and Scottish Enlightenments as outgrowths of a quintessentially Enlightenment project: the search for a natural 'foundation of morality' and a means of helping naturally self-interested human beings transcend their own self-interest. (...) This conclusion represents an important alternative to the standard history of aesthetics as a series of preludes to the achievements of Immanuel Kant, as well as a reinterpretation of several canonical figures in the German and Scottish Enlightenments. It also offers a foundation for a transnational history of the Enlightenment without the French philosophes at its centre, while solidly endorsing historians' growing reluctance to call the Enlightenment a secularising movement. (shrink)

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. (shrink)

Available for the first time in English, this critical translation draws from the original seven Latin editions and Georg Friedrich Meier's 18th-century German translation. Together with a historical and philosophical introduction, extensive glossaries and notes, the text is supported by translations of Kant's elucidations and notes, Eberhard's insertions in the 1783 German edition and texts from the writings of Meier and Wolff. For scholars of Kant, the German Enlightenment and the history of metaphysics, Alexander Baumgarten's Metaphysics is an essential, authoritative (...) resource to a significant philosophical text. (shrink)

Die vorliegende Arbeit hat den Leibnizschen metaphysischen Optimismus und einige der weniger bekannten Stationen und Zuge der Rezeption der "Essais de Theodicee" und des Theorems von der besten Welt im deutschen 18. Jahrhundert zum Gegenstand. Sie erhebt nicht den Anspruch, eine auch nur annahernd vollstandige Darstellung des Verlaufes der Debatte um die "beste Welt" zu geben. Angesichts der Fulle der zeitgenossischen Einlassungen und Ausserungen zum Thema war eine Auswahl bestimmter Rezeptionsmomente vorzunehmen. Auf die Prozesse der Verwandlung einer strikt metaphysischen Theodizee (...) hin zu einem populareren, dafur aber auch anfechtbareren Optimismus will diese Arbeit ebenso hinweisen wie auf den Umstand, dass nicht erst die Kantische Schrift "Uber das Misslingen aller philosophischen Versuche in der Theodizee" von 1791 die (philosophische) Problematik der Lehre von der besten Welt dingfest macht. (shrink)

Philosophisches Lexicon was the first dictionary of philosophy in a modern language. First published in 1726 by Johann Georg Walch (1693-1775), this reference work appeared in four editions. This reprint is of the second improved edition, published in 1733, which contains biographical sketches from Abelard to Zenos. The work is known for its comprehensive entries and depth of scholarship, reflecting in part the ideas of Leibniz and Wolff.

TRANSLATED FROM THE ITALIAN OF BENEDETTO CROCE BY DOUGLAS AINSLIE B.A. (OXON.).

Die Untersuchung analysiert deswegen nach einem einleitenden Vorschlag zur Bestimmung des Verhältnisses von Logik und Metaphysik im Anschluss an Leibniz Baumgartens Erkenntnistheorie in ihrer charakteristischen Komplementarität von Ästhetik und Logik, die das gesamte Feld aller möglichen Gewissheit, d. h. des Bewusstseins der Wahrheit der verschiedensten Erkenntnisse, abdecken. Darüber hinaus erörtert sie auch deren mögliche Gegenstände, nämlich die Beschaffenheit der Dinge, wie sie das Wissen Gottes als eine ideale Metaphysik enthielte. Auf der Grundlage einer Ontologie teilweise unbestimmer aktualer Existenz kommt Baumgarten (...) zu einer kosmologischen Theorie monadischer Bewegtheit aller körperlichen Dinge. Sie führt zu einer Psychologie des Erkennens und Handelns, aus der ein indeterministischer Begriff menschlicher Willensfreiheit folgt, die auch von Gottes Allwissen nicht beschränkt wird. (shrink)

One of the most important concepts Baumgarten introduces in his Reflections on Poetry is the concept of sensible perfection. It is surprising that Baumgarten does not elaborate upon this concept in his Metaphysics, since it plays such an important role in the new science of aesthetics that he proposes at the end of the Reflections on Poetry and then further develops in the Aesthetics. This article considers the significance of the absence of sensible perfection from the Metaphysics and its implications (...) for Baumgarten’s aesthetics, before turning to the use Meier and Kant make of Baumgarten’s concept. In the end, this article shows that Baumgarten did not abandon his conception of sensible perfection in the Metaphysics, though its influence declined significantly after Kant rejected the idea that sensibility and the understanding could be distinguished by the perfections of their cognition. (shrink)

Alexander Gottlieb Baumgarten gilt mit Fug und Recht als der selbstandigste aller Wolffianer. Doch hat man kaum je systematisch untersucht, worin - uber die Begrundung der Asthetik hinaus - seine denkerische Originalitat besteht. Im vorliegenden Band wird der fur Kant wichtigste Schulautor als Erkenntnistheoretiker, Psychologe und Moralphilosoph erstmals prononciert aus dem Schatten Wolffs herausgeholt. Nach der jungsten Pionierubersetzung der Metaphysica ins Deutsche folgt hier eine interpretatorisch wegweisende Detailstudie zu philosophischen Schlusselthemen des fruhvollendeten Hochaufklarers - gerade recht zu den anstehenden Jubilaen. (...) Alexander Gottlieb Baumgarten is regarded justifiably as the most independent of all Wolffians. Up to now however there have been very few systematic studies examining his intellectual originality, apart from his founding of aesthetics. In this volume, the author who was most important for Kant during his school years finally steps out of Wolff's shadow and is revealed to be an epistemologist, a psychologist and moral philosopher. After the recent translation of the Metaphysica into German, a pioneering achievement, what follows here is an interpretively groundbreaking detailed study of the key philosophical subjects of the philosopher of the High Enlightenment, just in time for the current anniversaries. (shrink)

The purpose of this article is to examine Baumgarten’s proposal - Aesthetica §140; analyzing the catalogue of the sensitive faculties of the human mind as well as the Topics of artistic production. Certainly, this would be equivalent to the conversion of the aesthetic subject and the artist natural talent into beauty and art criteria. This does not imply, however, reducing the latter to mere expressive subjectivity of feeling and emotion. Contrary, Baumgarten is still thinking that art and beauty are subject (...) to rules; only those rules are based on the human psyche nature and, the rather peculiar function of her own cognitive abilities. Such conviction encourages his idea of an artistic creation founded up on Natural Topics; which is based on the “Empirie Psychology of the Moderns”. This article considers the presumption that the philosophical elaboration of that idea implies an historical rising of internal sense; both, as an authentic art’s abode and, as a supreme cognitive resource thanks to his conception in terms of “analogon rationis”. On the other hand, this article shows that Baumgarten did not develop the Psychological Topics of invention on his Aesthetica ; rather he developed the Psychological Topics from his first poetological writing - Meditationes de nonnullis ad poema pertinentibus. (shrink)

Caroline Torra-Mattenklott ; Inhaltsverzeichnis ; Volltext // Exemplar mit der Signatur: München, Bayerische Staatsbibliothek -- PVA 2002.25.

Vernünfftige Gedancken von Gott, der Welt und der Seele des Menschen, auch allen Dingen überhaupt -- Christian Freyherrn von Wolf Erinnerung, wie er es künftig mit den Einwürfen halten will, die wider seine Schriften gemacht werden.

Schiller defined the object of beauty as «living form.» He explicitly related his thesis to a rationalistic aesthetics of form and to an empiricistic aesthetics of life. First the problem of aesthetic theorizing is treated. In the light of this discussion, respectively, the aesthetics of life, form, and living form are analyzed. First the respective ontological universe of each aesthetic theory is developed, then the aesthetic universe in terms of ontological commitments, and finally the specific interpretation of beauty is outlined.

While visiting a friend's family in Cornwall during the traditional May Day celebrations, eighteen-year-old Laura becomes involved in an old family mystery concerning the disappearance of ancient heirlooms.

The study is a contribution to the history of the theory of aesthetic thinking in the 18th century using the concept of emotion as its guide. Using an extended notion of aesthetics, texts are drawn upon from philosophical affect theory, from experiential psychology, anthropology and art theory from Descartes via German popular philosophy, and exemplary readings are used to show the basis for turning to the aesthetic subject, to feeling in the discourse of aesthetics in the late 18th century.

Diese klare und umfassende Studie zur deutschen Aufklärungsphilosophie ist zugleich die Darstellung einer Epoche und ihres Selbstverständnisses. Dabei wird klar: Aufklärung ist keine Aufgabe, der man sich stellen kann oder auch nicht; sondern Aufklärung ist das Grundthema des Denkens.

Der Versuch einer allgemeinen Auslegekunst ist einer der entwicklungsgeschichtlich bedeutendsten Texte der deutschen Aufklärung zur philosophischen Grundlegung der allgemeinen Hermeneutik. Das Buch, das als Handbuch für den Gebrauch in Vorlesungen zur allgemeinen Auslegungskunst dienen sollte und dementsprechend knapp gehalten ist, erschien zuerst im Jahre 1757.

The first German introduction to philosophy.

Kant's body of works on logic has two sides. On the one hand it reflects the philosophy of the Enlightenment. Anyone wanting to gain vivid insights into the intellectual world of the German Enlightenment cannot ignore Kants works on logic. On the other hand these works, which include his reflections on his legacy, transcripts of his lectures and the Jasche-Handbuch, cover a period of more than 40 years and are of great interest for his developmental history. They are at the (...) same time the nucleus of critical philosophy and provide fundamental insight into the origins of the Critique of Pure Reason, thus contributing more than any commentary to the understanding of the work. Kants Logikcorpus tragt ein Janusgesicht: Auf der einen Seite spiegelt es die Philosophie der Aufklarung. Wer einen plastischen Einblick in die Gedankenwelt der deutschen Aufklarung gewinnen mochte, darf an Kants Logikcorpus nicht vorbeigehen. Auf der anderen Seite aber ist Kants Logikcorpus, das mit seinen Nachlassreflexionen, Vorlesungsnachschriften und dem Jasche-Handbuch einen Zeitraum von mehr als vierzig Jahren umfasst, von hochstem entwicklungsgeschichtlichem Interesse. Es ist zugleich die Keimzelle der kritischen Philosophie. Es gewahrt grundlegende Einblicke in die Entstehungsgeschichte der Kritik der reinen Vernunft und tragt damit besser als mancher Kommentar zum Verstandnis des Werkes bei.'Das Buch zeichnet sich durch eine analytische Kraft und einen umfassenden Uberblick uber die behandelten Themen und Autoren aus, den nur ein Autor wie Hinske vorlegen kann, der der deutschen Aufklarung und der kritischen Philosophie Jahrzehnte der Forschung gewidmet hat.' Rivista di Filosofi. (shrink)