THE THEORETIC ACTIVITY AND THE PRACTICAL ACTIVITY
The will--The will as an ulterior stage in respect to knowledge--Objections and explanations--Criticism of practical judgements or judgements of value--Exclusion of the practical from the æsthetic--Criticism of the theory of the end of art and of the choice of content--Practical innocence of art--Independence of art--Criticism of the saying: the style is the man--Criticism of the concept of sincerity in art
ANALOGY BETWEEN THE THEORETIC AND THE PRACTICAL
The two forms of the practical activity--The economically useful--Distinction between the useful and the technical--Distinction of the useful from the egoistic--Economic will and moral will--Pure economicity--The economic side of morality--The merely economical and the error of the morally indifferent--Criticism of utilitarianism and the reform of Ethics and of Economics--Phenomenon and noumenon in practical activity
The system of the spirit--The forms of genius--Non-existence of a fifth form of activity--Law; sociability--Religion--Metaphysic--Mental imagination and the intuitive intellect--Mystical Æsthetic--Mortality and immortality of art
INDIVISIBILITY OF EXPRESSION INTO MODES OR DEGREES AND CRITICISM OF RHETORIC
The characters of art--Non-existence of modes of expression--Impossibility of translations--Criticism of the rhetorical categories--Empirical sense of the rhetorical categories--Their use as synonyms of the æsthetic fact--Their use to indicate various æsthetic imperfections--Their use in a sense transcending æsthetic, in the service of science--Rhetoric in the schools--The resemblances of expressions--The relative possibility of translations
ÆSTHETIC FEELINGS AND THE DISTINCTION BETWEEN THE BEAUTIFUL AND THE UGLY
Various significations of the word feeling--Feeling as activity --Identification of feeling with economic activity--Criticism of hedonism--Feeling as a concomitant of every form of activity --Meaning of certain ordinary distinctions of feelings--Value and disvalue: the contraries and their union--The beautiful as the value of expression, or expression without qualification--The ugly, and the elements of beauty which compose it--Illusion that there exist expressions neither beautiful nor ugly--True æsthetic feelings and concomitant and accidental feelings--Criticism of apparent feelings