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Introductory Lectures on Aesthetics

Introductory Lectures on Aesthetics

Bernard Bosanquet
3.9/5 ( ratings)
Read Download
Librarian note: an alternate cover for this edition can be found here.

For Georg Wilhelm Friedrich Hegel , art almost ranked with religion and philosophy in its power to reveal the fundamental nature of existence. But although he lived in the German golden age of Goethe, Schiller and Mozart, he also believed that art was in terminal decline.
To resolve this apparent paradox, as Michael Inwood explains in his incisive Introduction, we must understand the particular place of aesthetics in Hegel's vast intellectual edifice. Its central pillars consist of logic, philosophy of nature and philosophy of spirit. Art derives its value from offering a sensory vision of the God-like absolute, from its harmonious fusion of form and content, and from summing up the world-view of an age such as Homer's. While it scaled supreme heights in ancient Greece, Hegel doubted art's ability to encompass Christian belief or the reflective irony characteristic of modern societies. Many such challenging ideas are developed in this superb treatise; it counts among the most stimulating works of a master thinker.

Table of Contents
Introductory Lectures on Aesthetics Introduction A Note on the Translation and Commentary
INTRODUCTORY LECTURES ON AESTHETICS

Chapter I: The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted
[α Aesthetic confined to Beauty of Art
β Does Art merit Scientific Treatment?
γ Is Scientific Treatment appropriate to Art?
δ Answer to β
ε Answer to γ]

Chapter II: Methods of Science Applicable to Beauty and Art
[1. Empirical Method - Art-scholarship
Its Range
It generates Rules and Theories
The Rights of Genius
2. Abstract Reflection
3. The Philosophical Conception of Artistic Beauty, general notion of]

Chapter III: The Conception of Artistic Beauty
Part I - The Work of Art as Made and as Sensuous
1. Work of Art as Product of Human Activity
[ Conscious Production by Rule
Artistic Inspiration
Dignity of Production by Man
Man's Need to produce Works of Art]
2. Work of Art as addressed to Man's Sense
[ Object of Art - Pleasant Feeling?
Feeling of Beauty - Taste
Art-scholarship
Profounder Consequences of Sensuous Nature of Art
Relations of the Sensuous to the Mind
Desire
Theory
Sensuous as Symbol of Spiritual
The Sensuous Element, how Present in the Artist
The Content of Art Sensuous]

Part II - The End of Art
3. [The Interest or End of Art
Imitation of Nature?
Mere Repetition of Nature is -
Superfluous
Imperfect
Amusing Merely as Sleight of Hand
What is Good to Imitate?
Some Arts cannot be called Imitative
Humani nihil - ?
Mitigation of the Passions?
How Art mitigates the Passions
How Art purifies the Passions
It must have a Worthy Content
But ought not to be Didactic
Nor explicitly addressed to a Moral Purpose
Art has its own Purpose as Revelation of Truth]

Chapter IV: Historical Deducation of the True Idea of Art in Modern Philosophy
1. Kant
[ Pleasure in Beauty not Appetitive
Pleasure in Beauty Universal
The Beautiful in its Teleological Aspect
Delight in the Beautiful necessary though felt]
2. Schiller, Winckelmann, Schelling
3. The Irony

Chapter V: Division of the Subject
[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form
2. Part I - The Ideal
3. Part II - The Types of Art
Symbolic Art
Classical Art
Romantic Art
4. Part III - The Several Arts
Architecture
Sculpture
Romantic Art, comprising
Painting
Music
Poetry
5. Conclusion]

Commentary
Language
English
Pages
197
Format
Paperback
Publisher
Penguin Books Ltd
Release
April 01, 2004
ISBN
014043335X
ISBN 13
9780140433357

Introductory Lectures on Aesthetics

Bernard Bosanquet
3.9/5 ( ratings)
Read Download
Librarian note: an alternate cover for this edition can be found here.

For Georg Wilhelm Friedrich Hegel , art almost ranked with religion and philosophy in its power to reveal the fundamental nature of existence. But although he lived in the German golden age of Goethe, Schiller and Mozart, he also believed that art was in terminal decline.
To resolve this apparent paradox, as Michael Inwood explains in his incisive Introduction, we must understand the particular place of aesthetics in Hegel's vast intellectual edifice. Its central pillars consist of logic, philosophy of nature and philosophy of spirit. Art derives its value from offering a sensory vision of the God-like absolute, from its harmonious fusion of form and content, and from summing up the world-view of an age such as Homer's. While it scaled supreme heights in ancient Greece, Hegel doubted art's ability to encompass Christian belief or the reflective irony characteristic of modern societies. Many such challenging ideas are developed in this superb treatise; it counts among the most stimulating works of a master thinker.

Table of Contents
Introductory Lectures on Aesthetics Introduction A Note on the Translation and Commentary
INTRODUCTORY LECTURES ON AESTHETICS

Chapter I: The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted
[α Aesthetic confined to Beauty of Art
β Does Art merit Scientific Treatment?
γ Is Scientific Treatment appropriate to Art?
δ Answer to β
ε Answer to γ]

Chapter II: Methods of Science Applicable to Beauty and Art
[1. Empirical Method - Art-scholarship
Its Range
It generates Rules and Theories
The Rights of Genius
2. Abstract Reflection
3. The Philosophical Conception of Artistic Beauty, general notion of]

Chapter III: The Conception of Artistic Beauty
Part I - The Work of Art as Made and as Sensuous
1. Work of Art as Product of Human Activity
[ Conscious Production by Rule
Artistic Inspiration
Dignity of Production by Man
Man's Need to produce Works of Art]
2. Work of Art as addressed to Man's Sense
[ Object of Art - Pleasant Feeling?
Feeling of Beauty - Taste
Art-scholarship
Profounder Consequences of Sensuous Nature of Art
Relations of the Sensuous to the Mind
Desire
Theory
Sensuous as Symbol of Spiritual
The Sensuous Element, how Present in the Artist
The Content of Art Sensuous]

Part II - The End of Art
3. [The Interest or End of Art
Imitation of Nature?
Mere Repetition of Nature is -
Superfluous
Imperfect
Amusing Merely as Sleight of Hand
What is Good to Imitate?
Some Arts cannot be called Imitative
Humani nihil - ?
Mitigation of the Passions?
How Art mitigates the Passions
How Art purifies the Passions
It must have a Worthy Content
But ought not to be Didactic
Nor explicitly addressed to a Moral Purpose
Art has its own Purpose as Revelation of Truth]

Chapter IV: Historical Deducation of the True Idea of Art in Modern Philosophy
1. Kant
[ Pleasure in Beauty not Appetitive
Pleasure in Beauty Universal
The Beautiful in its Teleological Aspect
Delight in the Beautiful necessary though felt]
2. Schiller, Winckelmann, Schelling
3. The Irony

Chapter V: Division of the Subject
[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form
2. Part I - The Ideal
3. Part II - The Types of Art
Symbolic Art
Classical Art
Romantic Art
4. Part III - The Several Arts
Architecture
Sculpture
Romantic Art, comprising
Painting
Music
Poetry
5. Conclusion]

Commentary
Language
English
Pages
197
Format
Paperback
Publisher
Penguin Books Ltd
Release
April 01, 2004
ISBN
014043335X
ISBN 13
9780140433357

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