Abstract This article contextualizes Johann Jakob Breitinger’s Critische Dichtkunst (1740) within a transdisciplinary discourse on Aufmerksamkeit (attention) in eighteenth-century epistemology and science. I argue that Breitinger’s adaptation of the epistemology of attention defines his most distinctive poetological concepts, including his notion of poetry as a type of painting (poetische Mahlerey), his elevation of the new (das Neue) and the marvelous (das Wunderbare) into central categories of poetics, and his subversion of the traditional principle of imitation of nature (Nachahmung der Natur). Excavating Breitinger’s revision of poetics on the basis of a representationalist concept of attention recovers the Critische Dichtkunst as an important forerunner of Alexander Baumgarten’s momentous conjunction of artistic production and sense perception in a single discipline of aesthetics. Finally, the article demonstrates the transdisciplinary potency of the concept of attention in the early eighteenth century, well before the late-nineteenth-century rise of empirical psychology highlighted by conventional accounts of the emergence of attention as a key concern of modern culture.

中文翻译：

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看否则：约翰·雅各布·布莱廷格的注意力诗学

摘要 本文将 Johann Jakob Breitinger 的 Critische Dichtkunst (1740) 置于 18 世纪认识论和科学中关于 Aufmerksamkeit（注意）的跨学科话语中。我认为 Breitinger 对注意力认识论的改编定义了他最独特的诗学概念，包括他将诗歌视为一种绘画的概念 (poetische Mahlerey)，他将新的 (das Neue) 和奇妙的 (das Wunderbare) 提升为中心诗学的范畴，以及他对模仿自然的传统原则（Nachahmung der Natur）的颠覆。挖掘 Breitinger 基于表现主义注意力概念对诗学的修订，恢复了作为亚历山大·鲍姆加滕 (Alexander Baumgarten) 在单一美学学科中将艺术创作和感官知觉的重要结合的重要先驱的《艺术批评》。最后，本文展示了注意力概念在 18 世纪早期的跨学科效力，远早于 19 世纪晚期经验心理学兴起之前，传统观点强调了注意力的出现是现代文化的一个关键问题。