Art, Myth and Society in Hegel's Aesthetics - download pdf or read online

By David James

Artwork, delusion and Society in Hegel's Aesthetics returns to the scholar transcripts of Hegel's lectures on aesthetics, that have but to be translated into English and now and again stay unpublished. David James develops the concept those transcripts express that Hegel was once basically attracted to knowing paintings as an historic phenomenon and, extra in particular, when it comes to its position within the moral lifetime of numerous peoples. This contains touching on Hegel's aesthetics to his philosophies of correct and background, instead of to his common sense or metaphysics. The booklet hence bargains an intensive re-assessment of Hegel's aesthetics and its relation to his concept of goal spirit, exposing the ways that Hegel's perspectives in this topic are anchored in his reflections on background and on assorted sorts of moral existence.

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One of the main functions performed by the family in ancient Greek ethical life is one that it shares in common with the modern family, namely, the upbringing of children. 39 The community as a whole is, moreover, the power over all the individual aspects of ancient Greek ethical life, including the various families of which it is made up. g. 40 On the other hand, the family performs another essential function within ancient Greek ethical life, namely, the role of performing the burial rites that tradition prescribes in the event of the death of one of its members.

The fact that in tragedy one party identifies him- or herself absolutely with one ethical power in opposition to the other one, means that it presents certain tensions inherent in Greek ethical life, and in this respect ancient tragedy belongs to a stage that lies between the unifying process that Hegel associates with the original epic, whereby a collective national identity and ethical consciousness is forged, and the gradual dissolution of the ethical community formed in this way. e. 42 Epic poetry, tragedy and ancient comedy can therefore all be seen to be rooted in the ethical life of ancient Greece, though in different ways according to the stage of this form of ethical life which they reflect, so that in each case the poet can be thought to stand in a necessary relation to that which he portrays, with his art expressing something essential about the set of ethical relations governing the society of which he is himself a member.

For the transition in question can be identified with a process of clarification with respect to a people’s conception of what constitutes its own historical essence, that is to say, the set of essential relations governing its world; and it is this process of clarification which constitutes the original epic’s historical function. Thus, what is meant by this process of clarification is that prior to its objectification in various works of art, the Greek people’s conception of the divine and the ethical may be thought to have lacked determinacy, so that it fell to the Greek artist to give concrete expression to a commonly held, but inchoate, understanding of the world.

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