The aged Theodore Fischer describes Aesthetic in his auto-criticism as
the union of mimetic and harmony, and the beautiful as the harmony of
the universe, which is never realized in fact, because it is infinite.
When we think to grasp the beautiful, we experience that exquisite
illusion, which is the aesthetic fact. Robert Fischer, son of the
foregoing, introduced the word _Einfuehlung_, to express the vitality
which he believed that man inspired into things with the help of the
aesthetic process.
E. Siebeck and M. Diez, the former writing in 1875, the latter in 1892,
unite a certain amount of idealistic influence, derived from Kant and
Herbart, with the merely empirical and psychological views that have of
late been the fashion. Diez, for instance, would explain the artistic
function as the ideal of feeling, placing it parallel to science; the
ideal of thought, morality; the ideal of will and religion, the ideal of
the personality. But this ideal of feeling escapes definition, and we
see that these writers have not had the courage of their ideas: they
have not dared to push their thought to its logical conclusion.
The merely psychological and associationist view finds in Theodore Lipps
its chief exponent. He criticizes and rejects a series of aesthetic
theories, such as those of play, of pleasure, of art as recognition of
real life, even if disagreeable, of emotionality, of syncretism, which
attaches to art a number of other ends, in addition to those of play and
of pleasure.
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