Pseudo-aesthetic concepts, and the Aesthetic of the sympathetic-- Critique of the theory of the ugly in art and of its surmounting-- Pseudo-aesthetic concepts appertain to Psychology--Impossibility of rigorous definitions of these--Examples: definitions of the sublime, of the comic, of the humorous--Relation between those concepts and aesthetic concepts. XIII THE SO-CALLED PHYSICALLY BEAUTIFUL IN NATURE AND IN ART Aesthetic activity and physical concepts--Expression in the aesthetic sense, and expression in the naturalistic sense--Intuitions and memory--The production of aids to memory--The physically beautiful-- Content and form: another meaning--Natural beauty and artificial beauty--Mixed beauty--Writings--The beautiful that is free and that which is not free--Critique of the beautiful that is not free-- Stimulants of production. XIV ERRORS ARISING FROM THE CONFUSION BETWEEN PHYSIC AND AESTHETIC Critique of aesthetic associationism--Critique of aesthetic physic-- Critique of the theory of the beauty of the human body--Critique of the beauty of geometrical figures--Critique of another aspect of the imitation of nature--Critique of the theory of the elementary forms of the beautiful--Critique of the search for the objective conditions of the beautiful--The astrology of Aesthetic. XV THE ACTIVITY OF EXTERNALIZATION. TECHNIQUE AND THE THEORY OF THE ARTS The practical activity of externalization--The technique of externalization--Technical theories of single arts--Critique of the classifications of the arts--Relation of the activity of externalization with utility and morality. XVI TASTE AND THE REPRODUCTION OF ART Aesthetic judgment. Its identity with aesthetic reproduction-- Impossibility of divergences--Identity of taste and genius--Analogy with the other activities--Critique of absolutism (intellectualism) and of aesthetic relativism--Critique of relative relativism--Objections founded on the variation of the stimulus and of the psychic disposition-- Critique of the distinction of signs as natural and conventional--The surmounting of variety--Restorations and historical interpretation. XVII THE HISTORY OF LITERATURE AND OF ART Historical criticism in literature and art. Its importance--Artistic and literary history. Its distinction from historical criticism and from the aesthetic judgment--The method of artistic and literary history--Critique of the problem of the origin of art--The criterion of progress and history--Inexistence of a single line of progress in artistic and literary history--Errors in respect of this law--Other meanings of the word "progress" in relation to Aesthetic. XVIII CONCLUSION: IDENTITY OF LINGUISTIC AND AESTHETIC