Philosophy Dictionary of ArgumentsHome
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| Aesthetic difference: Aesthetic difference refers to the aspect of the experienced work of art that focuses on the way it is created rather than on the object in its everyday use._____________Annotation: The above characterizations of concepts are neither definitions nor exhausting presentations of problems related to them. Instead, they are intended to give a short introduction to the contributions below. – Lexicon of Arguments. | |||
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Hans-Georg Gadamer on Aesthetic Difference - Dictionary of Arguments
I 90 Aesthetic Difference/Gadamer: [Gadamer speaks of aesthetic distinction, not of difference.] What we call a work of art and experience aesthetically is based (...) on an achievement of abstraction. By disregarding everything in which a work is rooted as its original context of life (all religious or profane functions in which it stood and in which it had its meaning), it becomes visible as the "pure work of art". The abstraction of the aesthetic consciousness achieves in this respect a positive achievement for itself. It lets us see and be for ourselves what the pure work of art is. I call this, its achievement, the "aesthetic difference". >Abstraction, >Distinctions, >Art, >Art works, >Aesthetics. I 95 In [the works of art], [the aesthetic difference] distinguishes the aesthetic from the non-aesthetic references in which it is placed, just as we can speak of someone behaving aesthetically outside the experience of art. The problem of aesthetics is thus restored to its full breadth and the transcendental question is restored, which had been abandoned by the standpoint of art and its separation of beautiful appearance and harsh reality. The aesthetic experience is indifferent to whether its object is real or not, whether the scene is the stage or life. I 92 The "aesthetic difference" which it operates as aesthetic consciousness also creates its own external existence. It proves its productivity by preparing its sites for simultaneity, the "universal library" in the field of literature, the museum, the theatre, the concert hall etc. I 93 Thus, through "aesthetic difference", the work loses its place and the world to which it belongs by becoming part of the aesthetic consciousness. This corresponds on the other hand to the fact that the artist also loses his or her place in the world._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. Translations: Dictionary of Arguments The note [Concept/Author], [Author1]Vs[Author2] or [Author]Vs[term] resp. "problem:"/"solution:", "old:"/"new:" and "thesis:" is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition. |
Gadamer I Hans-Georg Gadamer Wahrheit und Methode. Grundzüge einer philosophischen Hermeneutik 7. durchgesehene Auflage Tübingen 1960/2010 Gadamer II H. G. Gadamer The Relevance of the Beautiful, London 1986 German Edition: Die Aktualität des Schönen: Kunst als Spiel, Symbol und Fest Stuttgart 1977 |
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> Counter arguments against Gadamer
> Counter arguments in relation to Aesthetic Difference
Ed. Martin Schulz, access date 2024-04-28