Criticism of the beautiful as that which pleases the higher senses--Criticism of the theory of play--Criticism of the theory of sexuality and of triumph--Criticism of the Æsthetic of the sympathetic: meaning in it of content and form--Æsthetic hedonism and moralism--The rigoristic negation, and the pedagogic justification of art--Criticism of pure beauty
THE ÆSTHETIC OF THE SYMPATHETIC AND PSEUDO-ÆSTHETIC CONCEPTS
Pseudo-æsthetic concepts, and the Æsthetic of the sympathetic--Criticism of the theory of the ugly in art and of the overcoming of it--Pseudo-æsthetic concepts belong to Psychology--Impossibility of rigorous definitions of them--Examples: definitions of the sublime, of the comic, of the humorous--Relation between these concepts and æsthetic concepts
THE "PHYSICALLY BEAUTIFUL" IN NATURE AND IN ART
Æsthetic activity and physical concepts--Expression in the æsthetic sense, and expression in the naturalistic sense--Representations and memory--The production of aids to memory--Physical beauty--Content and form: another meaning--Natural beauty and artificial beauty--Mixed beauty--Writings--Free and non-free beauty--Criticism of non-free beauty--Stimulants of production
ERRORS ARISING FROM THE CONFUSION BETWEEN PHYSICS AND ÆSTHETIC
Criticism of æsthetic associationism--Criticism of æsthetic Physics--Criticism of the theory of the beauty of the human body--Criticism of the beauty of geometrical figures--Criticism of another aspect of the imitation of nature--Criticism of the theory of the elementary forms of the beautiful--Criticism of the search for the objective conditions of the beautiful--The astrology of Æsthetic
THE ACTIVITY OF EXTERNALIZATION. TECHNIQUE AND THE THEORY OF THE ARTS
The practical activity of externalization--The technique of externalization--Technical theories of the different arts--Criticism of æsthetic theories of particular arts--Criticism of the classification of the arts--Criticism of the theory of the union of the arts--Relation of the activity of externalization to utility and morality
Æsthetic judgement: its identity with æsthetic reproduction--Impossibility of divergences--Identity of taste and genius--Analogy with other activities--Criticism of æsthetic absolutism (intellectualism) and relativism--Criticism of relative relativism--Objection founded on the variation of the stimulus and of psychic disposition--Criticism of the distinction of signs into natural and conventional--The surmounting of variety--Restorations and historical interpretation