By David James
This is often an incredible new monograph concerning Hegel's aesthetics to his philosophies of faith and heritage and, particularly, his philosophy of correct. "Art, fantasy and Society in Hegel's Aesthetics" returns to the scholar transcripts of Hegel's lectures on aesthetics, a few of that have by no means been released and none of which were translated into English, in an try and systematically relate Hegel's aesthetics to his philosophies of faith and heritage and, specifically, his philosophy of correct. David James develops the concept that those transcripts exhibit that Hegel used to be basically drawn to figuring out artwork as an ancient phenomenon and, when it comes to its functionality in human historical past, extra in particular, its function within the moral lifetime of the folk. The booklet hence deals an intensive re-examination of Hegel's aesthetics and its relation to his conception of target spirit, exposing the ways that Hegel's perspectives in this topic are anchored in his reflections on background and on assorted different types of moral existence.
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Additional info for Art, Myth and Society in Hegel's Aesthetics (Continuum Studies in Philosophy)
E. the brother) ultimately turn out to have the same object, which is the preservation of the community as a whole. This suggests that the unity of Greek ethical life depends on the harmony of the human law and the divine law. The fact that in tragedy one party identifies him- or herself absolutely with one ethical power in opposition to the other one, means that it presents certain tensions inherent in Greek ethical life, and in this respect ancient tragedy belongs to a stage that lies between the unifying process that Hegel associates with the original epic, whereby a collective national identity and ethical consciousness is forged, and the gradual dissolution of the ethical community formed in this way.
In my view, the key to understanding why Hegel thinks of the beautiful work of art as an example of the Idea in a determinate form is provided by the fact that such sensory elements as linguistic signs, sounds, colours and tones are essential features of the work of art. 23 This identification of the essence of the sensory as such with presence in space and time allows us to associate the sensory aspect of the work of art with the second moment of the concept, which Hegel terms particularity, and also to identify that which constitutes the moment of universality, which is the first moment of the concept.
In the next chapter, we shall also see that the content of myth can be of an ethical as well as a purely religious kind. In his 1826 lectures on aesthetics, Hegel develops his theory of the symbolic form of art to the point of clearly distinguishing between four different stages in what he calls ‘the struggle of the spiritual with the sensory’, with each stage being associated with one or more of the oriental religions mentioned above. 36 From this we can see that a relation between thought, which constitutes the spiritual content of the symbolic form of art, and the sensory forms in which this content is presented is common to the various stages of the symbolic form of art, as indeed we might have expected given the centrality of the relation between form and content to Hegel’s aesthetics.
Art, Myth and Society in Hegel's Aesthetics (Continuum Studies in Philosophy) by David James