In four scenic sketches the paper describes how Plato’s distinction between heavenly and earthy love in Thomasius, Kant, Forster and Hegel took shape as the male affective economy of a thinking of Aesthetics. The question will arise if... more
In four scenic sketches the paper describes how Plato’s distinction between heavenly and earthy love in Thomasius, Kant, Forster and Hegel took shape as the male affective economy of a thinking of Aesthetics. The question will arise if Freud remains within the problematic limits of such an Aesthetics when he stays before Titian’s painting "Heavenly and Earthy Love" 1907 in Rome, beginning to »fantasize« and deciding to write his "Contributions to the Psychology of Love".
