ELEC copy purchased with funds from the S. Dillon Ripley Endowment.
 Division of the Work Part One Formlessness; A. Amorphism; B. Asymmetry;  C. Disharmony;  Part Two Incorrectness; A. Incorrectness in General; B. Incorrectness in the Particular Styles; C. Incorrectness in the Individual Arts;  Part Three Disfiguration, or Deformation; A. The Mean; I. The Petty; II. The Feeble; III. The Low; a) The Ordinary; b) The Accidental and the Arbitrary; c) The Crude; B. The Repulsive; I. The Clumsy; II. The Dead and the Empty; III. The Hideous; a) The Tasteless; b) The Disgusting; c) Evil; [alpha]) The Criminal; [beta]) The Ghastly 213
[Gamma]) The Diabolical C. Caricature; Additional Texts on Aesthetics; Bibliography; Index
Cover page; Halftitle page; Series page; Title page; Copyright page; Contents; Figures; Guide to Frequently Translated Words; Approaching Ugliness; Introduction; Rosenkranz's life and work; Realism in aesthetics; Problems of ugliness; Ugliness today; A note on the text; Aesthetics of Ugliness Karl RosenkranzTranslated by Andrei Pop and Mechtild Widrich; Foreword; Contents; Introduction; The Negative in General; The Imperfect;  The Naturally Ugly; The Intellectually Ugly 22; The Aesthetically Ugly; Ugliness in Relation to the Individual Arts;  The Pleasure in Ugliness
In this key text in the history of art and aesthetics, Karl Rosenkranz shows ugliness to be the negation of beauty without being reducible to evil, materiality, or other negative terms used it's conventional condemnation. This insistence on the specificity of ugliness, and on its dynamic status as a process afflicting aesthetic canons, reflects Rosenkranz's interest in the metropolis - like Walter Benjamin, he wrote on Paris and Berlin - and his voracious collecting of caricature and popular prints. Rosenkranz, living and teaching, like Kant, in remote Königsberg, reflects on phenomena of mode