By David James
Artwork, fantasy 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transcripts of Hegel's lectures on aesthetics, that have but to be translated into English and every so often stay unpublished. David James develops the concept that those transcripts exhibit that Hegel was once essentially drawn to realizing paintings as an ancient phenomenon and, extra particularly, when it comes to its position within the moral lifetime of a number of peoples. This consists of referring to Hegel's aesthetics to his philosophies of correct and historical past, instead of to his good judgment or metaphysics. The publication hence bargains an intensive second look of Hegel's aesthetics and its relation to his idea of goal spirit, exposing the ways that Hegel's perspectives in this topic are anchored in his reflections on heritage and on varied sorts of moral lifestyles.
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Extra resources for Art, Myth and Society in Hegel's Aesthetics
The Psalms) a host of sublime images, that is to say, images of God’s greatness and glory, His unlimited power and the insignificance of all finite things in relation to His power,45 the Jewish people were aware, or so Hegel claims, that these images could never adequately express the idea of the infinite or unconditioned which formed the true content of their religion. Moreover, Hegel himself shows that he thinks of the idea of the infinite or unconditioned as being the true content of Judaism when he claims that in sacred poetry, ‘The art work is here the effusion of pure meaning, of essence [des Wesens] .
This suggests that the unity of Greek ethical life depends on the harmony of the human law and the divine law. 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.
5 This is not to say, however, that Homer and Hesiod created the gods ex nihilo, as it were. The relation of the Greek artist to the content of the work of art can in fact be understood as a twofold one. On the one hand, there are certain traditional elements, which derive from a commonly held conception of the gods and a common understanding of the past, and, on the other hand, there is an element of innovation, with the artist offering his own interpretation of the traditional elements by means of his arrangement and portrayal of them in the work of art.
Art, Myth and Society in Hegel's Aesthetics by David James