附註:Includes bibliographical references (pages 209-216) and index.
The historical side of aesthetics -- The birth of aesthetics -- Art on the offensive -- The role of imagination -- Self-transcendence -- Desire's ignorance -- Faust, never lost in desire -- Desiring the will -- The despairing will -- Art as the organon of philosophy -- Real/ideal -- Salvific intuition -- Myths versus mysticism -- After Schelling -- Prosaic myths -- Art's futurity -- The necessity of art -- Philosophy as the organon of art -- Sic transit -- Hegel's triptychs -- Beauty surpassed -- The ultimate rationality -- Myths and the symbol -- The symbolic sublime -- The circle -- Art's new truth -- Apprehending the new -- The subject transformed -- The hidden truth -- Philosophic art and aesthetics -- The emerging meaning -- The function of art -- Neutrality -- Art as the organon of art -- From artifice to the will -- Art uprooted from truth -- Nietzsche's appearance -- Expected tragedies -- Rhetoric first -- Being and art: the axis Nietzsche-Heidegger -- Art: the truth of the nonexistent -- The sublimity of nihilism -- The nothingness of art -- The repercussions of nihilism -- Utopia and nihilism: the two faces of the aesthetic -- Renouncing the beautiful -- Unprecedented form -- Metaphor -- Sublime allegory -- The aesthetics of negativity -- Subjective aesthetics -- The role of subjectivity -- Art: imagining the true -- New sensations -- Hermeneutics -- The unconscious subject -- The ineffable -- Tragedy and comedy -- Sublime sublimity.
摘要:"By analyzing the three loci of aesthetics - the subjective, the objective, and the absolute - the author concludes that only the sublime demonstrates that art is neither subjective nor objective. The one essential component of art is the new, the sole "instrument" that can guarantee art's vitality even when confronted by the nihilistic tendencies of modernity."--Jacket.
