Theodor Lipps

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Lipps, Theodor


Born July 28, 1851, in Wallhalben in the Rhineland-Palatinate; died Oct. 17, 1914, in Munich. German idealist philosopher, psychologist, and aesthetician.

Lipps was a professor at the universities of Bonn (1884), Breslau (1890), and Munich (1894). He founded the Psychological Institute in Munich. Along with Wundt and Ebbinghaus, Lipps systematized German psychology of the late 19th century. Taking the concept of immediate psychological experience as the starting point for his philosophy, Lipps saw in psychology the foundation for all branches of philosophy: logic, ethics, and aesthetics. Under the influence of Husserl’s phenomenology, he later tried to overcome psychologism. Lipps developed a psychology of art with empathy (Einfühlung) as the central concept.


Komik und Humor. Leipzig, 1898.
Ästhetik, vols. 1–2. Leipzig, 1903–06.
Leitfaden der Psychologie, 3rd ed. Leipzig, 1909.
Vom Fühlen, Wollen und Denken, 3rd ed. Leipzig, 1926.
Psychologische Untersuchungen, vols. 1–2. Leipzig, 1907–12.
In Russian translation:
Osnovy logiki. St. Petersburg, 1902.
Samosoznanie. St. Petersburg, 1903.
Osnovnye voprosy etiki. St. Petersburg [1905].
Rukovodstvo k psikhologii. St. Petersburg, 1907.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
The issue boils down to the quality of "empathy," in Theodor Lipps's sense: For the aesthetician, the source of "aesthetic enjoyment" is a "critical participation in the fullness of the World-Me continuum." Do these paintings offer sensations more radically immediate and intimate than those of the Intimist Vuillard, or, for that matter, any hitherto experienced aesthetic painting?
He discusses the origins of Pirandello's 'umorismo', clarifying its Romantic roots, citing Jean Paul Richter as a German pre-Freudian source of inspiration and discussing Theodor Lipps's contribution (and Pirandello's response to Lipps's work in L'umorismo).
Were they converted - perhaps (like Theodor Lipps) by a revolt of their own students - to Husserl's point of view?
And whilst he recognizes that Theodor Lipps was an important figure in Freud's intellectual development, Lehrer does not examine Lipps's contribution to psychoanalysis in any detail.