Hegel on the Modern Arts (Modern European Philosophy)

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But I'm choosing to make a draft review now to point out to readers a glaring error in the book description: And Ferrarin knows this is false.

Marx, Nietzsche, and Hegel's Logic of Essence by Prof. Winfield - Introduction

The first and still best book in this regard is An Introduction to Hegel by G. Now Ferrarin is quite aware of Mure's priority in this regard, as he points out in a couple of mere footnotes. On the other hand he shows little appreciation for the depth and profundity of Mure's work. And according to Frederick G. Mure's book on Hegel [footnote: Mure, An Introduction to Hegel Oxford ], very little is to be found in English which at all attempts to establish in systematic fashion the relationship of the thought of Aristotle and Hegel.

Ferrarin, interestingly and in yet another footnote, is also aware of Weiss' essay but casually dismissive of it. Yes, Ferrarin's book is twice as long as Mure's and contains a lot more scholarly apparatus and detail in places. But Mure writes as a pure philosopher and is much more compactly, systematically, and "closely" reasoned than Ferrarin, who writes in a more scholarly, historiographical style.


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Such scholarly exposition tends to be more verbose than straight, systematic philosophical development. As I peruse Ferrarin's book in greater detail, I may edit this comment and submit a different star-rating. But academic honesty should have dictated to Ferrarin to not allow the publisher to misrepresent his own book as the pioneer in this field; this point forced my hand, so to speak. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers. Learn more about Amazon Giveaway.

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Download Hegel On The Modern Arts (Modern European Philosophy) 2010

Debates over the 'end of art' have tended to obscure Hegel's work on the arts themselves. Benjamin Rutter opens this study with a defence of art's indispensability to Hegel's conception of modernity; he then seeks to reorient discussion toward the distinctive values of painting, poetry, and the novel. Working carefully through Hegel's four lecture series on aesthetics, he identifies the expressive possibilities particular to each medium. Thus, Dutch genre scenes animate the everyday with an appearance of vitality; metaphor frees language from prose; and Goethe's lyrics revive the banal routines of love with imagination and wit.

Rutter's important study reconstructs Hegel's view not only of modern art but of modern life and will appeal to philosophers, literary theorists, and art historians alike.


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    Customer reviews There are no customer reviews yet. Share your thoughts with other customers. Write a customer review. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers. Further, the notion of "sublation" to which Henrich appeals needs to be contextually examined as well: This confusion is perhaps not surprising, given that Hegel's theory of art not unproblematically incorporates within it a theory of art's history -- a point nicely discussed by Rutter.

    On Rutter's view, art's ultimate relation to philosophy is both cooperative both are, after all, modes of Absolute Spirit for Hegel and dependent art still requires a superior kind of philosophical account-giving. As he puts it: Rutter doesn't quite explain what the definition of "locality" in this sense might be within the larger Hegelian philosophical project, but it is clear, if he is right, that it should be possible to give a " positive account of art's distinctive value," one that in Rutter's view has both instrumental and intrinsic value, since he sees art as both helping toward free and rational agency and being one kind of rational freedom itself.

    If we could imagine in the future some form of practice that managed to present life's oppositions to the senses as reconciled it just would be art, or what art has come to mean. Art's "local" character means that it has within modern life something of a niche status: Art in the modern age may have the purpose of "repairing rather than rejecting" such disappointments, of engaging issues that "seem least suited to the abstractions of philosophy and therefore only loosely integrated into the picture of modern life as reconciled and free.

    These concerns are above all the province of the dominant post-Romantic modes of art -- genre painting and lyric poetry -- and provide the kind of solace a wayward Hegelian disciple might be unable to discover merely by reading Hegel's Encyclopedia. For Hegel, beauty is found classically in the harmony between form and content characteristic of Greek sculpture, but in a modern medium like Dutch genre painting, what characterizes art is a certain liveliness rather than beauty and a sort of absorption -- not in the objects represented a scene of pipe smokers but rather in everydayness in general.

    As Hegel puts it in one of the lectures, what is set before us in such paintings is "a way of acting that is more general than [an] action itself. This notion of absorption leads ultimately to an account of the subjectivity of the artist himself:. Hegel's idea is not so much that the painter makes pictures of people who are themselves absorbed … it is that he makes pictures of people doing anything whatever, and then points with such commitment and intensity that his own exemplary self-unity … simply forces us to see the painted subject as absorbed p. Such a view of the absorptive elements in the painting of bourgeois scenes may give a sense -- not just for the artist but for the bourgeois, as well -- that "affirmation and investment offer a way out.

    Such a view of modern art, Rutter argues, would not have led Hegel to be a champion of the banal Norman Rockwell , nor does it put aside the evil or base in bourgeois life from artistic representation.