Philosophy Dictionary of Arguments

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Artworks: works of art are human creations that are not directly focussed on the maintenance of life functions, but are intended to open the possibility for a realization that is freed from life-world constraints and purposes. At the same time, works of art should allow us to look at these constraints. In the modern world, works of art escape direct intelligibility to the extent that understanding itself has increasingly become a necessity of the everyday world. See also aesthetics, 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.

Author Item Summary Meta data
Gadamer I 57
Artworks/Work of Art/Kant/Gadamer: difference to nature: With regard to the idea of an intelligible destiny of mankind, nature as beautiful nature gains a language that leads it to us.(1)
Of course, the significance of art is also based on the fact that it appeals to us, that it presents man himself in his morally determined existence. But the products of art are only to appeal to us in this way - natural objects, on the other hand, are not to appeal to us in this way. It is precisely in this that the significant interest of natural beauty lies, that it is nevertheless able to make us aware of our moral destiny. >Interest/Kant.
Art cannot convey to us this finding of the human being in unintentional reality. The fact that man meets himself in art is not a confirmation from another of his own self.
GadamerVsKant: (...) [Kant] does not place the phenomenon of art below its appropriate standard. The advantage of natural beauty over artistic beauty is only the other side of the lack of a certain statement by natural beauty. Conversely, the advantage of art over natural beauty can be seen in the fact that the language of art is a demanding language that does not present itself freely and indefinitely to atmospheric interpretation, but addresses us in a meaningful and definite way. And it is the wonderful and mysterious thing about art that this particular claim is nevertheless not a shackle for our mind, but rather just opens up the scope of freedom in the play of our powers of cognition.
KantVsVs: Kant does justice to this when he says(2) that art must be "regarded as nature", i.e. pleasing without betraying the compulsion of rules.
Kant/Gadamer: We do not pay attention to the intentional correspondence of the portrayed person with known reality. We do not look at it to see who it resembles. We do not measure its sense of claim against a measure that is already well known to us, but on the contrary, this measure, which is "aesthetically extended" in an unlimited way, becomes "aesthetically extended".(3)
Gadamer I 99
Artworks/Work of Art/Kant/Gadamer: If one is to take into account [the] criticism of the doctrine of unconscious productivity of the genius (>Artist/Gadamer), one is confronted anew with the problem
which Kant had solved through the assignment of the transcendental function to the concept of genius. (>Genius/Kant, >Genius/Gadamer).
What is a work of art, and how does it differ from a handcrafted product or even from a "concoction" (German: "Machwerk"), i.e. from something aesthetically inferior? For Kant and idealism
the work of art defined itself as the work of genius. His distinction of being the perfectly successful and exemplary proved itself in that it offered pleasure and contemplation as well as an inexhaustible object of dwelling and interpretation. That the genius of creation corresponds to the genius of enjoyment can already be found in Kant's teaching of taste and genius, and even more explicitly in the teachings of K. Ph. Moritz and Goethe. >Taste/Kant, >Taste/Gadamer.

1. I.Kant, Kritik der Urteilskraft, 1799, § 42
2. Ebenda, S. 179f.
3. Ebenda.

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.
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.
I. Kant
I Günter Schulte Kant Einführung (Campus) Frankfurt 1994
Externe Quellen. ZEIT-Artikel 11/02 (Ludger Heidbrink über Rawls)
Volker Gerhard "Die Frucht der Freiheit" Plädoyer für die Stammzellforschung ZEIT 27.11.03
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 2021-01-22
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