Form

Form has not only always been a (if not the) fundamental concept of aesthetics, but it also proves to be an indispensable category of aesthetic theory to this day. This is particularly evident in the fact that discussions about the resistant or affirmative character of art continue to revolve around the concept of form, which maintains its outstanding significance due to a peculiar double structure: it is fundamental to aesthetics both in terms of perception theory and in terms of art theory. This allows for the connection of questions regarding aesthetic experience with questions about the conditions of constitution for arts, genres, and individual artworks. The thematically diverse contributions in this volume, which focuses on form-theoretical positions from the 18th century, address these questions through case studies.