In the modern world, in an epoch of fundamental changes in outdated social systems and the emergence of new societal relationships and develpments, an epoch of unprecedentedly rapid advances in science and technology — penetration into the depths of the atom and conquest of the cosmos — questions pertaining to art become of ever broader interest. In our rapidly changing world, art has become a powerful weapon in the struggle for the souls and minds of men. One can therefore welcome (...) the major topic of this congress, as selected by the Hegel Society: the fact that it is devoted to problems of Hegelian esthetics. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Hegel's Aesthetics is the first comprehensive interpretation of Hegel's philosophy of art in English in thirty years. It gives a new analysis of his notorious "end of art" thesis, shows the indispensability of his aesthetics to his philosophy generally, and argues for his theory's relevance today.

Je soutiens que dans la troisième partie, ou « Partie particulière » de l’ Esthétique, les diverses réflexions de Hegel sur les dimensions matérielles des différents supports artistiques reviennent à une véritable « esthétique de la matérialité ». Je montre que Hegel se concentre sur le potentiel esthétique distinctif inhérent aux formes matérielles elles-mêmes, considérées indépendamment et avant que ces formes ne s’effacent pour permettre à une présence résolument spirituelle d’émerger d’elles. Bien qu’il soit courant de considérer que l’art est, (...) pour Hegel, exclusivement concerné par la présentation sensible de l’esprit, la présence esthétique persistante de la matérialité inhérente au support même de l’œuvre d’art n’est ni extérieure à la beauté de l’art, ni un obstacle à celle-ci, mais lui est essentielle. (shrink)

We are far removed, in this section of the Encyclopedia on memory, from the mnemotechnic icons described by Francis Yates in The Art of Memory and much closer to Augustine's advice about how to remember and to psalmodize Scripture. Memory, for Hegel, is the learning by rote of names, or of words considered as names, and it can therefore not be separated from the notation, the inscription, or the writing down of these names. In order to remember, one is forced (...) to write down what one is likely to forget. The idea in other words, makes its sensory appearance, in Hegel, as the material inscription of names. Thought is entirely dependent on a mental faculty that is mechanical through and through, as remote as can be from the sounds and the images of the imagination or from the dark mine of recollection, which lies beyond the reach of words and of thought[…]No wonder, then, that Hegel's Aesthetics turns out to be a double and possibly duplicitous text. Dedicated to the preservation and the monumentalization of classical art, it also contains all the elements which make such a preservation impossible from the start. Theoretical reasons prevent the convergence of the apparently historical and the properly theoretical components of the work. This results in the enigmatic statements that have troubled Hegel's readers, such as the assertion that art is for us a thing of the past. This has usually been interpreted and criticized or, in some rare instances, praised as a historical diagnosis disproven or borne out by actual history. We can now assert that the two statements "art is for us a thing of the past" and "the beautiful is the sensory manifestation of the idea" are in fact one and the same. To the extent that the paradigm for art is thought rather than perception, the sign rather than the symbol, writing rather than painting or music, it will also be memorization rather than recollection. As such, it belongs indeed to a past which, in Proust's words, could never be recaptured, retrouve. Art is "of the past" in a radical sense, in that, like memorization, it leaves the interiorization of experience forever behind. It is of the past to the extent that it materially inscribes, and thus forever forgets, its ideal content. The reconciliation of the two main theses of the Aesthetics occurs at the expense of the aesthetic as a stable philosophical category. What the Aesthetics calls the beautiful terms turns out to be, also, something very remote from what we associate with the suggestiveness of symbolic form.Paul de Man, Sterling Professor of the Humanities at Yale University, is the author of Blindness and Insight and Allegories of Reading and is currently completing a book tentatively titled The Resistance to Theory. His previous contributions to Critical Inquiry are "Political Allegory in Rousseau", "The Epistemology of Metaphor", and "A Letter". (shrink)

G.W.F. Hegel's aesthetics, or philosophy of art, forms part of the extraordinarily rich German aesthetic tradition that stretches from J.J. Winckelmann's Thoughts on the Imitation of the Painting and Sculpture of the Greeks and G.E. Lessing's Laocoon through Immanuel Kant's Critique of the Power of Judgment and Friedrich Schiller's Letters on the Aesthetic Education of Man to Friedrich Nietzsche's Birth of Tragedy and Martin Heidegger's The Origin of the Work of Art and T.W. Adorno's Aesthetic Theory. Hegel was (...) influenced in particular by Winckelmann, Kant and Schiller, and his own thesis of the “end of art” has itself been the focus of close attention by Heidegger and Adorno. Hegel's philosophy of art is a wide ranging account of beauty in art, the historical development of art, and the individual arts of architecture, sculpture, painting, music and poetry. It contains distinctive and influential analyses of Egyptian art, Greek sculpture, and ancient and modern tragedy, and is regarded by many as one of the greatest aesthetic theories to have been produced since Aristotle's Poetics. (shrink)

Few scholars can claim to have done as much to advance the study of Hegel in the English-speaking world as the indefatigable Sir Malcolm Knox, Professor Emeritus of the University of St. Andrews, Scotland.

From the Editors [of Voprosy filosofii]: Recently the prominent Soviet philosopher, specialist in problems of dialectics, theory of knowledge, the history of philosophy, and esthetics Igor Sergeevich Narskii marked his sixtieth birthday. The editorial board and staff of Voprosy filosofii wish to extend their congratulations to him and wish him good health, happiness in his personal life, and continued success in his work.

In Hegel's aesthetics, the element of speculative philosophy is always a notorious aspect that attracts the most complaints from modern art criticism. The book, however, justifies the intelligibility in art in light of Hegel's philosophy of metaphysics. The author explores the philosophical motivations of Hegelian aesthetics, its underlying logic, the relationship between metaphysical core and artistic expression, as well as the contemporary significance and value of metaphysicalised theories of art exemplified by Hegelian aesthetics. Through elucidating (...) the metaphysical core implicit in Hegel's lectures on aesthetics, this book proves that the philosophical considerations of Absolute Idealism bring to art the spiritual seriousness which the Romantics lack. Ultimately, this approach reveals the broad consensus which both Hegel's aesthetics and modern philosophical hermeneutics share, thus bridging the gap between ancient and the modern philosophy of art. The book will appeal to scholars and students studying classical German philosophy, German Romantic literature criticism, and modern art theory. (shrink)

Georg Wilhelm Friedrich Hegel was one of the foremost philosophers of the nineteenth century, best known for his exploration of the realm of human existence, and, in particular, his beliefs in an ultimate reality called the Absolute Spirit. A lifelong scholar, theorist, lecturer and writer, Hegel's reputation as the most important philosopher in Germany eventually led to his prestigious post as Chair of Philosophy at the University of Berlin in 1818, a position he would hold till his death in (...) 1831. Here is the complete collection of Hegel's "Lectures on Aesthetics," compiled from notes taken by both Hegel and his students on lectures given between 1818 and 1829. The work is presented in three sections, each detailing Hegel's theories on beauty and the ideal, particular forms of art, and the five major art forms. Although his notoriety diminished somewhat in the twentieth century, Hegel's "Aesthetics" has been revered as one of the greatest aesthetic theories since Aristotle. (shrink)

The paper examines the relationship between beauty and goodness in Hegel's Lectures on Aesthetics. The paper explains that Hegel rejects certain art works as "wicked" not simply because they lack unity and intelligibility but because they undermine claims to Providence. Hegel's understanding of the connection between art, morality, and religion is further related to Kenneth Schmitz's papers that explore the same relationship.

The book draws on the astonishing scope and depths of Hegel's Lectures on Aesthetics, exploring the multifaceted issue of art and the absolute. Why does Hegel ascribe absoluteness to art? What can such absoluteness mean?

The aim of this paper is to show how the logical-philosophical paradigm, which allows Hegel to encapsulate the living being in the Science of the Logic, plays a relevant role in his conception of the Ideal in his Lectures on Fine Art. To that end, I will first consider nature’s beauty as confronted to art’s beauty by taking into account the critical readings of this passage, particularly Adorno’s. Although this critique is rooted in Hegel’s text, that very same text can (...) also be a means for a counter-critique and a different way of confronting the matter. This leads to the moving of the question to the proper forum: not an investigation on two contrasting forms of beauty, but rather the relationship between the living being and art in the structure of the concept of beauty and the Ideal. The distinction between nature and art is not annihilated in the relation; and if this relationship were to be lost, art could not be thoroughly thought, because art, by taking the living being to its extreme, translates it into the Ideal, the pivotal notion of Hegel’s aesthetic paradigm. (shrink)

Professor Kaminsky’s lucid exposition is, surprisingly, the first attempt in English to deal extensively and critically with Hegel’s views on art, as outlined in his difficult volumes on that subject. Hegel on Art thus performs a needed service for those interested in either the philosophy or the history of the fine arts. Hegel’s idealistic metaphysics was the last European endeavor to construct a universal philosophical system on the traditional pattern, and to modern readers it can easily appear more imposing than (...) useful. But in his examination of art, according to Professor Kaminsky, the German philosopher became “the most empirical of the empiricists,” and his observations can be valuable to us quite independent of our commitment to his metaphysics. Moreover, as Professor Kaminsky shows, Hegel’s metaphysical framework does give him an advantage not available under the rigorous skepticism of today’s positivist or symbolist: he can recognize that art mirrors the world of action, and so can provide it with objective validity. As the author concludes in Hegel’s defense: “It may well be that only art can be used to communicate the important episodes that happen to us or others....Without art, we lose one of our great sources of information as to who we are and what we ought to do.”. (shrink)

The article focuses on one highly idiosyncratic trait of Lifshits’ reading of Hegel, namely his assertion that the epoch of Restoration during which Hegel produced his main works was analogous to the period of the 1930s in the USSR. In both cases, “constructive” tasks came to the fore as the fermentation of the revolutionary era waned. On this assumption, Lifshits built up his idea of a Restauratio magna, which should serve as the guiding star of cultural politics. In fact, Lifshits (...) came very near to rehabilitating of Edmund Burke’s views about the conservation of cultural heritage, which is highly problematic in light of his initial Marxist convictions. (shrink)

In his published lectures on aesthetics, and in his Encyclopedia, Hegel goes into a systematic and relatively unambiguous exposition of his philosophy of aesthetics. In the latter part of the Phenomenology, however, Hegel’s exposition of aesthetics is complicated by and somewhat obscured by the following factors: a) the investigation of aesthetics is simultaneous with the investigation of religion; b) the prime concern of the Phenomenology is neither aesthetics nor religion, but aesthetics and religious experience; (...) c) the aforesaid experience is not considered in-itself, but from the vantage point of the “experience of experience,” which is the general vantage point of the Phenomenology; d) this “experience of experience” is presented as derived or deduced from a whole host of historical and cultural antecedents presented in Part II of the Phenomenology; e) the cultural and social context of Part II is itself derived or deduced from the dialectic of progressions in individual experience presented in Part I. (shrink)

This study will focus on a systematic exemplification of the notion of art and artwork based on Hegels aesthetics. It opposes two forms of skepticism which (1) question the possibility and value of a definition of art and (2) reject the category of the artwork for art is regarded as a process rather than a material thing. As such it is no longer something that can be conceived by seeing, hearing or touching the end product of that process. The (...) criticism of these postions results in an understanding of works of art as objects or processes with a specific structure of meaning. The study developes ideas which are related to Hegel's thought, insofar as Hegel regards the artwork as an expression of the ‘idea’, and the term ‘idea’ designates a complex semantic structure. (shrink)

Hegel's reading of Hafez as part of his Berlin aesthetics lectures. The jargon of the prosaic world -/- This essay deals with Hegel's reading (Georg Wilhelm Friedrich Hegel, 1770 - 1831) of Hafez' poetry (Moḥammad Schams ad-Din Hafez Schirazi, around 1315 - 1390) during his lectures on the Aesthetics or Philosophy of Art at the University of Berlin (1820/21; 1823; 1826; 1828/29). Hegel's writings, Lectures on Aesthetics, were published from his remains by Heinrich Gustav (...) Hotho (1802 - 1873) in three volumes (1835 - 1838) and in a second edition from 1842 onwards. The posthumously published writings of Hegel are, considering the preserved archive material and the unreliable editing work by Hotho, a thoroughly complex research topic. Therefore, this problem area also forms the starting point of the present analysis of Hegel's reading of Hafez. -/- Within the framework of this essay, Hegel's categories of historical frameworks (Symbolic, Classical, and Romantic Art), especially that of the "Symbolic Art", are examined in his lectures on Aesthetics . This will do in three steps: starting with the current state of research, problematizing of Hegelian concepts in his Lectures on Aesthetics like "oriental Pantheism" or Vorkunst, ("the threshold of art" or "praeambula": T. M. Knox' translation, 1975, part I); extending the discussion by focusing on similarities and differences between Hegel's reading of Goethe (part II) and Hegel's reading of Hafez (part III) in his Berlin Aesthetics Lectures of the 1820's. For this purpose, material from Goethe's literary remains (II), as well as a masterpiece of Dutch painters van Eyck analyzed by Hegel (Ghent Altarpiece) during his lectures (III), will be included in the analysis and explored from an interdisciplinary and intercultural perspective. In doing so, Goethe's “Space of Experience and Horizon of Expectation” (Koselleck) in imitating Arabic script and calligraphy (II) is linked to Hegel's reading of Hafez during his Berlin lectures on aesthetics (III). Thus, a dialogue of cultures unfolds between poetry and philosophy. The main questions are: How does the German philosopher Hegel interpret and receive Hafiz's poetry in the context of German idealist philosophy as a topic of his lectures on aesthetics? What epistemological aspects can be gained from Hegel's reading of Hafez for a cultural studies analysis, especially regarding the history of the ideas? In addition to analyzing the historical aspects, the aim is also to uncover new perspectives in order to look with Hafez and Rumi at Hegel's problem child of ‘history’. Of particular interest are epistemological aspects and problems of reception and translation studies in sense of interdisciplinary and intercultural research (e. g. connected/entangled histories; boundary objects). Interculturality is understood in the context of the present essay as a cross-disciplinary theoretical framework in the sense of entangled histories research work interwoven with communication, aesthetic and cultural techniques approaches or resilience studies in a historical perspective. (shrink)