|Art: according to the traditional conception, art is a social sphere that is not directly focused on the maintenance of life functions. For this reason it opens up a certain freedom and possibility of knowledge. In the modern age, the idea of the evading of art has evolved in the face of a widespread through-organization of more and more areas of life. This development can lead to an ever-barred understanding ("hermetics"). See also aesthetics, works of art, critique, society, history, enlightenment, recognition._____________Annotation: The above characterizations of concepts are neither definitions nor exhausting presentations of problems related to them. Instead, they are intended to give a short introduction to the contributions below. – Lexicon of Arguments. |
G.W.F. Hegel on Art - Dictionary of Arguments
Gadamer I 54
Art/Hegel/Gadamer: In itself, the essence of all art is, as Hegel formulated it,
that it "brings man before himself"(1). Other objects of nature - not only the human form - can also express moral ideas in artistic representation. All artistic representation, be it of landscape, be it of nature morte, or even every inspiring contemplation of nature has this effect.
KantVsHegel/Gadamer: But in this respect Kant is right: the expression of the moral is then a borrowed one. Man, on the other hand, expresses these ideas in his own being, and because he is what he is. E.g., A tree that atrophies due to unfortunate growing conditions
may seem miserable to us, but this misery is not an expression of the tree feeling miserable, and from the ideal of the tree, atrophy is not miserable. Miserable man, on the other hand, is miserable, measured by the human moral ideal itself (and not in such a way that we expect him to have an ideal of humanity that is not valid for him at all, by which he expressed misery for us without being miserable).
HegelVsVs: Hegel understood this in his lectures
Gadamer I 55
to aesthetics perfectly well, when he uses the expression of the moral as
"Appearances of spirituality"(2).
Gadamer: Thus the formalism of "dry pleasing" [trockenen Wohlgefallens"] leads to the decisive dissolution not only of rationalism in aesthetics, but of any universal (cosmological) theory of beauty in general. >Art/Kant, >Aesthetics/Hegel.
1. Hegel, Vorlesungen über die Ästhetik, ed. Lasson, S. 57: "It is therefore the general need of the work of art to seek in the mind of man, by being a way of bringing before man what he is.«
2. Ebenda, S. 213._____________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.
Wahrheit und Methode. Grundzüge einer philosophischen Hermeneutik 7. durchgesehene Auflage Tübingen 1960/2010
H. G. Gadamer
The Relevance of the Beautiful, London 1986
Die Aktualität des Schönen: Kunst als Spiel, Symbol und Fest Stuttgart 1977