Aesthetics: Lectures on Fine Art, Volume 1 by G. W. F. Hegel PDF

By G. W. F. Hegel

ISBN-10: 0198244983

ISBN-13: 9780198244981

This can be the 1st of 2 volumes of the single English version of Hegel's Aesthetics, the paintings during which he offers complete expression to his seminal thought of paintings. The large advent is his most sensible exposition of his normal philosophy of artwork. partially I he considers the overall nature of artwork as a non secular adventure, distinguishes the great thing about paintings and the wonderful thing about nature, and examines inventive genius and originality. half II surveys the historical past of paintings from the traditional global via to the tip of the eighteenth century, probing the that means and value of significant works. half III (in the second one quantity) offers separately with structure, sculpture, portray, tune, and literature; a wealthy array of examples makes shiny his exposition of his concept.

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Now the situation with the beautiful, Kant maintains,' is not of this kind. The aesthetic judgement lets the external existent subsist free and independent, and it proceeds from a pleasure to which the object on its own account corresponds, in that the pleasure permits the object to have its end in itself. This, as we saw already above [pp. ], is an important consideration. e. without a category of the {Understanding, as an object of universal pleasure. To estimate the beautiful requires a cultured spirit; the uneducated man has no judgement of the beautiful, since this judgement claims universal validity.

Its aim therefore is supposed to consist in awakening and vivifying our slumbering feelings, inclinations, and passions of every kind, in filling the heart, in forcing the human being, educated or not, to go through the whole gamut of feelings which the human heart in its inmost and secret recesses can bear, experience, and produce, through what can move and stir the human breast in its depths and manifold possibilities and aspects, and to \ deliver to feeling and contemplation for its enjoyment whatever the spirit possesses of the essential and lofty in its thinking and in the Idea—the splendour of the noble, eternal, and true: moreover to make misfortune and misery, evil and guilt intelligible, to make men intimately acquainted with all that is horrible and shocking, as well as with all that is pleasurable and felicitous; and, finally, to let fancy loose in the idle plays of imagination and plunge it into the seductive magic of sensuously bewitching visions and feelings.

We can hear the most immoral presentations defended on the ground that one must be acquainted with evil and sins in order to act morally; conversely, it has been said that the portrayal of Mary Magdalene, the beautiful sinner who afterwards repented, has seduced many into sin, because art makes repentance look so beautiful, and sinning must come before repentance. But the doctrine of moral betterment, carried through logically, is not content with holding that a moral may be pointed from a work of art; on the contrary, it would want the moral instruction to shine forth clearly as the substantial aim of the work of art, and indeinTafld expressly permit the presentation of none but moral subjects, moral characters, actions, and events.

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Aesthetics: Lectures on Fine Art, Volume 1 by G. W. F. Hegel

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