Philosophy Dictionary of ArgumentsHome
| |||
|
| |||
| Natural beauty: For idealism, natural beauty is a reflection of the perfect and eternal beauty that exists in the realm of ideas. It is a manifestation of the divine or spiritual within the physical world. See also Beauty, Nature, Aesthetic perception, Aesthetics, Idealism._____________Annotation: The above characterizations of concepts are neither definitions nor exhausting presentations of problems related to them. Instead, they are intended to give a short introduction to the contributions below. – Lexicon of Arguments. | |||
| Author | Concept | Summary/Quotes | Sources |
|---|---|---|---|
|
G.W.F. Hegel on Natural Beauty - Dictionary of Arguments
Gadamer I 64 Natural Beauty/Hegel/Gadamer: In contrast to Kant, [in German idealism] the standpoint of art as that of unconsciously ingenious production became all-encompassing and included nature, which is understood as a product of the mind.(1) >Aesthetics/Fichte. But with it the foundations of aesthetics have shifted. Like the concept of taste, the concept of natural beauty is devalued, or understood differently. The moral interest in the beauty of nature, which Kant had described so enthusiastically, now takes a back seat to the self-encounter of man in the works of art. Aesthetics/Hegel. Hegel/Gadamer: In Hegel's great aesthetics, the beauty of nature now only appears as a "reflex of the spirit". It is basically no longer an independent moment in the systematic whole of aesthetics(2). Obviously it is the indeterminacy with which beautiful nature presents itself to the interpreting and understanding mind that justifies saying with Hegel that it is "preserved in spirit according to its substance"(3). It is undeniable that the judgement about the beauty of a landscape depends on the artistic taste of an era. One thinks, for example, of the depiction of the ugliness of the Alpine landscape that we still encounter in the 18th century - obviously a reflex of the spirit of artificial symmetry that has dominated the century of Gadamer I 65 absolutism. Aesthetics/Hegel: Thus Hegel's aesthetics is entirely on the standpoint of art. In art, man meets himself, spirit meets spirit. >Art/Hegel. 1. To what extent the change that occurred between Kant and his successors, which I try to characterize by the formula "standpoint of art", has obscured the universal phenomenon of the beautiful, can be taught by the first Schlegelfragment (Friedrich Schlegel, Fragmente, From the Lyceums 1797): "One mentions many artists who are actually works of art of nature". This turn of phrase echoes Kant's justification of the concept of genius in terms of the favour of nature, but is so little appreciated that it becomes, on the contrary, an objection against an artistry that is too little aware of itself. 2.. Vgl. Hegel, Sämtl. Werke, ed. Lasson, Bd. Xa, 1. Halbband (Die Idee und das Ideal), S. Xllff. IVgl. 2. 3. Hegel, Vorlesungen über die Ästhetik, ed. Lasson._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. Translations: Dictionary of Arguments The note [Concept/Author], [Author1]Vs[Author2] or [Author]Vs[term] resp. "problem:"/"solution:", "old:"/"new:" and "thesis:" is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition. |
Gadamer I Hans-Georg Gadamer Wahrheit und Methode. Grundzüge einer philosophischen Hermeneutik 7. durchgesehene Auflage Tübingen 1960/2010 Gadamer II H. G. Gadamer The Relevance of the Beautiful, London 1986 German Edition: Die Aktualität des Schönen: Kunst als Spiel, Symbol und Fest Stuttgart 1977 |
||
> Counter arguments against Hegel
> Counter arguments in relation to Natural Beauty
Ed. Martin Schulz, access date 2024-04-23