"If you really want to hear about it, the first thing you'll probably want to know is where I was born and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't feel like going into it, if you want to know the truth. In the first place, that stuff bores me, and in the second place, my parents would have about two hemorrhages apiece if I told anything pretty personal about them."

His constant wry observations about what he encounters, from teachers to phonies (the two of course are not mutually exclusive) capture the essence of the eternal teenage experience of alienation.

To resolve this apparent paradox, as Michael Inwood explains in his incisive Introduction, we must understand the particular place of aesthetics in Hegel's vast intellectual edifice. Its central pillars consist of logic, philosophy of nature and philosophy of spirit. Art derives its value from offering a sensory vision of the God-like absolute, from its harmonious fusion of form and content, and from summing up the world-view of an age such as Homer's. While it scaled supreme heights in ancient Greece, Hegel doubted art's ability to encompass Christian belief or the reflective irony characteristic of modern societies. Many such challenging ideas are developed in this superb treatise; it counts among the most stimulating works of a master thinker.

Table of Contents
Introductory Lectures on Aesthetics Introduction A Note on the Translation and Commentary
INTRODUCTORY LECTURES ON AESTHETICS

Chapter I: The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted
[α Aesthetic confined to Beauty of Art
β Does Art merit Scientific Treatment?
γ Is Scientific Treatment appropriate to Art?
δ Answer to β
ε Answer to γ]

Chapter II: Methods of Science Applicable to Beauty and Art
[1. Empirical Method - Art-scholarship
(a) Its Range
(b) It generates Rules and Theories
(c) The Rights of Genius
2. Abstract Reflection
3. The Philosophical Conception of Artistic Beauty, general notion of]

Chapter III: The Conception of Artistic Beauty
Part I - The Work of Art as Made and as Sensuous
1. Work of Art as Product of Human Activity
[(a) Conscious Production by Rule
(b) Artistic Inspiration
(c) Dignity of Production by Man
(d) Man's Need to produce Works of Art]
2. Work of Art as addressed to Man's Sense
[(a) Object of Art - Pleasant Feeling?
(b) Feeling of Beauty - Taste
(c) Art-scholarship
(d) Profounder Consequences of Sensuous Nature of Art
(α) Relations of the Sensuous to the Mind
(αα) Desire
(ββ) Theory
(γγ) Sensuous as Symbol of Spiritual
(β) The Sensuous Element, how Present in the Artist
(γ) The Content of Art Sensuous]

Part II - The End of Art
3. [The Interest or End of Art
(a) Imitation of Nature?
(α) Mere Repetition of Nature is -
(αα) Superfluous
(ββ) Imperfect
(γγ) Amusing Merely as Sleight of Hand
(β) What is Good to Imitate?
(γ) Some Arts cannot be called Imitative
(b) Humani nihil - ?
(c) Mitigation of the Passions?
(α) How Art mitigates the Passions
(β) How Art purifies the Passions
(αα) It must have a Worthy Content
(ββ) But ought not to be Didactic
(γγ) Nor explicitly addressed to a Moral Purpose
(d) Art has its own Purpose as Revelation of Truth]

Chapter IV: Historical Deducation of the True Idea of Art in Modern Philosophy
1. Kant
[(a) Pleasure in Beauty not Appetitive
(b) Pleasure in Beauty Universal
(c) The Beautiful in its Teleological Aspect
(d) Delight in the Beautiful necessary though felt]
2. Schiller, Winckelmann, Schelling
3. The Irony

Chapter V: Division of the Subject
[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form
2. Part I - The Ideal
3. Part II - The Types of Art
(α) Symbolic Art
(β) Classical Art
(γ) Romantic Art
4. Part III - The Several Arts
(α) Architecture
(β) Sculpture
(γ) Romantic Art, comprising
(i) Painting
(ii) Music
(iii) Poetry
5. Conclusion]

Commentary

A profound book, an exciting book, its influence continues to spread, more than a quarter century after its author's death, beyond psychology and throughout the humanities, social theory, and business management theory.

Of course, the book's enduring popularity stems from the important questions it raises and the answers it provides concerning what is fundamental to human nature and psychological well-being, and what is needed to promote, maintain, and restore mental and emotional well-being. But its success also has to do with Maslow's unique ability to convey difficult philosophical concepts with passion, precision, and astonishing clarity, and, through the power of his words, to ignite in readers a sense of creative joy and wholeness toward which we, as beings capable of self-actualization, strive.

This Third Edition makes Abraham Maslow's ideas accessible to a new generation of psychology students, as well as businesspeople, managers, and trainers interested in applying the study of human behavior to management techniques.

An energetic and articulate scholar, Professor Maslow was the author of more than twenty books, including Eupsychian Management; Psychology of Science; Religions, Values, and Peak Experiences; Motivation and Personality; and Principles of Abnormal Psychology (with B. Mittelmann). He also edited New Knowledge in Human Values and wrote nearly one hundred articles. His teachings continue to be a staple for psychologists and psychology students.

"Capacities clamor to be used, and cease their clamor only when they are well used. . . . Not only is it fun to use our capacities, but it is necessary for growth. The unused skill or capacity or organ can become a disease center or else atrophy or disappear, thus diminishing the person." —Abraham Maslow

Toward a Psychology of Being, Third Edition

Abraham Maslow doesn't pretend to have easy answers, absolutes, or solutions that bring the relief of finality—but he does have a deep belief in people. In this Third Edition of Toward a Psychology of Being (the original edition sold well over 100,000 copies), there is a constant optimistic thrust toward a future based on the intrinsic values of humanity. Professor Maslow states that, "This inner nature, as much as we know of it so far, seems not to be intrinsically evil, but rather either neutral or positively 'good.' What we call evil behavior appears most often to be a secondary reaction to frustration of this intrinsic nature." He demonstrates that human beings can be loving, noble, and creative, and are capable of pursuing the highest values and aspirations.

This Third Edition will bring Professor Maslow's ideas to a whole new generation of business and psychology readers, as well as anyone interested in the study of human behavior.

Camilla Badescu is in the fifth form, and has pale skin, dark hair and red lips. She comes from Romania (which is practically Transylvania). She doesn't eat at meals. And she seemed to have an unhealthy influence over another pupil, Amy Jessop. Now, I do not believe in vampires - I am the Honourable Daisy Wells, after all. But when I heard the rumour that Camilla was seen climbing head-first down a wall, I knew it was time to investigate...