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Journal articles on the topic 'Baumgarten'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

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1

Switzer, Adrian. "The Traditional Form of a Complete Science." Philosophica: International Journal for the History of Philosophy 22, no. 44 (2014): 149–64. http://dx.doi.org/10.5840/philosophica2014224422.

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The article treats as significant the formal coincidence between Kant’s presentation of the science of metaphysics in the “Architectonic of Pure Reason” chapter of the first Critique and Alexander Baumgarten’s presentation of the same in the Metaphysica. From his comments on Baumgarten in the metaphysics lectures, the article shows that for Kant metaphysics in its traditional form lacked completeness and systematic order. Kant fits completeness into his architectonic plan of a scientific metaphysics by Converting Baumgartian ontology into an “analytic of the understanding”; Kant achieves the systematicity by modeling a rational “idea of the form of the whole” after Baumgarten’s tree-like ordering of the special sciences of metaphysics. Thus, Kant realizes the completeness and systematicity in a theoretical presentation of the science of metaphysics that he finds lacking in Baumgarten precisely by borrowing from the latter his scheme for metaphysics.

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2

Sala, Lorenzo. "Kant and Baumgarten on positing. Kant's notion of positing as a response to that of Baumgarten." Revista de Estudios Kantianos 5, no. 2 (October 23, 2020): 269. http://dx.doi.org/10.7203/rek.5.2.14003.

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In the literature on Kant’s philosophy, it is almost universally ignored that Baumgarten used the notion of positing in a technical sense before Kant. In this article, I try to fill this gap in the literature by providing an analysis of Kant’s notion of positing in relation to Baumgarten’s one. I first show how Kant's differentiation of relative and absolute positing is not simply an alternative to Baumgarten's notion of existence, but is instead an alternative to his (usually ignored) notion of positing; I then develop a positive account of Kant’s notion of positing.

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3

Fugate, Courtney D. "Alexander Baumgarten on the Principle of Sufficient Reason." Philosophica: International Journal for the History of Philosophy 22, no. 44 (2014): 127–47. http://dx.doi.org/10.5840/philosophica2014224421.

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This paper defends the Principle of Sufficient Reason, taking Baumgarten as its guide. The primary aim is not to vindicate the principle, but rather to explore the kinds of resources Baumgarten originally thought sufficient to justify the PSR against its early opponents. The paper also considers Baumgarten’s possible responses to Kant’s pre-Critical objections to the proof of the PSR. The paper finds that Baumgarten possesses reasonable responses to all these objections. While the paper notes that in the absence of a response to Kant’s Critical discussion of the PSR (which is omitted here due to limitations of space), this result does not vindicate the principle, it shows how this discussion provides a deeper understanding of what, according to Baumgarten, the PSR really assumes and intends, and prepares the way for a more responsible discussion of Kant’s critical objections to Baumgarten’s supposed proof.

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4

McQuillan, J. Colin. "Baumgarten on Sensible Perfection." Philosophica: International Journal for the History of Philosophy 22, no. 44 (2014): 47–64. http://dx.doi.org/10.5840/philosophica2014224417.

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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.

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5

Thorsen, Bengerd Juul. "Baumgarten’s Meditationes as a Commentary on Horace’s Ars Poetica." Philosophica: International Journal for the History of Philosophy 22, no. 44 (2014): 9–25. http://dx.doi.org/10.5840/philosophica2014224415.

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In his first work, the poetics Meditationes philosophicae de nonnullis ad poema pertinentibus. Baumgarten frequently cites Horace’s Ars Poetica. Horace was highly esteemed by Baumgarten and his contemporaries, especially in the fields of poetics and art theory. Baumgarten uses Ars Poetica throughout Meditationes. but it is especially in the paragraphs introducing some of the key concepts of his philosophy that there is a significant amount of excerpts from Horace’s poetics. In this article, I examine if and how contemporary scholarly interpretations may have influenced these uses of Horace’s text and maybe even Baumgarten’s theory. Following a brief account of relevant commentaries as well as Horace’s position in contemporary art theory, I explore the implied interpretations of Ars Poetica in Baumgarten’s excerpts, focusing on his three key terms, phantasia. heterocosmica and methodum lucidam. Compared to the conception of Horace as expressed in the commentaries, this study suggests a complex interaction between those and Baumgarten’s art theory.

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6

Nannini, Alessandro. "The Six Faces of Beauty. Baumgarten on the Perfections of Knowledge in the Context of the German Enlightenment." Archiv für Geschichte der Philosophie 102, no. 3 (September 25, 2020): 477–512. http://dx.doi.org/10.1515/agph-2017-0034.

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AbstractIn this essay, I investigate Baumgarten’s doctrine of the six perfections of knowledge (wealth, magnitude, truth, clarity, certainty, and life), which is famously one of the most characteristic and enigmatic features of his philosophy. Recent scholarship has almost unanimously stressed the rhetorical background of the categories. Instead, I argue that Baumgarten elaborates his theory in close relationship with coeval philosophy. To support this claim, I examine the position of some Thomasian philosophers, such as Johann Liborius Zimmermann, who had indicated a list of criteria similar to that of Baumgarten. Moreover, I analyse the distinction between formal and material perfections, tracing it back to the Wolffian milieu. On these bases, I propose a new reconstruction of Baumgarten’s doctrine, with particular attention to its aesthetic application. Finally, I outline the reception of the six categories in the late German Enlightenment until Kant.

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7

Funch, Bjarne Sode. "Emotions in the Psychology of Aesthetics." Arts 11, no. 4 (August 9, 2022): 76. http://dx.doi.org/10.3390/arts11040076.

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Ever since Alexander Gottlieb Baumgarten (1714–1762) introduced the concept of aesthetics, the prevailing idea has been that the fine arts provide an alternative source of knowledge to the traditional sciences. Art, however, has always been closely associated with emotions. Taking Baumgarten’s treatise on poetry as a point of departure, I argue that Baumgarten laid the ground for a conception of art that emphasizes emotion rather than cognition with a particular appeal to psychology to provide principles of aesthetic appreciation of art. This appeal is met here with a phenomenological discussion of a series of precepts within contemporary emotion theories, which provides the necessary and sufficient conditions for a psychological theory of aesthetic appreciation of art.

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8

Haferkamp, Leyla. "Analogon Rationis: Baumgarten, Deleuze and the ‘Becoming Girl’ of Philosophy." Deleuze Studies 4, no. 1 (March 2010): 62–69. http://dx.doi.org/10.3366/e1750224110000814.

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Baumgarten's Enlightenment Aesthetica provides an important philosophical analogon to Deleuze's alignment of the ‘logic of sense’ and the ‘logic of sensation’. By linking serious reason with its ‘other’, frivolous feeling, the book greatly influenced Herder and the Romantic movement. Baumgarten called aesthetics ‘logic's younger sister’. Like Deleuze he propagates nothing less than the ‘becoming-girl’ of philosophy.

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9

Spree, A. "Cassirers Baumgarten." Monatshefte XCV, no. 3 (September 1, 2003): 410–20. http://dx.doi.org/10.3368/m.xcv.3.410.

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10

Bencard, Adam. "Why Looking at Objects Matters." Museum Worlds 6, no. 1 (July 1, 2018): 48–59. http://dx.doi.org/10.3167/armw.2018.060105.

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Within museum studies, there has been a recent interest in engaging with objects and their material effects as something other than vehicles for human cultural meaning. This article contributes to this interest by offering a philosophical argument for the value of close sensory engagement with physical things, an argument found in the works of the eighteenth-century German philosopher Alexander Gottlieb Baumgarten (1714–1762), who is famous for fathering the modern philosophical discourse on aesthetics. Baumgarten outlines what he terms sensate thinking, defined as an analogue to rational thinking, and insists that this form of thinking can be analyzed and sharpened according to its own rules. I discuss how Baumgarten’s aesthetics might be useful for how the curator approaches objects in exhibitions and for understanding how visitors’ sensory engagement with the objects can be important beyond the deciphering of historical narratives and conceptual meanings.

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11

Lorini, Gualtiero. "The Origins of the Transcendental Subjectivity." Philosophica: International Journal for the History of Philosophy 22, no. 44 (2014): 107–26. http://dx.doi.org/10.5840/philosophica2014224420.

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Scholars are prone to emphasize A.G. Baumgarten’s foundation of aesthetics as a discipline in its own right and Kant’s use of Baumgarten’s Metaphysica as a handbook for his lectures on metaphysics. Nonetheless there are some further and deeper reasons for Baumgarten to mark a division between the so called Leibnizian-Wolffian tradition and the Kantian transcendental revolution. The goal of this paper is to take into account these reasons and to analyze them in order to show that they are rooted in psychology as it is treated in Baumgarten’s Metaphysica. The paper’s aim is to highlight Baumgarten’s methodological approach, that is, the use of Leibnizian doctrines, which are exposed through the Wolffian order. The radical originality of this procedure can be adequately assessed only by virtue of its Kantian development.

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12

Grubor, Nebojsa. "Baumgarten‘s foundation of modern aesthetics." Filozofija i drustvo 26, no. 3 (2015): 599–616. http://dx.doi.org/10.2298/fid1503599g.

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The paper explains Baumgarten?s foundation of modern aesthetics as the science of sensible cognition. The paper first examines mentalistic paradigm in modern philosophy as an intellectual background of Baumgarten?s philosophy and aesthetics (I). This is followed by consideration of Baumgarten?s definitions of aesthetics from Philosophical meditations of pertaining to some matters concerning poetry (1735), Metaphysics (1739) and Aesthetics (1750) (II). Finally, it considers Baumgarten?s definition of aesthetics as the science of sensible cognition starting from Leibniz?s theory of different stages of knowledge (III).

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13

Rosenbrück, Jonas. "Toward an Aesthetics of Obscurity: From Baumgarten to Blanchot." Comparative Literature 72, no. 1 (March 1, 2020): 83–102. http://dx.doi.org/10.1215/00104124-7909994.

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Abstract This article analyzes the notions of clarity and obscurity in the work of Alexander Gottlieb Baumgarten and Maurice Blanchot, arguing that the latter’s thought of the “other night” proposes a radical reversal, indeed, a corruption, of Baumgarten’s founding of aesthetics as an ocularcentric discipline governed by clarity. Baumgarten, laying the groundwork for much of the “distribution of the sensible” that dominated the field of aesthetics after him, conceives of the poem as the paradigmatic instance of an aesthetic cognition of the sensible that is founded on the triad of clarity, attention, and liveliness. He thus opposes the poem to both the obscure fundus animae, the ground of the soul, and to utopian poetry, neither of which can be poetized. By contrast, Blanchot’s literature dissolves this triple foundation into a writing of obscurity, distracted fatigue, and a “death resurrected”; literature opens aesthetics to that which had been constitutively excluded at its founding moment. The clarifying powers of the poet-aesthetician are replaced by passive “fascination” and a “passion of the image” that delimits a radically different, countercosmic, and thus utopian space of literature.

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14

ROCHE, MARCEL, and JORGE VERA. "Cruveilhier-Baumgarten Syndrome." Acta Medica Scandinavica 152, no. 1 (April 24, 2009): 13–18. http://dx.doi.org/10.1111/j.0954-6820.1955.tb05636.x.

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15

Langton, Terence W. "Baumgarten Debate Continues." Journal of Physical Education, Recreation & Dance 75, no. 7 (September 2004): 4–5. http://dx.doi.org/10.1080/07303084.2004.10607260.

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16

Nakamura, Tomoe. "The Cognitive and Ethical Scope of “Confusion” in Baumgarten’s Aesthetics." Philosophica: International Journal for the History of Philosophy 22, no. 44 (2014): 27–46. http://dx.doi.org/10.5840/philosophica2014224416.

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This article explores the genealogical and metaphysical grounds for the positive re-evaluation of the concept of “confusion”, which played a vital role in Baumgarten’s foundation of aesthetics as scientia cognitionis sensitivae. First, a reconsideration of Descartes’ and Leibniz’ conceptualisations of “confusion” attempts to identify the place of Baumgarten’s aesthetics within the rationalistic dilemma of evaluating moral and art-related thinking. Secondly, the way in which Baumgarten attempted to resolve the dilemma is explored by a close examination of his concept of “the aesthetic” and of how the concept changed in the course of his writings. The ultimate purpose of this article lies in illuminating an aspect of Baumgarten’s aesthetics, that is, an attempt to synthesize the cognitive and the ethical by means of a re-configuration o f the concept of “confusion”.

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17

POPOVIĆ, UNA. "HAJDEGER O BAUMGARTENU." Arhe 18, no. 35 (March 3, 2022): 183–201. http://dx.doi.org/10.19090/arhe.2021.35.183-201.

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Rad je posvećen tumačenju nekoliko Hajdegerovih komentara o Baumgartenu iz predavanja Pitanje o stvari. Analiza pokazuje da Hajdeger u vezi sa Baumgartenom ističe odnos metafizike i estetike, te da zasnivanje estetike vidi kao implicitno vođeno novovekovnim razumevanjem bivstvujućeg kao stvari i predmeta čulnog opažanja. Rezultat analize ukazuje na važno mesto kritike Baumgartena u pogledu projekta prevladavanja estetike, te omogućava dublje razumevanje nekih od osnovnih postavki Hajdegerove filozofije umetnosti.

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18

Popovic, Una. "Baumgarten on the sublime: Aesthetics and ethics." Theoria, Beograd 63, no. 3 (2020): 129–39. http://dx.doi.org/10.2298/theo2003129p.

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In this paper, Baumgarten?s account of the sublime will be inspected with regard to the category of aesthetic greatness (magnitudo aesthetica), and in view of his analysis of aesthetic subjectivity. The Sublime is here shown to be the topic within which Baumgarten aims to prove the inner connection between aesthetics and ethics, or, more precisely, that the aesthetic domain is intrinsically related to moral acts and decision-making. My analysis will primarily focus on Baumgarten?s Aesthetics, but it will also include his other works, like Metaphysics and Ethics, as well as the comparison with Pseudo-Longinus?s text On the Sublime. My research should indicate one possible interpretation of Baumgarten?s project, such that it would not discard its purpose, the autonomy of aesthetical domain, but which could, at the same time, determine the relations of aesthetics with other forms of human thought.

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19

PARRET, Herman. "De Baumgarten à Kant." Revue Philosophique de Louvain 90, no. 3 (August 1, 1992): 317–43. http://dx.doi.org/10.2143/rpl.90.3.556179.

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20

Troll, Hartmut. "Im Baumgarten der Denkmalpflege." Die Denkmalpflege 80, no. 1 (May 1, 2022): 22–30. http://dx.doi.org/10.1515/dkp-2022-1006.

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21

Neves, Fabrício Monteiro. "Entrevista Profª. Maíra Baumgarten." CTS em foco: Boletim da ESOCITE.BR 2, no. 1 (2022): 17–33. http://dx.doi.org/10.29327/233515.2.1-2.

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22

Ramos-Pachon, Carlos M., Andrew Dam, Humberto M. Rios, Micaella Kantor, Sarah M. Arvaneh, and Luis M. Nasiff. "S2622 Cruveilhier- Baumgarten Syndrome." American Journal of Gastroenterology 116, no. 1 (October 2021): S1101. http://dx.doi.org/10.14309/01.ajg.0000784020.54434.dd.

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23

Amelung, Nina, Priska Daphi, Eva Gerharz, Christian Lahusen, Roland Roth, Dieter Rucht, Simon Teune, Peter Ullrich, and Sabrina Zajak. "Britta Baumgarten(1975 – 2018)." Forschungsjournal Soziale Bewegungen 32, no. 1 (March 26, 2019): 105–7. http://dx.doi.org/10.1515/fjsb-2019-0014.

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24

BOEZAART, A., and R. RAW. "Reply to Dr. Baumgarten." Regional Anesthesia and Pain Medicine 31, no. 6 (November 2006): 585. http://dx.doi.org/10.1016/j.rapm.2006.07.002.

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25

STANTON, M., G. LIGUORI, and C. EDMONDS. "Reply to Dr. Baumgarten." Regional Anesthesia and Pain Medicine 33, no. 5 (September 2008): 506–7. http://dx.doi.org/10.1016/j.rapm.2008.05.009.

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26

RUPP, S. "Reply to Dr. Baumgarten." Regional Anesthesia and Pain Medicine 33, no. 5 (September 2008): 507. http://dx.doi.org/10.1016/j.rapm.2008.07.531.

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27

Stanton, Maureen, Gregory A. Liguori, and Chris R. Edmonds. "Reply to Dr. Baumgarten." Regional Anesthesia and Pain Medicine 33, no. 5 (September 2008): 506–7. http://dx.doi.org/10.1097/00115550-200809000-00022.

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28

Rupp, Stephen. "Reply to Dr. Baumgarten." Regional Anesthesia and Pain Medicine 33, no. 5 (September 2008): 507. http://dx.doi.org/10.1097/00115550-200809000-00023.

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29

Hasselhoff, Görge K. "Elisheva Baumgarten: Entangled histories." Journal of Transcultural Medieval Studies 5, no. 2 (November 1, 2018): 369–71. http://dx.doi.org/10.1515/jtms-2018-0023.

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30

Gomes da Cunha Ramos, Hernani, Adriana Castaldo Colosio, Milton César Calzavara Marcondes, Fábio Conceição Fontes, Cristiano Gil Dapper, Rodrigo De Oliveira Campos, Renato David Ghisolfi, and Ricardo Siqueira Bovendorp. "Professor Júlio Ernesto Baumgarten." Latin American Journal of Aquatic Mammals 17, no. 2 (October 31, 2022): 142. http://dx.doi.org/10.5597/lajam00290.

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31

Vasil’eva, Marina Yu. "Alexander Gottlieb Baumgarten. Aesthetica." History of Philosophy Yearbook 27 (December 28, 2022): 439–43. http://dx.doi.org/10.21146/0134-8655-2022-37-439-443.

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32

Hernández Marcos, Maximiliano. "El Sentido Interno, Tópica Natural de la Invención en A. G. Baumgarten." Philosophica: International Journal for the History of Philosophy 22, no. 44 (2014): 65–91. http://dx.doi.org/10.5840/philosophica2014224418.

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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 (1750-58); rather he developed the Psychological Topics from his first poetological writing - Meditationes de nonnullis ad poema pertinentibus (1735).

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33

Nannini, Alessandro. "Ancient or modern? Alexander G. Baumgarten and the coming of age of aesthetics." Filozofija i drustvo 26, no. 3 (2015): 629–51. http://dx.doi.org/10.2298/fid1503629n.

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The aim of this essay is to examine Baumgarten?s conception on the history of aesthetics and on his role in it. In the first part, I analyze the way in which Baumgarten?s aesthetic innovation has been perceived by two of his disciples, namely Georg Conrad Winckelmann and Georg Andreas Will. While the former puts the emphasis on the modernity of aesthetics, Will seems more inclined to attribute the birth of aesthetics to ancient philosophers. Despite this apparent disagreement, my thesis is that the basic positions of the two authors are very similar and find their rationale in Baumgarten?s peculiar treatment of the issue. Consequently, I set out to inquire into Baumgarten?s theory, in the attempt to better understand his reconstruction of the empirical history of aesthetics. My purpose is to see how this empirical history is framed within a more systematic history which establishes its guidelines and marks its turning points. Eventually, I take into account the possible implications of this position with regard to the question of the origin of aesthetics.

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34

Baumgarten, Alexander, and Ana Rita Ferreira. "“Prolegómenos” da Estética de Baumgarten." Philosophica: International Journal for the History of Philosophy 22, no. 44 (2014): 167–74. http://dx.doi.org/10.5840/philosophica2014224423.

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35

Schwartz, Daniel R. "Joseph M. Baumgarten (1928-2008)." Journal of Jewish Studies 60, no. 1 (April 1, 2009): 1–4. http://dx.doi.org/10.18647/2847/jjs-2009.

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36

Seman, Clare, and David Baumgarten. "Response from Seman and Baumgarten." Contemporary Psychology: A Journal of Reviews 43, no. 2 (February 1998): 154–55. http://dx.doi.org/10.1037/005101.

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37

Friedrich, J., and E. Regel. "Cruveilhier-Baumgarten-Syndrom ohne Ösophagusvarizen." RöFo - Fortschritte auf dem Gebiet der Röntgenstrahlen und der bildgebenden Verfahren 142, no. 02 (February 1985): 226–28. http://dx.doi.org/10.1055/s-2008-1052638.

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38

Bisseru, B., and J. S. Patel. "Cruveilhier-Baumgarten (C-B) disease." Gut 30, no. 1 (January 1, 1989): 136–37. http://dx.doi.org/10.1136/gut.30.1.136.

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39

Schwarter, Ludger. "Experimentelle Ästhetik." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 57, no. 2 (2012): 14–24. http://dx.doi.org/10.28937/1000107590.

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Der Beitrag geht von der Beobachtung aus, dass die Ästhetik seit Baumgarten auf der Basis experimenteller Verfahren konzipiert worden ist. Anstatt nun aber, wie es spätestens seit den Arbeiten Fechners geschieht, das naturwissenschaftliche Experimentieren zum Maßstab für die »Wissenschaft der sinnlichen Erkenntnis und Darstellung« (Baumgarten) bzw. für Arbeit an den Grenzen des Sinnes zu nehmen, versuche ich, die genuinen Formen ästhetischen Experimentierens genauer zu analysieren. Mit Adorno kann man drei historische Phasen ästhetischen Experimentierens unterscheiden. Lyotard stellt die Forderung nach einer Experimentalisierung der Philosophie auf, die dem Experiment in den Künsten folgt. Wie aber kann ästhetisches Experimentieren neue künstlerische Entwicklungen vorbereiten?<br><br>My contribution begins with the observation that aesthetics has been conceived since Baumgarten on the basis of experimental procedures. Rather than, in the veine of Fechner’s works, taking the experimental methods of the natural sciences as a measure for the »science of sensual knowledge and representation« (Baumgarten) or for the working on the limits of sense, I try to analyze more attentively the genuine forms of aesthetical experimentation. With Adorno, one can differentiate between three historical phases of aesthetic experimentation. Lyotard claims that philosophy today should become experimental, following an experimentalization in the arts. But how could aesthetic experiments prepare the grounds for artistic developments?

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40

LEQUAN, Mai. "KANT, RÉFLEXIONS SURLA PHILOSOPHIE MORALE ET BAUMGARTEN. PRINCIPES DE LA PHILOSOPHIE PRATIQUE PREMIÈRE, INTRODUCTION ET TRADUCTION PAR LUC LANGLOIS, PARIS: VRIN, 2014, 419 PP." Estudos Kantianos [EK] 4, no. 02 (January 25, 2017): 223–26. http://dx.doi.org/10.36311/2318-0501.2016.v4n2.17.p223.

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Le présent ouvrage propose une traduction annotée et précédée d’une longue Présentation (33 pages) de deux textes complémentaires, qui marquèrent, bien qu’à divers titres, la philosophie pratico-morale allemande du milieu du XVIIIe siècle - les Réflexions sur la philosophie morale de Kant et les Principes de la philosophie pratique première de Baumgarten - par Luc Langlois, en collaboration avec Mathieu Robitaille (pour la traduction des Réflexions) et Emilie Jade-Poliquin (pour la traduction des Principes). Les Réflexions de Kant ne constituent pas un ouvrage à proprement parler, mais un ensemble de notes et remarques rédigées par Kant, en lien avec son enseignement en philosophie morale qui s’étala sur plus de 30 ans, souvent inscrites dans les marges (ou sur des feuillets séparés) du principal manuel que Kant utilisait comme fil directeur de ses cours de philosophie morale à l’Université de Königsberg, à savoir les Initia philosophiae practicae primae d’Alexander Gottlieb Baumgarten (Halle, édition de 1760). Ces deux textes sont donc inséparables dans la mesure où le premier, reflet direct des enseignements de morale de Kant, s’inspire largement du second, dont il propose de larges commentaires. La présentation concomitante de ces deux textes permet à la fois d’apprécier l’influence des Principes de Baumgarten sur Kant et la manière dont Kant intègre, en se les réappropriant et en les infléchissant, à sa propre philosophie morale des thèmes empruntés à Baumgarten.

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41

Del Valle, Julio. "El principio de la estética y su relación con el ser humano. Acerca de la dimensión antropológica de la Estética de Alexander Baumgarten." Estudios de Filosofía, no. 38 (August 26, 2008): 47–68. http://dx.doi.org/10.17533/udea.ef.12696.

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El artículo tiene como eje central la presentación del sentido original con el cual nace la Estética, como disciplina filosófica, de la mano de Alexander Baumgarten. Está dividido en tres partes: la primera con la finalidad de contextualizar históricamente el nacimiento de la Estética y su idea base es que la Ilustración es un movimiento de raíz europea con un cariz preeminentemente antropológico. La segunda parte se concentra en presentar y explicar los conceptos centrales de la Estética de Baumgarten, a saber: que ella es una reflexión acerca de lo particular en tanto particular. La tercera parte vincula la reflexión estética con la dimensión humana. La idea base de esta tercera parte, aquella que le da sentido a todo el artículo, es que la Estética de Baumgarten se dirige hacia la construcción de un ser humano completo, aquella persona que sabe integrar su razón y su sensibilidad, y encuentra en ello una feliz armonía. Tal ser humano será llamado el felix aestheticus.

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Graham, Gordon. "Aesthetics as a Normative Science." Royal Institute of Philosophy Supplement 75 (October 2014): 249–64. http://dx.doi.org/10.1017/s1358246114000216.

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It is well known that we owe the term ‘aesthetics’ in its philosophical sense to the 18th century German philosopher Alexander Baumgarten. The eighteenth century's interest in aesthetics, however, pre-dated the invention of the term. In 1725, Francis Hutcheson published an Inquiry into the Original of Our Idea of Beauty and Virtue. This may be said to be the first sustained and significant work in philosophical aesthetics as we now know it. Hutcheson's volume preceded Baumgarten's by 10 years, and within Scotland it inaugurated a series of philosophical writings on taste and beauty that continued for almost a century. Contributors included major philosophical figures like David Hume, Thomas Reid and Adam Smith, as well as influential figures less well known today such as Alexander Gerard, George Turnbull and Lord Kames.

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Hlobil, Tomáš. "Alexander Gottlieb Baumgarten: Ästhetik." Estetika: The European Journal of Aesthetics 46, no. 1 (May 15, 2009): 105. http://dx.doi.org/10.33134/eeja.54.

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SCHAFHALTERZOPPOTH, I., and A. GRAY. "Reply to Drs. Baumgarten and Thompson." Regional Anesthesia and Pain Medicine 31, no. 1 (January 2006): 89–90. http://dx.doi.org/10.1016/j.rapm.2005.10.002.

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Tolle, Oliver. "Conhecimento Sensível em Leibniz e Baumgarten." Primeiros Escritos, no. 2 (December 6, 1999): 165. http://dx.doi.org/10.11606/issn.2594-5920.primeirosestudos.1999.104867.

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Schafhalter-Zoppoth, Ingeborg, and Andrew T. Gray. "Reply to Drs. Baumgarten and Thompson." Regional Anesthesia and Pain Medicine 31, no. 1 (January 2006): 89–90. http://dx.doi.org/10.1097/00115550-200601000-00021.

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Heltai, Pál. "Stefan Baumgarten, Jordi Cornellà-Detrell (eds)." Across Languages and Cultures 20, no. 2 (December 2019): 281–89. http://dx.doi.org/10.1556/084.2019.20.2.8.

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Dumouchel, Daniel. "A. G. Baumgarten et la naissance du discours esthètique." Dialogue 30, no. 4 (1991): 473–502. http://dx.doi.org/10.1017/s0012217300011823.

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L'Æsthetica de Baumgarten est restée depuis plus de deux cents ans dans l'ombre de la «révolution» au moins nominale qu'elle a représentée pour l'histoire de la philosophic moderne. Et de fait, Baumgarten doit moins son importance historique à l'évaluation rigoureuse qu'on a pu faire des concepts qu'il a contribué à développer, qu'à l'ouverture d'un champ théorique et philosophique particulier. Car quelles que soient les limites et les lacunes historiques de son projet théorique, il n'en reste pas moins qu'une grande partie de la tradition philosophique de l'esthétique, en particulier dans le contexte de la philosophie allemande, y a trouvé la possibilité d'une unification et comme la marque d'une «origine». C'est Baumgarten qui, le premier en Allemagne, a réuni les conditions nécessaires pour assurer à la théorie de l'art et du beau une cohérence systématique qui lui avait été auparavant refusée et, par voie de conséquence, pour lui permettre de former un champ théorique et philosophique distinct. On a souvent fait remarquer que Baumgarten avait «inventé» très peu de thèmes nouveaux en esthétique; et il est indéniable qu'il s'est contenté la plupart du temps de réorganiser, dans ses observations, un matériau à la fois ancien et restreint, qu'il tire presque exclusivement de la rhétorique et de la poétique traditionnelles. Mais la pertinence historique de sa pensée tient plutôt au fait qu'il crée une nouvelle perspective unifiée, un nouveau centre de gravité qui permet d'organiser de façon neuve un ensemble de phénomènes qui avaient été traités avant lui de façon indépendante.

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BRITO (UFPA), Aline Brasiliense dos Santos. "A REFERÊNCIA HISTÓRICA PARA O CONCEITO DE INCONSCIENTE EM KANT: A REPRESENTAÇÃO OBSCURA EM LEIBNIZ E BAUMGARTEN." Kínesis - Revista de Estudos dos Pós-Graduandos em Filosofia 8, no. 18 (March 14, 2018): 1–17. http://dx.doi.org/10.36311/1984-8900.2016.v8.n18.02.p1.

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Este artigo tem por objetivo apresentar o conceito de inconsciente em Kant, tendo em vista a concepção de Leibniz e Baumgarten como duas referências históricas importantes na formulação deste conceito. Para Leibniz, o campo do inconsciente é o confuso ou obscuro, e para Baumgarten, o reino das trevas, que constitui o fundo da alma. Segundo estes dois autores, o ‘inconsciente’ ou o ‘obscuro’ é característico da faculdade inferior, a sensação. Por sua vez, para Kant, o inconsciente é definido como um gênero amplo de representações presente no campo teórico, prático e estético, concepção que representa um diferencial com relação a estes dois filósofos que lhe antecederam nesta discussão.

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Majetschak, Stefan. "Aesthetic Judgments and Their Cultural Grounding." Yearbook for Eastern and Western Philosophy 2018, no. 3 (May 27, 2019): 269–81. http://dx.doi.org/10.1515/yewph-2018-0019.

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Abstract At present, the theoretical approaches of Baumgarten and Kant continue to constitute the framework for discussing the nature of aesthetic judgments about art, including the question of what such judgments are really articulating. In distinction to those two eighteenth-century theorists, today we would largely avoid an assumption that aesthetic judgments necessarily attribute beauty to the objects being judged; we would as a rule take a far more complex approach to the topic. But whatever we say about art, even today many theorists wish to ground aesthetic judgments in particularities of the aesthetic object, like Baumgarten, or in specific moments of the aesthetic experience, like Kant.

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