By David James
Artwork, fable 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scholar transcripts of Hegel's lectures on aesthetics, that have but to be translated into English and at times stay unpublished. David James develops the concept that those transcripts exhibit that Hegel used to be essentially drawn to realizing artwork as an ancient phenomenon and, extra in particular, by way of its position within the moral lifetime of a variety of peoples. This consists of touching on Hegel's aesthetics to his philosophies of correct and background, instead of to his good judgment or metaphysics. The booklet therefore deals a radical re-examination of Hegel's aesthetics and its relation to his conception of aim spirit, exposing the ways that Hegel's perspectives in this topic are anchored in his reflections on historical past and on diversified varieties of moral lifestyles.
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Additional resources for Art, Myth and Society in Hegel's Aesthetics
15 The original epic in this way makes possible a more reflective attitude towards the beliefs and attitudes governing that 30 Art, Myth and Society in Hegel’s Aesthetics which Hegel calls ethical life (Sittlichkeit); for it allows a people to intuit the totality which constitutes its own historical essence. In other words, whereas in everyday life the religious ideas and ethical norms governing society guide the individual’s thoughts and actions without this individual necessarily being conscious of them and their role in determining his actions, and without his comprehending them as being essentially interconnected, the original epic provides the means whereby a contemplative attitude may be gained in relation to this set of interconnected ideas and norms.
In other words, the infinite or unconditioned becomes the object of consciousness in a way that no longer absolutely requires its being given sensory form, which is in any case a form to which this idea is not fully susceptible. In this way, Judaism recognizes that this content is essentially different in kind from that which is finite, thereby gaining insight into the incommensurability of the idea of the unconditioned in relation to all objects of sense experience, however boundless they may be.
It must be pointed out, however, that this reflective relation is not to be understood as amounting to a critically reflective attitude, for Hegel does not think that such critical reflection was typical of the ethical life of ancient Greece. 16 This explains why the Greeks were content to act in accordance with norms that had their ultimate source in myth. In short, the validity of the mythic source of these norms was not called into question, because the demand for reasons as to why one should act in accordance with the norms and values governing society had yet to arise.