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1 Thomas Docherty Aesthetic education and the demise of experience The philistine is intolerant.1 love naturally hates old age and keeps his distance from it 2 In 1913, Walter Benjamin was a central figure alongside his teacher, Gustav Wyneken, in the ‘German Youth Movement’, agitating for substantial reforms in the German educational system and, beyond that, in German society. He placed one of his first serious publications, an essay entitled ‘Experience’, in Der Anfang, the magazine of the movement, as a contribution to the debates. In this essay, he points

in The new aestheticism
Open Access (free)

The interest in aesthetics in philosophy, literary and cultural studies is growing rapidly. This book contains exemplary essays by key practitioners in these fields which demonstrate the importance of this area of enquiry. New aestheticism remains a troubled term and in current parlance it already comes loaded with the baggage of the 'philistine controversy' which first emerged in an exchange that originally that took place in the New Left Review during the mid-1990s. A serious aesthetic education is necessary for resisting the advance of 'philistinism'. Contemporary aesthetic production may be decentred and belonging to the past, but that is not a reason to underestimate what great works do that nothing else can. Despite well-established feminist work in literary criticism, film theory and art history, feminist aesthetics 'is a relatively young discipline, dating from the early 1990s'. The book focuses on the critical interrogation of the historical status of mimesis in the context of a gendered and racial politics of modernity. Throughout the history of literary and art criticism the focus has fallen on the creation or reception of works and texts. The book also identifies a fragmentary Romantic residue in contemporary aesthetics. The Alexandrian aesthetic underlies the experience of the 'allegorical'. 'Cultural poetics' makes clear the expansion of 'poetics' into a domain that is no longer strictly associated with 'poetry'. The book also presents an account of a Kantian aesthetic criticism, discussing Critique of Pure Reason, Critique of Aesthetic Judgement and Critique of Judgement.

experience of sensible perfection of the beautiful. Nevertheless, Baumgarten introduced rational ascesis into modern aesthetics through the notion of the education of sensibility, a tendency advanced by Schiller in his Aesthetic Education. The modern subordination of the aesthetic to the ascetic in terms of a stage in the progression from sensibility to reason contrasts with the Alexandrian view of it as the site of a complex processional movement combining progressive and recessive tendencies. For the latter, the movement between the sensible and the ideal is not an

in The new aestheticism

which is more than the sum of its parts. The idea of the organism is fundamental to the SP and is derived from Schiller’s response to Kant in his Letters on the Aesthetic Education of Man (1795). Manfred Frank defines organisms as ‘structures whose parts take part in the purpose of the whole and in such a way that the purpose is not external to them, but, rather, their own purpose’ (Frank 1982 p. 188). In order for the state to become an organism the individual organisms in it must be united to form a greater organism: for this they need a purpose. A purpose justifies a

in Aesthetics and subjectivity
The ends of incompletion

Clifton Olds, ‘Jan Gossaert’s “St. Luke Painting the Virgin”: A Renaissance Artist’s Cultural Literacy’, Journal of Aesthetic Education , 24:1 ( 1990 ), 89–96, 92; Johan Dambruyne, ‘Corporative Capital and Social Representation in the Southern and Northern Netherlands, 1500–1800’, in Maarten Prak, Catharina Lis, Jan Lucassen and Hugo Soly (eds

in Making and unmaking in early modern English drama
Kant

of reason, because the ideas of reason, such as goodness, cannot be manifested empirically. Soon after the writing of the CJ Schiller will come to regard art as a means for the ‘aesthetic education’ of the people on the basis of his interpretation of Kant’s conception: art is to make morality available through pleasure by sensuously conveying ideas, instead of trying to compel people in terms of abstract imperatives. Kant himself opposes ‘the pure disinterested pleasure in the judgement of taste’ (B p. 7, A p. 7) to a judgement based on an ‘interest’ in an ulterior

in Aesthetics and subjectivity