Introductory Lectures on Aesthetics,9780140433357

Introductory Lectures on Aesthetics

by ; ; ;
ISBN13: 9780140433357
ISBN10: 014043335X
Format: Paperback
Pub. Date: 1994-01-04
Publisher(s): Penguin Classics
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Summary

No philosopher has held a higher opinion of art than Hegel, yet nor was any so profoundly pessimistic about its prospects - despite living in the German golden age of Goethe, Mozart and Schiller. For if the artists of classical Greece could find the perfect fusion of content and form, modernity faced complicating - and ultimately disabling - questions. Christianity, with its code of unworldliness, had compromised the immediacy of man's relationship with reality, and ironic detachment had alienated him from his deepest feelings. Hegel's Introductory Lectures on Aesthetics were delivered in Berlin in the 1820s and stand today as a passionately argued work that challenged the ability of art to respond to the modern world.

Author Biography

Hegel (1770-1831) is one of hte most important of modern philosophers, due to his relation to Marx and the support his philosophy seemed to offer to theories of nationalism and social democracy, and his impact on a range of humanities. He is best known for The Phenomenology of Spirit, The Science of Logic, The Encyclopedia of the Philosophical Sciences, and The Philosophy of Right, as well as his lectures, which were published posthumously by his friends. Bernard Bosanquet was a Fellow of University College, Oxford teaching philosophy and ancient history. From 1903 to 1908 he held the chair of moral philosophy at St Andrews. He died in 1923.

Table of Contents

Introduction ix(28)
A Note on the Translation and Commentary xxxvii
INTRODUCTORY LECTURES ON AESTHETICS
CHAPTER I The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted
3-16(13)
[(Alpha). Aesthetic confined to Beauty of Art
3(2)
(Beta). Does Art merit Scientific Treatment?
5(2)
(Gamma). Is Scientific Treatment appropriate to Art?
7(3)
(Delta). Answer to (Beta)
10(3)
(XXX). Answer to (Gamma)
13(4)
CHAPTER II Methods of Science Applicable to Beauty and Art
17-26(9)
[1. Empirical Method -- Art-scholarship
17(8)
(a) Its Range
17(1)
(b) It generates Rules and Theories
18(5)
(c) The Rights of Genius
23(2)
2. Abstract Reflection
25(1)
3. The Philosophical Conception of Artistic Beauty, general notion of
25(2)
CHAPTER III The Conception of Artistic Beauty
27-61(34)
Part I--The Work of Art as Made and as Sensuous 27(19)
1. Work of Art as Product of Human Activity
30(7)
[(a) Conscious Production by Rule
30(1)
(b) Artistic Inspiration
31(2)
(c) Dignity of Production by Man
33(2)
(d) Man's Need to produce Works of Art
35(2)
2. Work of Art as addressed to Man's Sense
37(9)
[(a) Object of Art -- Pleasant Feeling?
37(1)
(b) Feeling of Beauty -- Taste
38(1)
(c) Art-scholarship
39(1)
(d) Profounder Consequences of Sensuous Nature of Art
40(1)
(Alpha) Relations of the Sensuous to the Mind
40(1)
(AlphaAlpha) Desire
41(1)
(BetaBeta) Theory
42(1)
(GammaGamma) Sensuous as Symbol of Spiritual
43(1)
(Beta) The Sensuous Element, how Present in the Artist
44(2)
(Gamma) The Content of Art Sensuous
46(1)
Part II--The End of Art 46(16)
3. [The Interest or End of Art
46(16)
(a) Imitation of Nature?
47(4)
(Alpha) Mere Repetition of Nature is -
47(1)
(AlphaAlpha) Superfluous
47(1)
(BetaBeta) Imperfect
47(1)
(GammaGamma) Amusing merely as Sleight of Hand
48(1)
(Beta) What is Good to Imitate?
49(1)
(Gamma) Some Arts cannot be called Imitative
50(1)
(b) Humani nihil - ?
51(1)
(c) Mitigation of the Passions?
52(8)
(Alpha) How Art mitigates the Passions
53(2)
(Beta) How Art purifies the Passions
55(1)
(AlphaAlpha) It must have a Worthy Content
55(1)
(BetaBeta) But ought not to be Didactic
55(2)
(GammaGamma) Nor explicitly addressed to a Moral Purpose
57(3)
(d) Art has its own Purpose as Revelation of Truth
60(2)
CHAPTER IV Historical Deduction of the True Idea of Art in Modern Philosophy
62-75(13)
1. Kant
62(5)
[(a) Pleasure in Beauty not Appetitive
64(1)
(b) Pleasure in Beauty Universal
64(1)
(c) The Beautiful in its Teleological Aspect
65(1)
(d) Delight in the Beautiful necessary though felt
65(2)
2. Schiller, Winckelmann, Schelling
67(2)
3. The Irony
69(7)
CHAPTER V Division of the Subject
76-97(21)
[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form
76(4)
2. Part I--The Ideal
80(2)
3. Part II--The Types of Art
82(6)
(Alpha) Symbolic Art
82(2)
(Beta) Classical Art
84(1)
(Gamma) Romantic Art
85(3)
4. Part III--The Several Arts
88(8)
(Alpha) Architecture
90(1)
(Beta) Sculpture
91(1)
(Gamma) Romantic Art, comprising
92(1)
(i) Painting
93(1)
(ii) Music
94(1)
(iii) Poetry
95(1)
5. Conclusion
96(2)
Commentary 98

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