See also:

• FRIEDRICH, JOHANN (1836— )

FRIEDRICH THEODOR See also:

• VISCHER
• FRIEDRICH THEODOR VISCHER (1807-1887)

VISCHER (1807-1887)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German writer on the See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy of See also:

• ART

art, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• LUDWIGSBURG

Ludwigsburg on the 3oth of See also:

• JUNE

June 1807, and was the son of a clergyman . He was educated at See also:

• TUBINGEN

Tubingen, and began See also:

• LIFE

life in his See also:

• FATHER

father's profession . In 1835 he became Privatdozent in See also:

• AESTHETICS

aesthetics and German literature at his old university, was advanced in 1837 to extra-See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor, and in 1844 to full professor . In consequence, however, of his outspoken inaugural address, he was suspended for two years by the See also:

• WURTTEMBERG

Wurttemberg See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government, and in his enforced leisure wrote the first two volumes of his Aesthetik, See also:

• ODER (Lat. Viadua; Slavonic, Vjodr)

oder WVissenschafl See also:

• DES

des Schonen (1846), the See also:

• FOURTH

fourth and last See also:

• VOLUME

volume of which did not appear till 1857 . See also:

• VISCHER
• VISCHER, FRIEDRICH THEODOR (1807-1887)

Vischer threw himself heartily into the See also:

• GREAT

great German See also:

• POLITICAL

political See also:

• MOVEMENT

movement of 1848-49, and shared the disappointment of patriotic democrats at its failure . In 1855 he became professor at See also:

• ZURICH
• ZURICH (Fr. Zurich; Ital. Zurigo)

Zurich . In 1866, his fame being now established, he was invited back to See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany with a professorship at Tubingen combined with a See also:

• POST

post at the Polytechnikum of See also:

• STUTTGART

Stuttgart . He died at See also:

• GMUNDEN

Gmunden on the 14th of See also:

• SEPTEMBER (Lat. septem, seven)

September 1887 . His writings include See also:

• LITERARY

literary essays collected under the titles . Kritische Gange and Altes and Neues, poems, an excellent See also:

• CRITICAL (in alphabetical order of authors)

critical study of See also:

• GOETHE, JOHANN WOLFGANG VON (1749-1832)

Goethe's See also:

• FAUST, or FAUSTUS

Faust (1875), and a successful novel, Audi Einer (1878; 25th ed., 1904) . Vischer was not an See also:

• ORIGINAL

original thinker, and his monumental Aesthelik, in spite of See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry and learning, has not the higher qualities of success . He attempts the hopeless task of explaining art by the Hegelian See also:

• DIALECTIC, or DIALECTICS

dialectic .

Starting with the See also:

• DEFINITION (Lat. definitio, from de-finire, to set limits to, describe)

definition of beauty as " the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea in the See also:

• FORM (Lat. forma)

form of limited See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance," he goes on to develop the various elements of art (the beautiful, See also:

• SUBLIME (Lat. sublimis, exalted)

sublime and comic), and the various forms of art (plastic art, See also:

• MUSIC

music and See also:

• POETRY

poetry) by means of the Hegelian antitheses-form and content, See also:

• OBJECTIVE, or OBJECT GLASS

objective and subjective, inner conflict and reconciliation . The shape of the See also:

• WORK

work also is repellently Hegelian, consisting of See also:

• SHORT, FRANCIS JOB (1857– )

short highly technical paragraphs containing the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main See also:

• ARGUMENT

argument, followed by detailed explanations printed , in different type . Still, Vischer had a thorough knowledge of every See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of art except music, and much valuable material is buried in his volumes . In later life Vischer moved consider-ably away from Hegelianism, and adopted the conceptions of sensuous completeness and See also:

• COSMIC (from Gr. Kovµos, order or universe)

cosmic See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony as criteria of beauty; but he never found See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time to rewrite his great See also:

• BOOK

book . His own work as a literary artist is of high quality; vigorous, imaginative and thoughtful without See also:

• ACADEMIC

academic technicality . See O . Keindl, F . T . Vischer, Erinnerungsblatter (1888); J . E. von Gunthert, F . T . Vischer, ein Charakterbild (i888); I .

Frapan, Vischer-Erinnerungen (1889); T . Ziegler, IF . T . Vischer (Vortrag) (1893) ; J . G . See also:

• OSWALD (c. 605—642)
• OSWALD (d. 992)

Oswald, F . T . Vischer sits Dicker (1896) . (H .