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    Moritz's conception of beauty is essentially the same as ... — Carmelics
    Home/Aesthetics
    HistoryEditSee Inverse

    Moritz's conception of beauty is essentially the same as Wolff's and Baumgarten's conception of beauty as 'sensible perfection'

    Aesthetics
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    1 reason for
    2 reasons against

    Reasons For

    1 perspective
    Reason for
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    • 1.Moritz defines beauty as the internal perfection of a work of art as it strikes the senses and imagination
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    • 2.Wolff and Baumgarten define beauty as 'sensible perfection'
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    • 3.Moritz draws no distinction between Wolff's and Baumgarten's conceptions
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    Reasons Against

    2 perspectives
    Reason against 1 of 2
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    • 1.Moritz explicitly rejects the teleological framework underlying Wolff and Baumgarten's perfection, denying that beauty serves any external cognitive or moral purpose.
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    • 2.For Wolff and Baumgarten, sensible perfection is instrumental to rational cognition, whereas Moritz's 'das in sich selbst Vollendete' is radically self-contained and purposeless.
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    • 3.This shift from perfection-as-means to perfection-as-autotelic anticipates Kant's purposiveness without purpose and constitutes a conceptually distinct aesthetic framework.
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    Reason against 2 of 2
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    • 1.Baumgarten grounds beauty in the unity of a manifold as perceived through confused lower cognition, making it epistemically dependent on its relation to clear rational ideas.
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    • 2.Moritz, by contrast, locates beauty in the work's immanent wholeness such that the perceiver must subordinate themselves to the artwork rather than subsuming it under cognitive faculties.
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    • 3.This inversion of the perceiver-object relation marks a categorical departure from the Wolffian tradition that the supporting argument's conflation of 'perfection' language obscures.
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    Aesthetics

    Connections

    1 linked claim

    Moritz's conception of beauty aligns with Wolff's conception of beauty as sensib...

    Related

    Baumgarten grounds beauty in the unity of a manifold as perceived through confus...For Wolff and Baumgarten, sensible perfection is instrumental to rational cognit...Moritz defines beauty as the internal perfection of a work of art as it strikes ...Moritz draws no distinction between Wolff's and Baumgarten's conceptions
    +6 moreShow less
    Moritz explicitly rejects the teleological framework underlying Wolff and Baumga...Moritz's conception of beauty aligns with Wolff's conception of beauty as sensib...Moritz, by contrast, locates beauty in the work's immanent wholeness such that t...This inversion of the perceiver-object relation marks a categorical departure fr...This shift from perfection-as-means to perfection-as-autotelic anticipates Kant'...Wolff and Baumgarten define beauty as 'sensible perfection'

    Similar

    Moritz's conception of beauty aligns with Wolff's conception of beauty...96%Kant's concept of beauty is essentially the same as Wolff's and Moritz...94%Wolff and Baumgarten define beauty as 'sensible perfection'90%Moritz's claim that Kant's conception of beauty is essentially the sam...87%

    Source

    AI-extracted1/3 agreementValid
    SEP: aesthetics-18th-german
    View source passageHide passage
    In 1791, Moritz dedicated a review of the Essay on Taste by “our mutual friend” Herz to Salomon Maimon, another Jewish intellectual who had arisen to prominence in Berlin from beginnings even more unpromising than those of Mendelssohn and Herz. Here he manifests his own allegiance to Wolff and Baumgarten, arguing that his conception of beauty as the internal perfection of a work of art as it strikes the senses and imagination is essentially the same as their conception of beauty as “sensible per
    Extraction notes

    Validity: Extracted via Max plan + API grounding/validity checks

    Details

    Type
    claim
    Perspectives
    3 (1 for, 2 against)
    Edits
    1 edit