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Hans-Georg Gadamer on Truth of Art - Dictionary of Arguments

I 47
Truth of Art/GadamerVsKant/Gadamer: The transcendental function that Kant assigns to aesthetic judgement is capable of distinguishing it from conceptual knowledge and in this respect to satisfy the definition of the phenomena of beauty and art. (>Judgements/Kant, >Judgements/Gadamer, >Taste/Kant, >Aesthetics/Kant).
But is it possible to reserve the concept of truth for conceptual knowledge? Must one not also acknowledge that the work of art has truth?
I 87
Is the aesthetic behaviour at all an appropriate attitude towards the work of art? Or is what we call "aesthetic consciousness" an abstraction?
In any case, there can be no doubt that the great times in the history of art were those in which people surrounded themselves without any aesthetic consciousness at all and without surrounding our concept with designs whose religious or profane function of life was understandable to everyone and not just aesthetically pleasurable for anyone. Can the concept of aesthetic experience be applied to them at all without shortening their true being?
The turning point seems to lie with Schiller, who transformed the transcendental idea of taste into a moral demand and formulated it as an imperative: Behave aesthetically!(1) In his aesthetic writings, Schiller transformed the radical subjectivation from a methodological into a substantive precondition by which Kant transcendently justified the judgement of taste and its claim to universal validity. >Truth of Art/Schiller.
I 88
If (...) the contrast between reality and appearance characterizes the concept of art, the comprehensive framework that nature forms is beyond the scope of art. Art becomes a standpoint in its own right and establishes its own autonomous claim to power.
I 103
Truth of Art/Gadamer: The appeal to immediacy, to the genius of the moment, to the significance cannot exist before the claim of human existence to continuity and unity of self-understanding. The experience of art must not be forced into the noncommittal nature of aesthetic consciousness. Cf. >Erlebniskunst/Gadamer.
This negative insight means something positive: art is insight and the experience of the work of art makes this insight part of it.
Problem: it [was] a methodical abstraction for the purpose of a very specific, transcendental effort to justify (...), which induced Kant to relate the aesthetic power of judgement entirely to the condition of the subject. If this aesthetic abstraction can subsequently be understood in terms of content and transformed into the demand to understand art "purely aesthetically", we now see how this demand for abstraction becomes an irresolvable contradiction to the real experience of art.

1. Thus one can summarize what was said in the letters "On aesthetic education
of man", for example in the 15th letter, it is justified: "there should be a community between
form drive and material drive, i.e. a play drive".

Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. Translations: Dictionary of Arguments
The note [Author1]Vs[Author2] or [Author]Vs[term] is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition.

Gadamer I
Hans-Georg Gadamer
Wahrheit und Methode. Grundzüge einer philosophischen Hermeneutik 7. durchgesehene Auflage Tübingen 1960/2010

Gadamer II
H. G. Gadamer
The Relevance of the Beautiful, London 1986
German Edition:
Die Aktualität des Schönen: Kunst als Spiel, Symbol und Fest Stuttgart 1977

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Ed. Martin Schulz, access date 2021-04-13
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