Aesthetics: Lectures on Fine Art, Volume 1

Aesthetics: Lectures on Fine Art, Volume 1

G. W. F. Hegel

Language: English

Pages: 316

ISBN: 2:00071082

Format: PDF / Kindle (mobi) / ePub

This is the first of two volumes of the only English edition of Hegel's Aesthetics, the work in which he gives full expression to his seminal theory of art. The substantial Introduction is his best exposition of his general philosophy of art. In Part I he considers the general nature of art as a spiritual experience, distinguishes the beauty of art and the beauty of nature, and examines artistic genius and originality. Part II surveys the history of art from the ancient world through to the end of the eighteenth century, probing the meaning and significance of major works. Part III (in the second volume) deals individually with architecture, sculpture, painting, music, and literature; a rich array of examples makes vivid his exposition of his theory.

In the Blink of an Eye (Revised 2nd Edition)

The Blackwell Guide to Aesthetics (Blackwell Philosophy Guides)

Music in Youth Culture: A Lacanian Approach

The Emancipated Spectator

Classic and Romantic German Aesthetics (Cambridge Texts in the History of Philosophy)

Economy of the Unlost: (Reading Simonides of Keos with Paul Celan) (Martin Classical Lectures)




















an ideal kind must fight one another, so that power comes on the scene against power. These interests are the essential needs of the human heart, the inherently necessary aims of action, justified and rational in themselves, and precisely therefore the universal, eternal, powers of spiritual existence; not the absolutely Divine itself, but the sons of an absolute Idea and therefore dominant and valid; children of the one universal truth, although only determinate particular factors thereof. Owing

There are no notes to speak of in either the German texts or the French translations, but Bassenge's index does provide some material for annotation. Osmaston has notes, but all too often they are either unnecessary, or wrong, or unintelligible. My own notes will come in for criticism. I know that some of them must be amateurish where the subject matter is beyond the scope of my scholarship. The personal note audible in a few of them must be put down to my occasional need for some relief. One

the formal aim of mere imitation, it provides not the reality of life but only a pretence of life. After all, the Turks, , as Mahommedans, do not, as is well known, tolerate any pictures or copies of men, etc. James Bruce in his journey to Abyssinia' showed paintings of a fish to a Turk; at first the Turk was astonished, but quickly enough he found an answer: 'If this fish shall rise up against you on the last day and say : "You have indeed given me a body but no living soul", how will you then

considering, as the proper and supreme power of art. But now since, on this view, art is supposed to have the vocation of imposing on the heart and the imagination good and bad alike, strengthening man to the noblest ideals and yet enervating him to the most sensuous and selfish feelings of pleasure, art is given a purely formal task; and without any explicitly fixed aim would thus provide only the empty form for every possible kind of content and worth. (c) In fact art does have also this formal

themselves and their surroundings, but in the spiritual nature of man duality and inner conflict burgeon, and in their contradiction he is tossed about. For in the inner as such, in pure thought, in the world of laws and their universality man cannot hold out; he needs also te 98 I. THE IDEA OF ARTISTIC BEAUTY sensuous existence, feeling, the heart, emotion, etc. The opposition, which therefore arises, philosophy thinks as it is in its thoroughgoing universality, and proceeds to the

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