By Brian K. Etter
Argues that the idea that of the moral is valuable to Hegel’s philosophy of art.
Between Transcendence and Historicism explores Hegel’s aesthetics in the greater context of the culture of theoretical mirrored image to stress its designated skill to account for standard inventive perform. Arguing that the idea that of the moral is critical to Hegel’s philosophy of paintings, Brian ok. Etter examines the poverty of modernist aesthetic theories unlike the confirmation through Hegel of the need of paintings. He specializes in the person arts in higher aspect than is in general performed for Hegel’s aesthetics, and considers how the twin structure of the moral nature of paintings may be justified, either inside Hegel’s personal philosophical method and by way of its relevance to the dilemmas of contemporary social existence. Etter concludes that the humanities have a accountability to symbolize the goodness of lifestyles, the precise, and the moral existence in dignifying the metaxological realm via their beauty.
“This publication addresses very important modern matters in an easy and transparent demeanour. Etter is especially acquainted with paintings and modern aesthetics and makes use of this to notify his interpretation of Hegel. He does a great activity explicating and severely interpreting Hegel’s perspectives to demonstrate his relevance for modern artwork and paintings criticism.” — William Maker, editor of Hegel and Aesthetics
“The position of recent paintings in sleek life—and the facility of Hegel’s aesthetics to assist us confirm that place—are very important themes, and the writer brings this out forcefully and clearly.” — William C. Dudley, Williams College
Brian ok. Etter (1954–2005) was once affiliate Professor in Humanities at Kettering college and the writer of From Classicism to Modernism: Western Musical tradition and the Metaphysics of Order.
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Extra resources for Between Transcendence And Historicism: The Ethical Nature of The Arts in Hegelian Aesthetics (Suny Series in Hegelian Studies)
According to this view, the self-representation enclosed in modernist art is of the self as alienated from the possibility of the ideal: the artist, in this view, becomes emblematic of the universal condition of humanity. Thus, although the social realization of truth and of an ideal of moral goodness is denied, postmod- Is Art Necessary? 27 ernism depends for its interpretive stance on the very categories it denies. In this way it embodies the alienation it sees as characteristic of modernity.
Thus Hegel begins from the same premises as the postmodernists, but arrives at precisely the opposite conclusion. Art ought not be antagonistic, seeking to destroy ideals simply because society does not live according to them, but rather portray the ideal in order to allow humanity to feel at home in the world. The analysis Hegel provides in the passages cited above explains not simply the importance of the category of art, but also the imperative of the preservation of a canon of works embodying the heroic ideal.
The splendor of the arts, then, is fundamentally a publicly displayed activity. ” Hegel adduces theatrical performances as his illustration, but musical performances could be added easily, as concerts are public affairs (VÄ 1, 341; A 1, 263–64). 38 Heretofore, paintings and drawings might 34 Between Transcendence and Historicism be created for royal or aristocratic patrons, or for a bourgeois art market after the seventeenth century: but now such works of art were placed on specifically public display.