Rutter connects this response more thematically in the book as a whole to a distinction that he sees both in Hegel and in the contemporary literary critic James Wood between two forms of comic representation -- a gentler comedy of forgiveness (which Hegel of course associated with the large vision not of any modern comic artist but of Aristophanes) and a comedy of correction (which Hegel actually linked to Molière). College of Arts and Letters (The situation is in fact worse than this, since not even all of the aesthetics lecture series transcripts have been published yet in German.). If you originally registered with a username please use that to sign in. - Georg Wilhelm Friedrich Hegel Introduction [1 Prefatory Remarks] THESE lectures are devoted to Aesthetics. Benjamin Rutter’s Hegel on the Modern Arts attends to some of this rich material in an effort to refine our understanding of Hegel’s ‘end of art’ thesis. philosophy, economics, interesting, economics-philosophy, hegel, innovative. Benjamin Rutter, Hegel on the Modern Arts, Cambridge University Press, 2010, 282pp., $85.00 (hbk), ISBN 9780521114011. 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 ", value," one that in Rutter's view has both, value, since he sees art as both helping toward free and rational agency and being one kind of rational freedom itself. , thanks to the editorial work of Jaeschke, Hodgson, and others, but there exists to this day no such opportunity for those interested in Hegel's aesthetics. Top 28 Georg Wilhelm Friedrich Hegel Philosophical Quotes About Life, Passion, and History “Impatience asks for the impossible, wants to reach the goal without the means of getting there. Discover and share Hegel Philosophy Quotes. If you want to love you must serve, if you want freedom you must die. Hegel's aesthetics has, especially since Henrich and Danto, often been viewed as heralding the "end of art." Rutter shapes his argument first by responding to the pessimistic stance about art's status as he sees it articulated in Henrich's dual claims that in the modern world art is necessarily partial (since it can no longer address all of our most important concerns) and redundant (since whatever insight a work of art might offer is presumably better comprehended philosophically). of Hegel's views about modern art over the series of lectures Hegel gave on the topic during the 1820s. The first claim, he argues, is not inconsistent with a notion of modern art that is also indispensable (Hegel himself speaks of the notion of a "partial" satisfaction associated with works of art). One of the best features of Benjamin Rutter's new book on Hegel's aesthetics is that he has taken care to examine the development of Hegel's views about modern art over the series of lectures Hegel gave on the topic during the 1820s. The latter claim is more problematic, but Rutter finds that it rests (at least in the versions articulated by both Henrich and Danto, in his view) on an un-Hegelian distinction between content and form. Published by Oxford University Press on behalf of the British Society of Aesthetics. , but Knox relied on an edition prepared by Hegel's student H. G. Hotho, and contemporary scholars have been at pains to use the existing transcriptions of those lectures in an effort to pare off the authentic words of Hegel himself from the accretions of his disciple.
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