By David James
Artwork, fable and Society in Hegel's Aesthetics returns to the scholar transcripts of Hegel's lectures on aesthetics, that have but to be translated into English and every so often stay unpublished. David James develops the concept those transcripts exhibit that Hegel was once essentially drawn to figuring out artwork as an historic phenomenon and, extra in particular, when it comes to its position within the moral lifetime of numerous peoples. This comprises referring to Hegel's aesthetics to his philosophies of correct and background, instead of to his good judgment or metaphysics. The booklet hence deals an intensive re-assessment of Hegel's aesthetics and its relation to his idea of goal spirit, exposing the ways that Hegel's perspectives in this topic are anchored in his reflections on background and on assorted types of moral lifestyles.
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Additional resources for Art, Myth and Society in Hegel's Aesthetics
The sensory elements) are in perfect harmony with each other, thereby exhibiting the unity of the concept and objectivity which for Hegel constitutes the essential nature of the Idea. e. 28 The content of the work of art must, in short, be of such a kind that it lends itself to being portrayed in sensory form, as is the case with classical Greek art, in which the 34 Art, Myth and Society in Hegel’s Aesthetics divine is presented in human form. As integral as this idea is to Hegel’s aesthetics, it is, in my view, simply too general, however, as I intend to show in Chapter 4 , where it will be seen how easily works of art other than those of classical Greece can be thought to satisfy this condition.
36 I now intend to show how this claim relates to the interdependence of the divine law and the human law that for Hegel characterizes the ethical life of ancient Greece. In the Phenomenology of Spirit, Hegel refers on a number of occasions to the interdependence that characterizes the relation of the divine law to the human law in ancient Greek ethical life. 38 This interdependence of the divine law and the human law can be explained in the following way. One of the main functions performed by the family in ancient Greek ethical life is one that it shares in common with the modern family, namely, the upbringing of children.
This will be seen to have some important implications in relation to the structure of Hegel’s theory of absolute spirit, since this structure begins to look problematic once the idea that the transition from a religion of art to a religion that has emancipated itself from art, in the sense of no longer having to bring its content to consciousness by aesthetic means, can no longer be viewed as a necessary one. Moreover, beyond such systematic issues, the implications of this failure to explain the necessity of the transition from art to religion will enable me to provide further reasons as to why Hegel’s lectures on aesthetics should be understood in terms of his theory of objective spirit.
Art, Myth and Society in Hegel's Aesthetics by David James