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  1. Das 'Sinnliche Scheinen der Idee' in der Natur.Dieter Wandschneider - 2022 - In Wolfgang Neuser & Pirmin Stekeler-Weithofer (eds.), Die Idee der Natur. Analyse, Ästhetik und Psychologie in Hegels Naturphilosophie. Königshausen & Neumann. pp. 229–239.
    Ziel der Untersuchung ist zu zeigen, inwiefern Hegels Charakterisierung des Schönen als ‚das sinnliche Scheinen der Idee‘ auch für die Deutung des Naturschönen Erklärungswert hat. Vorausgesetzt ist die für den Idea- lismus Hegelscher Prägung zentrale Doktrin, derzufolge der Natur Ideel- les zugrunde liegt. Schön sind dann Naturphänomene, in denen jener ideelle Grund der Natur durchscheint. Das Erfassen von Ideellem scheint ein Privileg geistiger Wesen zu sein. Dem stehen evolutionsbiologische Argumente entgegen, die dem Schönen einen positiven Selektionswert, etwa bei der sexuellen (...)
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  2. Industrial Modernism and the Hegelian Dialectic in Winslow Homer.Trevor Griffith - 2021 - Labyrinth: An International Journal for Philosophy, Value Theory and Sociocultural Hermeneutics 23 (1):166-183.
    This paper looks at the themes of nature, humanity, and military and industrial development in the nineteenth century American painter Winslow Homer through the lens of the Hegelian theory of art. Robert Pippin's After the Beautiful has recently put the Hegelian framework to very fruitful use in understanding pictorial modernism. This study of Homer follows a similar approach but argues that Homer's canvases represent a development in the modern spirt which, in many ways, goes beyond the canvases of Manet – (...)
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  3. Who’s afraid of Seneca? Conflict and pathos in the romantic-idealistic theory of tragedy.Giovanna Pinna - 2021 - Estetica 116 (Art and Knowledge in Classical G):151-168.
    This paper reconsiders the Idealistic aesthetics of tragedy from an unconventional point of view. It investigates the relationship between theory and dramatic canon by focusing on those works and authors that are excluded from the canon by the theoretical discourse. My aim is to show that Idealist philosophers and Romantic critics concur in constructing a unitary model of the tragic conflict that is partly defined through its contraposition to the ‘Senecan’ conception of tragedy as a representation of suffering and as (...)
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  4. The Aborted Object of Comedy and the Birth of the Subject: Plato and Aristophanes’ Alliance.Rachel Aumiller - 2020 - In The Object of Comedy: Philosophies and Performances. New York, NY, USA: Palgrave Macmillan. pp. 75-92.
    I set the stage for Socrates and Aristophanes’ alliance by beginning with Hegel’s question, what is the object of art?, in the context of his analysis of ancient Greek “art-religion.” Hegel traces the shifting object of art through a variety of artistic practices before arriving at comedy, which he identifies as the last stage of Greek aesthetic life. He finally asks, what is the object of comedy? Unlike other artistic practices that are positively defined by their created object or creative (...)
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  5. The anachronism of myth in Hegel and Bolsonarist Brazil.Adriano Kurle - 2020 - Problemata 11 (4):176-192.
    In this paper, I present some concepts of Hegel’s philosophy of art, aiming to interpret a cultural-political situation, namely, Bolsonarism in contemporary Brazil. I present the ideas in the following order: (a) the modes of comprehension, mainly through the distinction between the poetic and the prosaicmodes; (b) the conception of “Action [Handlung]” as a category of art, by means of its three levels: State of the World [Weltzustand], Situation [Situation], and Action itself [Handlung als solche]; (c) an evaluation of the (...)
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  6. Hegel's End of Art Revisited: The Death of God and the Essential Finitude of Artistic Beauty.Jeffrey Reid - 2020 - Clio: A Journal of Literature, History, and the Philosophy of History 1 (48):77-101.
    The article re-visits the different scholarly approaches to Hegel's end-of-art scenario, and then proposes a new reading whereby ending and finitude are presented as essential features of beautiful art. The first and most determinant of art's endings is the death of the Christly art object, not representations of Christ, but the actual death of (the son of) God himself as the last classical artwork. The death of God represents the last word in Greco-Roman art, the accomplishment of the beautiful individuality (...)
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  7. The Musical Subject: Intuition, Historicity and Music in Hegel.Adriano Kurle - 2019 - Hegel Jahrbuch 2019 (1):436-443.
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  8. The historicity of music in Hegel in face of Schoenberg’s twelve-tone music.Adriano Bueno Kurle - 2019 - Veritas – Revista de Filosofia da Pucrs 64 (2):e33169.
    In this paper, I consider how it would be possible to think about the historicity of music through Hegel’s thought. I will compare Hegel’s idea with a historical event that is considered relevant in the history of music: Schoenberg’s twelve-tone music, taken here also as a model of immanent negation and Aufhebung of tonal system in music. Furthermore, I will take Schoenberg’s twelve-tone music as an instance and wonder about the role of music and its history in the sociocultural formation (...)
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  9. Hegel's Aesthetics: The Art of Idealism.Lydia L. Moland - 2019 - New York: Oup Usa.
    Hegel's Aesthetics is the first comprehensive interpretation of Hegel's philosophy of art in English in thirty years. It gives a new analysis of his notorious "end of art" thesis, shows the indispensability of his aesthetics to his philosophy generally, and argues for his theory's relevance today.
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  10. Karl Wilhelm Ferdinand Solger, Vorlesungen über Ästhetik.Giovanna Pinna (ed.) - 2017 - Hamburg, Germany: Felix Meiner Verlag.
    The first commented edition of K.W.F. Solger's Vorlesungen über Ästhetik (1819), edited by Giovanna Pinna.
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  11. La apariencia ( Schein ) en las Lecciones sobre la estética de G. W. F. Hegel.Carlos Vanegas - 2016 - Revista Estudios de Filosofía:33-55.
    Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la apariencia. De tal manera que, el ser y la verdad, según la antigua teoría, se encuentran en las ideas y no en las apariencias sensibles. Hegel está lejos de este platonismo en sus Lecciones sobre estética y, por el contrario, va a realizar una reivindicación de la apariencia en el arte. El interés de este artículo es indagar por la distinción entre apariencia que engaña, (...)
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  12. Del pathos, la extensión y la circunstancia del mundo para la experiencia del arte actual.Carlos Vanegas - 2016 - In Vanegas Carlos (ed.), ¿Arte sin estética? Universidad de Antioquia. pp. 131-166.
    Frente al interés por construir un discurso que dé cuenta del momento particular del arte contemporáneo, y que, además, pueda esclarecer y proponer diversas respuestas frente a los productos artísticos que se realizan en la difícil circunstancia actual, se han dirigido diferentes propuestas disciplinares que presentan análisis de la obra de arte y la experiencia que surge en su comprensión. La situación, que a veces se caracteriza por la impotencia de la teoría, la historia y la crítica del arte al (...)
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  13. Hegels Auffassung von der Poesie als Endform der Kunst.Héctor Ferreiro - 2015 - In Peter Remmers & Christoph Asmuth (eds.), Ästhetisches Wissen: Zwischen Sinnlichkeit Und Begriff. Berlin: De Gruyter. pp. 133-144.
    Die Poesie ist für Hegel die Endform der Kunst, in der die Kunst im Allgemeinen durch die Religion überwunden wird. Die These, dass die Poesie den anderen Künsten, d.h. der Architektur, der Skulptur, der Malerei und der Musik, überlegen ist, spricht von einer besonderen Hierarchisierung und Periodisierung, die Hegel zwischen die verschiedenen Kunstformen einführt. Das Kriterium für diese Hierarchisierung und Periodisierung ist offensichtlich das gleiche, nach dem Hegel die Kunst wiederum als eine der Religion und der Philosophie unterlegene Form betrachtet. (...)
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  14. Hegel and the Art of Negation.Andrew W. Hass - 2013 - London: I.B. Tauris.
    -/- Why is the philosopher Hegel returning as a potent force in contemporary thinking? Why, after a long period when Hegel and his dialectics of history have seemed less compelling than they were for previous generations of philosophers, is study of Hegel again becoming important? Fashionable contemporary theorists like Francis Fukuyama and Slavoj Zizek, as well as radical theologians like Thomas Altizer, have all recently been influenced by Hegel, the philosopher whose philosophy now seems somehow perennial- or, to borrow an (...)
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  15. Maschinen der Natur.Thomas Khurana - 2011 - Drehmomente.
    In seinem Neuen System (1695) führt Leibniz einen bemerkenswerten Ausdruck ein, in dem sich eine neue Konzeption des Verhältnisses von Natur und Kunst manifestiert. Er wirft den Modernen, die die natürlichen Dinge ganz nach dem Muster künstlicher Maschinen verstanden haben, vor, die natürlichen und künstlichen Dinge auf unangemessene Weise vermengt zu haben. Statt den Modernen aber nun entgegenzuhalten, dass die Dinge der Natur nicht den Charakter von Maschinen haben, führt Leibniz den zunächst überraschenden Begriff der »Maschinen der Natur« ein: Auch (...)
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  16. Freedom and Necessity. And Music.Terry Pinkard - 2011 - In Axe Honneth & Gunnar Hendrichs (eds.), Freiheit: Stuttgarter Hegelkrongress 2011.
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  17. How to Move From Romanticism to Post-Romanticism: Schelling, Heine, Hegel.Terry Pinkard - 2010 - European Romantic Review 21 (3):391-407.
    Kant’s conception of nature’s having a “purposiveness without a purpose” was quickly picked by the Romantics and made into a theory of art as revealing the otherwise hidden unity of nature and freedom. Other responses (such as Hegel’s) turned instead to Kant’s concept of judgment and used this to develop a theory that, instead of the Romantics’ conception of the non-discursive manifestation of the absolute, argued for the discursively articulable realization of conceptual truths. Although Hegel did not argue for the (...)
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  18. The Aesthetics of Schelling and Hegel.Rachel Zuckert - 2010 - In Dean Moyar (ed.), The Routledge Companion to Nineteenth Century Philosophy. Routledge. pp. 165-194.
    This essay provides an overview of the philosophical aesthetics of Hegel and Schelling. Hegel and Schelling understand art to be a central human activity, one that models, rivals, or even supersedes the accomplishments of philosophy. This exalted status attributed to art rests upon a novel conception of art as a distinctive metaphysical and cognitive achievement: art presents the Absolute, ultimate being, in sensible or finite form. Their theories of art are the source, in the history of aesthetics, of the influential (...)
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  19. Argo dai mille occhi. Hegel e la traccia della bellezza.Francesca Brencio - 2006 - Davar 3.
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  20. Expressivism and Aesthetics.Rachel Zuckert - 2006 - Graduate Faculty Philosophy Journal 27 (2):1-24.
    Following suggestions of Isaiah Berlin, Charles Taylor articulates a central doctrine of late 18th century and 19th century German philosophy: “expressivism,” viz., the view that the most valuable human life is one of (self-) expression. This conception has historical roots, Taylor argues, in Rousseau’s proto-Romantic celebration of natural authenticity and in Herder’s theistic naturalism, and has had considerable influence on and appeal both philosophically and in the broader culture. Taylor suggests that this doctrine both draws from philosophical aesthetics, and explains (...)
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  21. Tragedy, Comedy, Parody: From Hegel to Klossowski.Russell Ford - 2005 - Diacritics 35 (1):22-46.
    While it has perhaps always accompanied philosophical thought – one immediately thinks of Plato’s Dialogues – the problem of the communication of that thought, and therefore of its capacity to be taught, has acquired a new insistence in the work of post-Kantian thinkers. As evidence of this one could cite Fichte’s repeated efforts to formulate a definitive version of his Wissenschaftslehre, the model of the Bildungsroman that Hegel adopts for his Phenomenology of Spirit, Kierkegaard’s pseudonymous works, Nietzsche’s Thus Spoke Zarathustra, (...)
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  22. Estetica e filosofia dell’arte: Revisioni testuali e interpretazioni dell’estetica hegeliana.Giovanna Pinna - 2002 - Giornale Critico Della Filosofia Italiana 22 (3).
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