See his "Economimesis," in
Sylviane
Agacinski et al.
Niklas Luhmann - Art of the Social System
("This, of course, is reflected in my narrative.
") He is forced to replace the now "unreadable" texts by the imagination, by his imagination, and in so doing,
he renders himself visible as someone who has plenty of obscenities to report and,
386 Notes to Pages 258-59
as the reader might suspect, is not entirely without interest in the matter. "The reader shall forgive me for presenting him with such boring matters; but I sim- ply live the genesis of my book. " See Pier Paolo Pasolini, Petrolio (Berlin, 1994), quotations on pp. 63f. Even the boredom imputed to the reader is part of the frame boredom/interest, which the author obviously uses to speculate on an in- terest by the reader that supports his own inclinations.
48. Especially in conjunction with the foundation of the Academia del Dis- egno in Florence (1563). The word itself is documented much earlier. See Francesco Doni, HDisegno (Venice, 1549), which I did not have a chance to con- sult directly.
49. For a successful implementation of beauty, see esp. Baltasar Gracian, Agudezay arte de ingenio, 2 vols. (Huesca, 1649; Madrid, 1969). See also the im- portant Introduction by Benito Pelegrin to the French translation of this work,
Art etfigures de I'esprit (Paris, 1983). According to Gracian's Criticdn oder Uber die allgemeinen Laster des Menschen, "everything in life happens as if in an image, in- deed in the imagination" ([1651-1657; Hamburg, 1957], p. 108). This is why philo- sophical wisdom comes about only by way of a disillusionment {desengano). But
this move annuls whatever beauty and happiness contribute to the success of truth as a merely communicative requirement.
50. "Verdad amiga, dijo la Agudeza, non hay manjar mas desabrido en estos estragados tiempos que un desengano a secas, que digo desabrido! no hay bocado mas amargo que una verdad desnuda" (Gracian, Discurso LV, Agudeza y arte de ingenio, vol. 2, pp. 191-92). Similarly, Federico Zuccaro, L'idea dei Pittori, p. 271: disegno is necessary in order to instill vitality and practical use into intelligence and the sciences.
51. Gracian, Discurso XV, Agudezay arte de ingenio, vol. i, p. 163.
52. See Hans Ulrich Gumbrecht, Eine Geschichte der Spanischen Literatur, 2 vols. (Frankfurt, 1990), esp. vol. 1, pp. 8off. Fitting out individuality with onto- logical and religious ambivalence is characteristic of Spanish literature. It can be traced back to the Libro de buen amor, by an author who calls himself Juan Ruiz, Arcipreste de Hita (ca. 1300), especially if one compares this text to its model, the
Confessions of St. Augustine. On the Libro, see Gumbrecht, Eine Gechichte der Spanischen Literatur, vol. 1, pp. 97ff.
53. See Gerhart Schroder, Logos und List: Zur Entwicklung der Asthetik in der fruhen Neuzeit (Konigsstein, Ts. , 1985), esp. pp. 36f. , 88, 253ff.
54. See, e. g. , George Puttenham, The Arte of English Poesie (London, 1589; rpt. Cambridge, 1970), passim.
55. In Plato's Sophistes, 253 D, the hiding place assumes the form of a law against paradox.
56. For example, the belief that the mixture of blood in afleathat had bitten the lovers would be the same as the result of a love affair. See "The Flea," John
Notes to Pages 260-62 387
Donne, The Complete English Poems (Harmondsworth, Middlesex, 1971). On ref- erences to Ramism and the abstraction according to species and genres, see also Michael McCanless, "Paradox in Donne," Studies in the Renaissance 13 (1966): 266-87. Characteristic of presentations of paradox is that they warn the reader-- outside of the text--not to believe in them, for example, in dedicatory prefaces. See, e. g. , Anthony Mundy, The Defence of Contraries (London, 1593; rpt. Ams- terdam, 1969), folio A 3: "Let no manne thinke then, that I or any other would be so sencelesse, as to holde direcdy any of these vaine reasons," or the counter- publication by Ortensio Lando, Confutatione del libro deparadossi nuovamente composta in tre orationi distinta (n. p, n. d. ).
57. We have already pointed out the new orientation toward a complemen- tarity of roles in the wake of the differentiation of the art system. See Chapter 6, section V, above.
58. See, e. g. , Pomponius Gauricus, De sculptura (ca. 1501; Leipzig, 1886), pp. noff. The author thinks of this work as the first scientific treatise on sculpture.
59. See John Dryden, OfDramatick Poesie: An Essay, 2d ed. (London, 1684), p. 50.
60. See Charles Hope, "Artists, Patrons, and Advisors in the Italian Renais- sance," in Guy Fitch Lytle and Stephen Orgel, eds. , Patronage in the Renaissance (Princeton, N. J. , 1981), pp. 293-343.
61. Matteo Pellegrini, IFonti Delllngenio, ridotti ad arte (Bologna, 1650), p. 61. 62. Gracian, Criticdn, p. 61.
63. For an overview of seventeenth- and eighteenth-century materials, see
Arthur O. Lovejoy, "Nature as Aesthetic Norm," Modern Language Notes 42 (1927): 444-50.
64. On the ambiguities in Plato, see Gunter Gebauer and Christoph Wulf, Mimesis: Kultur--Kunst--Gesellschaft (Reinbek, 1992), pp. joff. These ambigui- ties are reflected in the secondary literature on Plato.
65. The eighteenth century still holds onto the notion of an imitation that in- cludes music, even though it can do so only on the basis of associationist psy- chology. See, e. g. , Francis Hutcheson, An Inquiry Concerning Beauty, Order, Harmony, Design, Treatise I of his Inquiry into the Original of Our Ideas of Beauty and Virtue (1725; 4th ed. , 1738; critical ed. The Hague, 1973), p. 81; Abbe Batteux, Les beaux arts riduits h un memeprincipe, 2d ed. (Paris, 1747), pp. 396? . , 259ff To the extent that music is attributed to internal emotional states, it becomes im- possible to distinguish between imitation and the effectuation of such states. Once one sacrifices the guiding idea of imitation, music can take on a leadership role in art--e. g. , in romanticism, where music takes its place next to poetry.
66. Sidney, The Defense of Poetry, p. 12. Gracian radicalizes this notion--dis- simulation is imitatio Christi, the imitation of a God concealed behind a human form.
388 Notes to Pages 262-65
6j. For details, see Hathaway, Marvels and Commonplaces.
68. See, e. g. , Benedetto Varchi, Lezzione nella quale se disputa della maggio- ranza delle arti. . . (1547), quoted from Barocchi, ed. , Trattati d'arte del cinque- cento, vol. 1, pp. 141-206; Pino, Dialogo di Pittura, p. 115. See also Chapter 4, n. 140, above.
69. See, e. g. , Lodovico Dolce, Dialogo dellapittura (1557), quoted from Baroc- chi, Trattati d'arte del cinquecento, vol. 1, pp. 141-206: "la pittura . . . non essere altro che imitazione della natura" (p. 152), and "Deve adunque il pittore procac- ciar non solo d'imitar, ma di superar la natura" (p. 172).
70. "Suelefaltarledeeminenciaalaimitacion,loquealcanzadefacilidad":so Gracidn describes this reserved attitude, this shift of emphasis from adequacy to artistic skill (Gracidn, Discorso LXIII, Agudezay arte de ingenio, vol. 2, p. 257).
71. "Facilesadelantarlocommenzado;arduoelinventar,ydespuesdetanto, cerca de insuperable"--this is how Gracidn begins his treatise {Agudezay arte de
one
ingenio, vol. 1, p. 47). In Zuccaro, L'idea dei Pittori, pp. 225ft". ,
finds a simi- lar view in the form of the distinction between disegno naturaleand disegno arti-
ficiale. The former operates intuitively; only the latter reaches perfection.
72. See Paolo Pino, quoted above, n. 33. As an example of the highly devel- oped literature on artistic technique, which in itself offers occasions for reflec-
tion, see, e. g. , Giovanni Paolo Lomazzo, Trattato dell'arte, della Pittura, Scultura et architettura, 3 vols. (Milan, 1584; Rome, 1844).
73. See Roger de Piles, Cours de peinture par principes (Paris, 1708), pp. iff. The "sociological" observation (pp. i2f. ) that the artist's reputation (Raphael in the Vatican museum) suffices to attract spectators, who then walk by other beau- ties, is remarkable. See also Chapter 1, n. 42, above.
74. See, e. g. , Giovanni Paolo Lomazzo, Idea del Tempio della Pittura (Milan, 1590), p. 146: "Arte non dee esser mostrata nell'arte. "
75. On painting, see de Piles, Cours depeintureparprincipes, p. 3; or Antoine Coypel, Discoursprononcez dans les conferences de I'Academie Royale de Peinture et Sculpture (Paris, 1721), pp. 35, 96, i6iff. ; on poetry, see Lodovico Antonio Mura-
tori, Delia perfetta Poesia Italiana (Modena, 1706), pp. 7if. ; on the fine arts in general, see Batteux, Les beaux arts rtduits a un memeprincipe.
76. Onthisopposition,whichwasintroducedintheseventeenthcenturyand dominated the eighteenth century, see esp. Chap. 3 ("The Creative Imagination: Imitation and Originality") in Joan Pittock, TheAscendancy of Taste: TheAchieve- ment of Joseph and Thomas Warton (London, 1973), pp. j$ff.
77. See Michelangelo Biondo, Von der hochedlen Malerei (1547; German trans. Vienna, 1873; rpt. Osnabriick, 1970), pp. iff.
78. Evenofnature,onesays:"Lanaturaimitasestessa,"Pino,DialogodiPit- tura, p. 113.
79. Jacques Derrida still detects imitation here.
See his "Economimesis," in Sylviane Agacinski et al. , Mimesis des articulations (Paris, 1975), pp. 55~93-
Notes to Pages 263-6$ 389
80. See, e. g. , without transcendental-theoretical foundations but with refer- ence to sensibility, Karl Heinrich Heydenreich, System der Asthetik (Leipzig, 1790). The rejection of imitation still must be mentioned and justified (pp. i87ff, against Batteux and Moritz). The problem still presents itselfwithin a the- ory oriented toward subjective experience.
81. This might even be true for Jean Paul, whose insistence on imitation is motivated by his polemic against transcendental philosophy and insists on the respect due to the real world but not on the validity of its phenomenal appear-
ance. See Jean Paul, Vorschule der Asthetik, quoted from Werke, vol. 5 (Munich, 1963), pp. 7-456; and Clavis Fichtiana seu Leibgeberiana, Werke, vol. 3 (Munich, 1961), pp. 1011-56.
82. Jean Paul's example, Vorschule der Asthetik, p. 43, is to represent pain as pleasure.
83. In the form, e. g. , of a narration within the narration, which is subse- quently discussed in the primary narration and which is justified despite its ob- vious deviation from the story. See Ludwig Tieck's novella Das Festzu Kenelworth (which is about the young Shakespeare and therefore is beyond doubt), quoted from Ludwig Tieck, Shakespeare-Novellen (Berlin, 1981), pp. 7-45 (pp. 2iff. ).
84. See esp. Zuccaro, L'idea dei Pittori, pp. ij2f.
85. Leonardo da Vinci, Notebooks (New York, n. d. ), pp. 61, 73f.
86. "In the presence of nature nothingness is not found," states da Vinci
(ibid. ).
87. See Zuccaro, L'idea dei Pittori, p. 151: "Disegno in quanto che si trova in
tutte le cose, increate, & create, invisibili, & visibili; spirituali, & corporali. . . . " On an alleged pronouncement by Michelangelo, see Francisco de Hollanda, Vier Gesprdche iiber die Malerei, gefuhrtzu Rom 1538 (Vienna, 1899), p. 117.
88. Zuccaro, L'idea dei Pittori, pp. 27iff.
89. Ibid. , p. 151.
90. See Erich Kohler, "'Je ne sais quoi': Ein Kapitel aus der Begriffsgeschichte
des Unbegreiflichen," in Kohler, Esprit und arkadische Freiheit: Aufiatze aus der Welt der Romania (Frankfurt, 1966), pp. 230-86.
91. See Marvin T. Herrick, "Some Neglected Sources of Admiratio," Modern Language Notes 62 (1947): 222-26.
92. Rene Descartes, Les passions de I'&me, Art. 53, quoted from CEuvres etLet- tres, Pleiade ed. (Paris, 1952), pp. 723f. Descartes emphasizes that admiration oc- curs before one knows what it is about and that it is therefore experienced without distinction ("point de contraire"), that is, prior to an observation that can be fixed.
93. The word gusto was, of course, known much earlier--see, e. g. , in Lodo- vico Dolce, Dialogo delta Pittura, p. 165. But here gusto as natural taste ("senza lettere") is opposed to learned judgment without a specification of rank. The se- mantic success of the concept will require a social revalorization.
94. For more details, see Rosalie L. Colie, Paradoxia Epidemica: The Renais-
39?
Notes to Pages 265-70
sance Tradition ofParadox (Princeton, N. J. , 1966). On the continuation of this tradition into the twentieth century, see Hugh Kenner, Paradox in Chesterton (London, 1948).
95. Not just as an "exercise of wit," as Mundy writes in The Defence ofCon- traries, A 3. See also n. 56, above.
96. According to Schroder, "die prarationale BetrofFenheit und Faszination des anderen wird von Comeille als Mktel eingesetzt und zugleich als (theatralis- ches) Mittel aufgedeckt," Logos und List, p. 281.
97. Concerning Kafka and Derrida, see David Roberts, "The Law of the Text of the Law: Derrida before the Law," ms. 1992, p. 18.
98. See J. H. Hexter, The Vision ofPolitics on the Eve ofthe Reformation: More, Machiavelli, and Seyssel (London, 1973); Christopher Hill, "Protestantismus, Pamphlete, Patriotismus und offentliche Meinung im England des 16. und 17. Jahrhunderts," in Bernhard Giesen, ed. , Nationale und kulturelle Identit'dt: Stu- dien zur Entwicklung des kollektiven Bewuftseins in der Neuzeit (Frankfurt, 1991), pp. 100-20.
99. See Hans Ulrich Gumbrecht for an alternative view of the problems that arise in the attempt to make sense of the medieval practice of performance on
the basis of innovations introduced in the sixteenth century. Gumbrecht, "Fur eine Erfindung des mittelalterlichen Theaters aus der Perspektive der friihen Neuzeit," Festschriftfur Walter Haug und Burghart Wachinger (Tubingen, 1992), pp. 827-48.
100. See, e. g. , Varchi, Lezzione, pp. 2jf.
101. The significance of the senses for communicating the motives of obedi- ence is emphasized explicitly. See, e. g. , Johann Christian Liinig, Theatrum Cer- emoniale Historico-Politicum, 2 vols. (Leipzig, 1719-1720), vol. 1, p. 5. It is tempt- ing to speak of latent functions diat resist transformation into motives.
102. On the clash between ceremony and a media-dependent public sphere, see Jorg Jochen Berns, "Der nackte Monarch und die nackte Wahrheit: Auskiin- fte der deutschen Zeitungs- und Zeremonialschriften des spaten 17. und friihen 18. Jahrhunderts zum Verhaltnis von Hof und Offentlichkeit," Daphnisn (1982): 315-49 (34off. ).
103. See, e. g. , Julius Bernhard von Rohr, Einleitung zur Ceremoniel-Wissen- schaft der Privat-Personen (Berlin, 1728), pp. 2f.
104. We have mentioned Liinig and von Rohr. See also Friedrich Wilhelm von Winterfeld, Teutsche und Ceremonial-Politica (Frankfurt-Leipzig, 1700), pp. 257ff. (part 2 of a general treatise on civil society); Julius Bernhard von Rohr, Einleitung zur Ceremoniel-Wissenschaft der grofien Herren (Berlin, 1729).
105. Kant, Kritik der Urteilskraft, ? 49.
106. See Chapter 5, section II, above.
107. For an elaboration of this point, see Chapter 4, section IV, above.
Notes to Pages 270-74
391
108. See some of the shorter treatises by Richardson, reprinted in The Works (London, 1773; rpt. Hildesheim, 1969).
109. Concerning the context of the Acad6mie Royale de Peinture et de Sculp- ture, see, e. g. , Henri Testelin, Sentiments des plus Habiles Peintres sur le Pratique de la Peinture et la Sculpture (Paris, 1696), lectures, 16706? . ; or Coypel, Discours prononcez. Studies of this sort create the impression of fulfilling a dutiful ritual.
no. Coypel, Discoursprononcez, p. 6.
in. SeeThomasE. Crow,PaintersandPublicLifeinEighteenth-CenturyParis (New Haven, Conn. , 1985).
112. This kind of complexity--a sign of age--and exaggeration of distinctions in the theory of taste is exemplified in Archibald Alison, Essays on the Nature and Principles of Taste (Edinburgh-London, 1790; rpt. Hildesheim, 1968).
113. Derrida demonstrates a hierarchization of already hierarchical distinctions within this text in "Economimesis. " Perhaps this covert hierarchization failed to satisfy the striving of romantic reflection toward indeterminacy.
114. See the references in Chapter 4, n. 144, above.
115. See, e. g. , the "Proemio" in Varchi, Lezzione.
116. See a broad, historically oriented dissertation by Anke Wiegand, Die
Schonheit und das Bose (Munich, 1967); further Niels Werber, Literatur als Sys- tem: Zur Ausdifferenzierung literarischer Kommunikation (Opladen, 1992).
117. See Alexander Gotdieb Baumgarten, Aesthetica, vol. 1 (Frankfurt/Oder, 1750; rpt. Hildesheim, 1970). The links to the tradition are well marked in Baumgarten s introduction of the concept of aesthetics: "Aesthetica (theoria lib- eralium artium, gnoseologia inferior, ars pulchre cogitandi, ars analogia rationis) est scientia cognitionis sensitivae" (? 1). But precisely this grounding in tradition makes it difficult for contemporaries such as Kant to trust the name.
118. For the quality of such testimony, it might have been significant that in Greek cities, regionally far-reaching diplomatic contacts or sports contacts were concentrated in the hands of the nobility, even in places (such as Athens) where the nobility no longer applied for city offices.
119. See Plumpe, Asthetische Kommunikation der Moderne, further Gemot Bohme s critical review of this development, which refers aesthetics back to the original meaning of aisthesis, in Fiir eine bkologische Naturasthetik (Frankfurt, 1989); Bohme, "Atmosphere as a Fundamental Concept of a New Aesthetics,"
Thesis Eleven 36 (1993): 113-26.
120. Explicidy in Heydenreich, System derAsthetik (1790).
121. See Gotz Muller, "Jean Pauls Asthetik im Kontext der Fruhromantik und
des Deutschen Idealismus," in Walter Jaeschke and Helmut Holzhey, eds. ,
Fruher Idealismus und Fruhromantik: Der Streit um die Grundlagen derAsthetik (i79S~i8o$) (Hamburg, 1990), pp. 150-73.
122. For an exemplary study, see John Bender, Imagining the Penitentiary:
392
Notes to Pages 274-j6
Fiction and the Architecture ofMind in Eighteenth-Century England (Chicago, 1987).
123. See Hegel's Vorlesungen iiber die Asthetik I, in Werke, vol. 13 (Frankfort, 1970), p. 13-
124. See Bender, Imagining the Penitentiary, pp. 3jff.
125. See, e. g. , Johann Christoph Gottsched, Versuch einer Critischen Dicht- kunst vor die Deutschen (Leipzig, 1730).
126.
he renders himself visible as someone who has plenty of obscenities to report and,
386 Notes to Pages 258-59
as the reader might suspect, is not entirely without interest in the matter. "The reader shall forgive me for presenting him with such boring matters; but I sim- ply live the genesis of my book. " See Pier Paolo Pasolini, Petrolio (Berlin, 1994), quotations on pp. 63f. Even the boredom imputed to the reader is part of the frame boredom/interest, which the author obviously uses to speculate on an in- terest by the reader that supports his own inclinations.
48. Especially in conjunction with the foundation of the Academia del Dis- egno in Florence (1563). The word itself is documented much earlier. See Francesco Doni, HDisegno (Venice, 1549), which I did not have a chance to con- sult directly.
49. For a successful implementation of beauty, see esp. Baltasar Gracian, Agudezay arte de ingenio, 2 vols. (Huesca, 1649; Madrid, 1969). See also the im- portant Introduction by Benito Pelegrin to the French translation of this work,
Art etfigures de I'esprit (Paris, 1983). According to Gracian's Criticdn oder Uber die allgemeinen Laster des Menschen, "everything in life happens as if in an image, in- deed in the imagination" ([1651-1657; Hamburg, 1957], p. 108). This is why philo- sophical wisdom comes about only by way of a disillusionment {desengano). But
this move annuls whatever beauty and happiness contribute to the success of truth as a merely communicative requirement.
50. "Verdad amiga, dijo la Agudeza, non hay manjar mas desabrido en estos estragados tiempos que un desengano a secas, que digo desabrido! no hay bocado mas amargo que una verdad desnuda" (Gracian, Discurso LV, Agudeza y arte de ingenio, vol. 2, pp. 191-92). Similarly, Federico Zuccaro, L'idea dei Pittori, p. 271: disegno is necessary in order to instill vitality and practical use into intelligence and the sciences.
51. Gracian, Discurso XV, Agudezay arte de ingenio, vol. i, p. 163.
52. See Hans Ulrich Gumbrecht, Eine Geschichte der Spanischen Literatur, 2 vols. (Frankfurt, 1990), esp. vol. 1, pp. 8off. Fitting out individuality with onto- logical and religious ambivalence is characteristic of Spanish literature. It can be traced back to the Libro de buen amor, by an author who calls himself Juan Ruiz, Arcipreste de Hita (ca. 1300), especially if one compares this text to its model, the
Confessions of St. Augustine. On the Libro, see Gumbrecht, Eine Gechichte der Spanischen Literatur, vol. 1, pp. 97ff.
53. See Gerhart Schroder, Logos und List: Zur Entwicklung der Asthetik in der fruhen Neuzeit (Konigsstein, Ts. , 1985), esp. pp. 36f. , 88, 253ff.
54. See, e. g. , George Puttenham, The Arte of English Poesie (London, 1589; rpt. Cambridge, 1970), passim.
55. In Plato's Sophistes, 253 D, the hiding place assumes the form of a law against paradox.
56. For example, the belief that the mixture of blood in afleathat had bitten the lovers would be the same as the result of a love affair. See "The Flea," John
Notes to Pages 260-62 387
Donne, The Complete English Poems (Harmondsworth, Middlesex, 1971). On ref- erences to Ramism and the abstraction according to species and genres, see also Michael McCanless, "Paradox in Donne," Studies in the Renaissance 13 (1966): 266-87. Characteristic of presentations of paradox is that they warn the reader-- outside of the text--not to believe in them, for example, in dedicatory prefaces. See, e. g. , Anthony Mundy, The Defence of Contraries (London, 1593; rpt. Ams- terdam, 1969), folio A 3: "Let no manne thinke then, that I or any other would be so sencelesse, as to holde direcdy any of these vaine reasons," or the counter- publication by Ortensio Lando, Confutatione del libro deparadossi nuovamente composta in tre orationi distinta (n. p, n. d. ).
57. We have already pointed out the new orientation toward a complemen- tarity of roles in the wake of the differentiation of the art system. See Chapter 6, section V, above.
58. See, e. g. , Pomponius Gauricus, De sculptura (ca. 1501; Leipzig, 1886), pp. noff. The author thinks of this work as the first scientific treatise on sculpture.
59. See John Dryden, OfDramatick Poesie: An Essay, 2d ed. (London, 1684), p. 50.
60. See Charles Hope, "Artists, Patrons, and Advisors in the Italian Renais- sance," in Guy Fitch Lytle and Stephen Orgel, eds. , Patronage in the Renaissance (Princeton, N. J. , 1981), pp. 293-343.
61. Matteo Pellegrini, IFonti Delllngenio, ridotti ad arte (Bologna, 1650), p. 61. 62. Gracian, Criticdn, p. 61.
63. For an overview of seventeenth- and eighteenth-century materials, see
Arthur O. Lovejoy, "Nature as Aesthetic Norm," Modern Language Notes 42 (1927): 444-50.
64. On the ambiguities in Plato, see Gunter Gebauer and Christoph Wulf, Mimesis: Kultur--Kunst--Gesellschaft (Reinbek, 1992), pp. joff. These ambigui- ties are reflected in the secondary literature on Plato.
65. The eighteenth century still holds onto the notion of an imitation that in- cludes music, even though it can do so only on the basis of associationist psy- chology. See, e. g. , Francis Hutcheson, An Inquiry Concerning Beauty, Order, Harmony, Design, Treatise I of his Inquiry into the Original of Our Ideas of Beauty and Virtue (1725; 4th ed. , 1738; critical ed. The Hague, 1973), p. 81; Abbe Batteux, Les beaux arts riduits h un memeprincipe, 2d ed. (Paris, 1747), pp. 396? . , 259ff To the extent that music is attributed to internal emotional states, it becomes im- possible to distinguish between imitation and the effectuation of such states. Once one sacrifices the guiding idea of imitation, music can take on a leadership role in art--e. g. , in romanticism, where music takes its place next to poetry.
66. Sidney, The Defense of Poetry, p. 12. Gracian radicalizes this notion--dis- simulation is imitatio Christi, the imitation of a God concealed behind a human form.
388 Notes to Pages 262-65
6j. For details, see Hathaway, Marvels and Commonplaces.
68. See, e. g. , Benedetto Varchi, Lezzione nella quale se disputa della maggio- ranza delle arti. . . (1547), quoted from Barocchi, ed. , Trattati d'arte del cinque- cento, vol. 1, pp. 141-206; Pino, Dialogo di Pittura, p. 115. See also Chapter 4, n. 140, above.
69. See, e. g. , Lodovico Dolce, Dialogo dellapittura (1557), quoted from Baroc- chi, Trattati d'arte del cinquecento, vol. 1, pp. 141-206: "la pittura . . . non essere altro che imitazione della natura" (p. 152), and "Deve adunque il pittore procac- ciar non solo d'imitar, ma di superar la natura" (p. 172).
70. "Suelefaltarledeeminenciaalaimitacion,loquealcanzadefacilidad":so Gracidn describes this reserved attitude, this shift of emphasis from adequacy to artistic skill (Gracidn, Discorso LXIII, Agudezay arte de ingenio, vol. 2, p. 257).
71. "Facilesadelantarlocommenzado;arduoelinventar,ydespuesdetanto, cerca de insuperable"--this is how Gracidn begins his treatise {Agudezay arte de
one
ingenio, vol. 1, p. 47). In Zuccaro, L'idea dei Pittori, pp. 225ft". ,
finds a simi- lar view in the form of the distinction between disegno naturaleand disegno arti-
ficiale. The former operates intuitively; only the latter reaches perfection.
72. See Paolo Pino, quoted above, n. 33. As an example of the highly devel- oped literature on artistic technique, which in itself offers occasions for reflec-
tion, see, e. g. , Giovanni Paolo Lomazzo, Trattato dell'arte, della Pittura, Scultura et architettura, 3 vols. (Milan, 1584; Rome, 1844).
73. See Roger de Piles, Cours de peinture par principes (Paris, 1708), pp. iff. The "sociological" observation (pp. i2f. ) that the artist's reputation (Raphael in the Vatican museum) suffices to attract spectators, who then walk by other beau- ties, is remarkable. See also Chapter 1, n. 42, above.
74. See, e. g. , Giovanni Paolo Lomazzo, Idea del Tempio della Pittura (Milan, 1590), p. 146: "Arte non dee esser mostrata nell'arte. "
75. On painting, see de Piles, Cours depeintureparprincipes, p. 3; or Antoine Coypel, Discoursprononcez dans les conferences de I'Academie Royale de Peinture et Sculpture (Paris, 1721), pp. 35, 96, i6iff. ; on poetry, see Lodovico Antonio Mura-
tori, Delia perfetta Poesia Italiana (Modena, 1706), pp. 7if. ; on the fine arts in general, see Batteux, Les beaux arts rtduits a un memeprincipe.
76. Onthisopposition,whichwasintroducedintheseventeenthcenturyand dominated the eighteenth century, see esp. Chap. 3 ("The Creative Imagination: Imitation and Originality") in Joan Pittock, TheAscendancy of Taste: TheAchieve- ment of Joseph and Thomas Warton (London, 1973), pp. j$ff.
77. See Michelangelo Biondo, Von der hochedlen Malerei (1547; German trans. Vienna, 1873; rpt. Osnabriick, 1970), pp. iff.
78. Evenofnature,onesays:"Lanaturaimitasestessa,"Pino,DialogodiPit- tura, p. 113.
79. Jacques Derrida still detects imitation here.
See his "Economimesis," in Sylviane Agacinski et al. , Mimesis des articulations (Paris, 1975), pp. 55~93-
Notes to Pages 263-6$ 389
80. See, e. g. , without transcendental-theoretical foundations but with refer- ence to sensibility, Karl Heinrich Heydenreich, System der Asthetik (Leipzig, 1790). The rejection of imitation still must be mentioned and justified (pp. i87ff, against Batteux and Moritz). The problem still presents itselfwithin a the- ory oriented toward subjective experience.
81. This might even be true for Jean Paul, whose insistence on imitation is motivated by his polemic against transcendental philosophy and insists on the respect due to the real world but not on the validity of its phenomenal appear-
ance. See Jean Paul, Vorschule der Asthetik, quoted from Werke, vol. 5 (Munich, 1963), pp. 7-456; and Clavis Fichtiana seu Leibgeberiana, Werke, vol. 3 (Munich, 1961), pp. 1011-56.
82. Jean Paul's example, Vorschule der Asthetik, p. 43, is to represent pain as pleasure.
83. In the form, e. g. , of a narration within the narration, which is subse- quently discussed in the primary narration and which is justified despite its ob- vious deviation from the story. See Ludwig Tieck's novella Das Festzu Kenelworth (which is about the young Shakespeare and therefore is beyond doubt), quoted from Ludwig Tieck, Shakespeare-Novellen (Berlin, 1981), pp. 7-45 (pp. 2iff. ).
84. See esp. Zuccaro, L'idea dei Pittori, pp. ij2f.
85. Leonardo da Vinci, Notebooks (New York, n. d. ), pp. 61, 73f.
86. "In the presence of nature nothingness is not found," states da Vinci
(ibid. ).
87. See Zuccaro, L'idea dei Pittori, p. 151: "Disegno in quanto che si trova in
tutte le cose, increate, & create, invisibili, & visibili; spirituali, & corporali. . . . " On an alleged pronouncement by Michelangelo, see Francisco de Hollanda, Vier Gesprdche iiber die Malerei, gefuhrtzu Rom 1538 (Vienna, 1899), p. 117.
88. Zuccaro, L'idea dei Pittori, pp. 27iff.
89. Ibid. , p. 151.
90. See Erich Kohler, "'Je ne sais quoi': Ein Kapitel aus der Begriffsgeschichte
des Unbegreiflichen," in Kohler, Esprit und arkadische Freiheit: Aufiatze aus der Welt der Romania (Frankfurt, 1966), pp. 230-86.
91. See Marvin T. Herrick, "Some Neglected Sources of Admiratio," Modern Language Notes 62 (1947): 222-26.
92. Rene Descartes, Les passions de I'&me, Art. 53, quoted from CEuvres etLet- tres, Pleiade ed. (Paris, 1952), pp. 723f. Descartes emphasizes that admiration oc- curs before one knows what it is about and that it is therefore experienced without distinction ("point de contraire"), that is, prior to an observation that can be fixed.
93. The word gusto was, of course, known much earlier--see, e. g. , in Lodo- vico Dolce, Dialogo delta Pittura, p. 165. But here gusto as natural taste ("senza lettere") is opposed to learned judgment without a specification of rank. The se- mantic success of the concept will require a social revalorization.
94. For more details, see Rosalie L. Colie, Paradoxia Epidemica: The Renais-
39?
Notes to Pages 265-70
sance Tradition ofParadox (Princeton, N. J. , 1966). On the continuation of this tradition into the twentieth century, see Hugh Kenner, Paradox in Chesterton (London, 1948).
95. Not just as an "exercise of wit," as Mundy writes in The Defence ofCon- traries, A 3. See also n. 56, above.
96. According to Schroder, "die prarationale BetrofFenheit und Faszination des anderen wird von Comeille als Mktel eingesetzt und zugleich als (theatralis- ches) Mittel aufgedeckt," Logos und List, p. 281.
97. Concerning Kafka and Derrida, see David Roberts, "The Law of the Text of the Law: Derrida before the Law," ms. 1992, p. 18.
98. See J. H. Hexter, The Vision ofPolitics on the Eve ofthe Reformation: More, Machiavelli, and Seyssel (London, 1973); Christopher Hill, "Protestantismus, Pamphlete, Patriotismus und offentliche Meinung im England des 16. und 17. Jahrhunderts," in Bernhard Giesen, ed. , Nationale und kulturelle Identit'dt: Stu- dien zur Entwicklung des kollektiven Bewuftseins in der Neuzeit (Frankfurt, 1991), pp. 100-20.
99. See Hans Ulrich Gumbrecht for an alternative view of the problems that arise in the attempt to make sense of the medieval practice of performance on
the basis of innovations introduced in the sixteenth century. Gumbrecht, "Fur eine Erfindung des mittelalterlichen Theaters aus der Perspektive der friihen Neuzeit," Festschriftfur Walter Haug und Burghart Wachinger (Tubingen, 1992), pp. 827-48.
100. See, e. g. , Varchi, Lezzione, pp. 2jf.
101. The significance of the senses for communicating the motives of obedi- ence is emphasized explicitly. See, e. g. , Johann Christian Liinig, Theatrum Cer- emoniale Historico-Politicum, 2 vols. (Leipzig, 1719-1720), vol. 1, p. 5. It is tempt- ing to speak of latent functions diat resist transformation into motives.
102. On the clash between ceremony and a media-dependent public sphere, see Jorg Jochen Berns, "Der nackte Monarch und die nackte Wahrheit: Auskiin- fte der deutschen Zeitungs- und Zeremonialschriften des spaten 17. und friihen 18. Jahrhunderts zum Verhaltnis von Hof und Offentlichkeit," Daphnisn (1982): 315-49 (34off. ).
103. See, e. g. , Julius Bernhard von Rohr, Einleitung zur Ceremoniel-Wissen- schaft der Privat-Personen (Berlin, 1728), pp. 2f.
104. We have mentioned Liinig and von Rohr. See also Friedrich Wilhelm von Winterfeld, Teutsche und Ceremonial-Politica (Frankfurt-Leipzig, 1700), pp. 257ff. (part 2 of a general treatise on civil society); Julius Bernhard von Rohr, Einleitung zur Ceremoniel-Wissenschaft der grofien Herren (Berlin, 1729).
105. Kant, Kritik der Urteilskraft, ? 49.
106. See Chapter 5, section II, above.
107. For an elaboration of this point, see Chapter 4, section IV, above.
Notes to Pages 270-74
391
108. See some of the shorter treatises by Richardson, reprinted in The Works (London, 1773; rpt. Hildesheim, 1969).
109. Concerning the context of the Acad6mie Royale de Peinture et de Sculp- ture, see, e. g. , Henri Testelin, Sentiments des plus Habiles Peintres sur le Pratique de la Peinture et la Sculpture (Paris, 1696), lectures, 16706? . ; or Coypel, Discours prononcez. Studies of this sort create the impression of fulfilling a dutiful ritual.
no. Coypel, Discoursprononcez, p. 6.
in. SeeThomasE. Crow,PaintersandPublicLifeinEighteenth-CenturyParis (New Haven, Conn. , 1985).
112. This kind of complexity--a sign of age--and exaggeration of distinctions in the theory of taste is exemplified in Archibald Alison, Essays on the Nature and Principles of Taste (Edinburgh-London, 1790; rpt. Hildesheim, 1968).
113. Derrida demonstrates a hierarchization of already hierarchical distinctions within this text in "Economimesis. " Perhaps this covert hierarchization failed to satisfy the striving of romantic reflection toward indeterminacy.
114. See the references in Chapter 4, n. 144, above.
115. See, e. g. , the "Proemio" in Varchi, Lezzione.
116. See a broad, historically oriented dissertation by Anke Wiegand, Die
Schonheit und das Bose (Munich, 1967); further Niels Werber, Literatur als Sys- tem: Zur Ausdifferenzierung literarischer Kommunikation (Opladen, 1992).
117. See Alexander Gotdieb Baumgarten, Aesthetica, vol. 1 (Frankfurt/Oder, 1750; rpt. Hildesheim, 1970). The links to the tradition are well marked in Baumgarten s introduction of the concept of aesthetics: "Aesthetica (theoria lib- eralium artium, gnoseologia inferior, ars pulchre cogitandi, ars analogia rationis) est scientia cognitionis sensitivae" (? 1). But precisely this grounding in tradition makes it difficult for contemporaries such as Kant to trust the name.
118. For the quality of such testimony, it might have been significant that in Greek cities, regionally far-reaching diplomatic contacts or sports contacts were concentrated in the hands of the nobility, even in places (such as Athens) where the nobility no longer applied for city offices.
119. See Plumpe, Asthetische Kommunikation der Moderne, further Gemot Bohme s critical review of this development, which refers aesthetics back to the original meaning of aisthesis, in Fiir eine bkologische Naturasthetik (Frankfurt, 1989); Bohme, "Atmosphere as a Fundamental Concept of a New Aesthetics,"
Thesis Eleven 36 (1993): 113-26.
120. Explicidy in Heydenreich, System derAsthetik (1790).
121. See Gotz Muller, "Jean Pauls Asthetik im Kontext der Fruhromantik und
des Deutschen Idealismus," in Walter Jaeschke and Helmut Holzhey, eds. ,
Fruher Idealismus und Fruhromantik: Der Streit um die Grundlagen derAsthetik (i79S~i8o$) (Hamburg, 1990), pp. 150-73.
122. For an exemplary study, see John Bender, Imagining the Penitentiary:
392
Notes to Pages 274-j6
Fiction and the Architecture ofMind in Eighteenth-Century England (Chicago, 1987).
123. See Hegel's Vorlesungen iiber die Asthetik I, in Werke, vol. 13 (Frankfort, 1970), p. 13-
124. See Bender, Imagining the Penitentiary, pp. 3jff.
125. See, e. g. , Johann Christoph Gottsched, Versuch einer Critischen Dicht- kunst vor die Deutschen (Leipzig, 1730).
126.
