Abstract
It is the aim of this paper to clarify the phenomenological concept of the aesthetic instinct and to sketch the phenomenology of aesthetic instinct that has its basis in concrete aesthetic experience. In Sect. 14.1, I will delineate Schiller’s concept of the aesthetic instinct. In Sect. 14.2, I will assess Schiller’s concept of the aesthetic instinct, and in Sect. 14.3, I will give a brief sketch of the phenomenological concept of the aesthetic instinct.
An earlier version of this paper was published in Inmunnonchong 68 (2012), the journal of the Institute of Humanities of Seoul National University. It was presented on October 25, 2012 at the Colloquium of the Department of Aesthetics of Seoul National University. I thank Professor Oh, Chong-Hwan and Professor Shin, Hye-Kyoung for their kind invitation to the Colloquium. It was also presented on December 28, 2012 at the Colloquium of Philosophy Department of Fudan University, China. I thank Professor Sun Xiangchen for his kind invitation to the Colloquinum. This work was supported by the Korea Research Foundation Grant funded by the Korean Government(MEST) (NRF-2007-361-AL0016).
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Notes
- 1.
F. Schiller, On the Aesthtetic Education of Man in a Series of Letter, English and German Facing, trans. by E. M. Wilkinson and L. A. Willoughby, New York: Oxford University Press, 1982. In this paper, this work will be referred to with the abbreviation: Aesthetic Education.
- 2.
I will translate “Trieb” as “instinct.”
- 3.
J. G. Fichte, “Über Geist und Buchstab in der Philosophie (1794)”, in: Vermischte Schriften und Aufsätze, Fichtes Werke Bd VIII, ed. by I. H. Fichte, Berlin: Walter de Gruyter, 1971, 276 ff.
- 4.
S. Freud, “Eine Kindheitserinnerung des Leonardo Da Vinci (1910),” in: Bildende Kunst und Literatur, Studienausgabe Bd. X, Frankfurt/M.: S. Fischer Verlag, 1969, 87–159.
- 5.
S. Freud, “Eine Kindheitserinnerung des Leonardo Da Vinci (1910),” 104.
- 6.
For example, J. Hargreaves, The Developmental Psychology of Music , Cambridge: Cambridge University Press, 1986, 62 ff.
- 7.
I. Kant, Kritik der Urteilskraft, Hamburg: Felix Meiner, 1974, 55 ff.
- 8.
I. Kant, Kritik der Urteilskraft, 44.
- 9.
E. M. Wilkinson and L. A. Willoughby translate “das reine ästhetische Gefuhl” as “the purely aesthetic sense” (Aesthetic Education, 199), but I translate it as “the purely aesthetic feeing.” They translate “Stimmung” mainly as “mode,” but I translate it as “mood or attunement.” Sometimes they also translate “Stimmung” as “mood” (Aesthetic Education, 153).
- 10.
With respect to the close connection between the aesthetic feeling and the aesthetic freedom, Schiller writes as follows: “This lofty equanimity and freedom of the spirit, combined with power and vigour, is the mood in which a genuine work of art should release us, and there is no more certain touchstone of true aesthetic excellence” (Aesthetic Education, 153).
- 11.
A typical example for this position is I. Kant, Kritik der Urteilskraft, 40 ff.
- 12.
Husserl talks about the aesthetic attitude, for example, in Erste Philosophie II (Husserliana VIII), p. 101. M. Dufrenne attempts a detailed analysis of the aesthetic attitude in M. Dufrenne, The Phenomenology of Aesthetic Experience , trans. by E. S. Casey, Evanston, Il: Northwestern University Press, 1973, 426–439.
- 13.
D. E. W. Fenner gives an overview of the history of the discussion about the issue of the aesthetic attitude in D. E. W. Fenner, The Aesthetic Attitude, Atlantic Highlands, N.J.: Humanities Press, 1996.
- 14.
For example, J. Stolnitz, Aesthetics and Philosophy of Art Criticism, Boston: Houghton Mifflin, 1969; J. Stolniz, “Some Questions Concerning Aesthetic Perception,” Philosophy and Phenomenological Research 22 (1961); V. Tomas, “Aesthetic Vision”, The Philosophical Review 68 (1959); F. Sibley, “Aesthetics and the Looks of Things,” Journal of Philosophy 56 (1959).
- 15.
G. Dickie, “The Myth of the Aesthetic Attitude,” American Philosophical Quarterly I/1 (1964); G. Dickie, “Attitude and Object: Aldrich on the Aesthetic,” The Journal of Aesthetics and Art Criticism 25/1 (1966).
- 16.
M. Dufrenne attempts a detailed analysis of the aesthetic world in chapter 5 of The Phenomenology of Aesthetic Experience , trans. by E. S. Casey, Evanston, Il: Northwestern University Press, 1973, 147-198. Chapter 5 has the title: “Aesthetic Object and World.”
- 17.
A. Danto, “The Artworld,“The Journal of Philosophy 61/9 (1964); H. S. Becker, Art Worlds, Berkeley: University of California Press, 1982; G. Dickie, Art and the Aesthetic, Ithaca, N.Y.: Cornell University Press, 1974; G. Dickie, The Art Circle, New York: Haven,1984.
- 18.
P. Bourdieu, The Rules of Art: Genesis and Structure of the Literary Field , trans. by S. Emanuel, Cambridge: Polity Press, 1996.
- 19.
M. Dufrenne, The Phenomenology of Aesthetic Experience, trans. by E. S. Casey, Evanston, Il: Northwestern University Press, 1973, 147–198.
- 20.
G. Dickie, Art and the Aesthetic, Ithaca, N.Y.:Cornell University Press, 1974.
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Lee, NI. (2020). Toward the Phenomenology of Aesthetic Instinct Developed Through a Dialogue with F. Schiller. In: Lau, KY., Nenon, T. (eds) Phenomenology and the Arts: Logos and Aisthesis. Contributions to Phenomenology, vol 109. Springer, Cham. https://doi.org/10.1007/978-3-030-30866-7_14
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