“Aesthetic theories arose one hundred fifty years ago among the wealthy classes of the Christian European world. …And notwithstanding its obvious insolidity, nobody else's theory so pleased the cultured crowd or was accepted so readily and with such absence of criticism. It so suited the people of the upper classes that to this day, notwithstanding its entirely fantastic character and the arbitrary nature of its assertions, it is repeated by the educated and uneducated as though it were something indubitable and self-evident.”

—  Leo Tolstoy

What is Art? (1897)

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Russian writer 1828–1910

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“In the upper, rich, more educated classes of European society doubt arose as to the truth of that understanding of life which was expressed by Church Christianity.”

Leo Tolstoy (1828–1910) Russian writer

What is Art? (1897)
Context: In the upper, rich, more educated classes of European society doubt arose as to the truth of that understanding of life which was expressed by Church Christianity. When, after the Crusades and the maximum development of papal power and its abuses, people of the rich classes became acquainted with the wisdom of the classics and saw, on the one hand, the reasonable lucidity of the teachings of the ancient sages, and on the other hand, the incompatibility of the Church doctrine with the teaching of Christ, they found it impossible to continue to believe the Church teaching.

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“How such an elaborate theory could have become so widely accepted – on the basis of no systematic evidence or critical experiments, and in the face of chronic failures of therapeutic intervention in all of the major classes of mental illness…”

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is something that sociologists of science and popular culture have yet to fully explain.
Paul Churchland. The Engine of Reason, the Seat of the Soul. (1st ed.). MIT Press. 1995. pp. 181: Talking about Freudian analysis.

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