Correspondance 3

Leçons sur l'histoire de la philosophie IV : La philosophie grecque. Le dogmatisme et le scepticisme. Les Néoplatoniciens

PrefaceIntroductionNote on the TextThe three methods of writing historyReason as the basis of historyThe idea of history & its realizationThe idea of freedom The means of realization The idea & the individualThe individual as subject of historyThe individual as object of history The State The State as realization of the ideaLaw as realization of freedom The legal foundation of the State (The Constitution)The religious foundation of the State The course of world history The principle of development The origin of history The pre-history of reason The State as condition of historyThe historical role of language The course of development The principle of a people The dialectic of national principles

La Raison dans L'histoire

Librarian note: an alternate cover for this edition can be found here.For Georg Wilhelm Friedrich Hegel (1770-1831), 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 ContentsIntroductory Lectures on Aesthetics Introduction A Note on the Translation and CommentaryINTRODUCTORY LECTURES ON AESTHETICSChapter I: The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted[α Aesthetic confined to Beauty of Artβ Does Art merit Scientific Treatment?γ Is Scientific Treatment appropriate to Art?δ Answer to βε Answer to γ]Chapter II: Methods of Science Applicable to Beauty and Art[1. Empirical Method - Art-scholarship(a) Its Range(b) It generates Rules and Theories(c) The Rights of Genius2. Abstract Reflection3. The Philosophical Conception of Artistic Beauty, general notion of]Chapter III: The Conception of Artistic BeautyPart I - The Work of Art as Made and as Sensuous1. Work of Art as Product of Human Activity[(a) Conscious Production by Rule(b) Artistic Inspiration(c) Dignity of Production by Man(d) Man's Need to produce Works of Art]2. Work of Art as addressed to Man's Sense[(a) Object of Art - Pleasant Feeling?(b) Feeling of Beauty - Taste(c) Art-scholarship(d) Profounder Consequences of Sensuous Nature of Art(α) Relations of the Sensuous to the Mind(αα) Desire(ββ) Theory(γγ) Sensuous as Symbol of Spiritual(β) The Sensuous Element, how Present in the Artist(γ) The Content of Art Sensuous]Part II - The End of Art3. [The Interest or End of Art(a) Imitation of Nature?(α) Mere Repetition of Nature is -(αα) Superfluous(ββ) Imperfect(γγ) Amusing Merely as Sleight of Hand(β) What is Good to Imitate?(γ) Some Arts cannot be called Imitative(b) Humani nihil - ?(c) Mitigation of the Passions?(α) How Art mitigates the Passions(β) How Art purifies the Passions(αα) It must have a Worthy Content(ββ) But ought not to be Didactic(γγ) Nor explicitly addressed to a Moral Purpose(d) Art has its own Purpose as Revelation of Truth]Chapter IV: Historical Deducation of the True Idea of Art in Modern Philosophy1. Kant[(a) Pleasure in Beauty not Appetitive(b) Pleasure in Beauty Universal(c) The Beautiful in its Teleological Aspect(d) Delight in the Beautiful necessary though felt]2. Schiller, Winckelmann, Schelling3. The IronyChapter V: Division of the Subject[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form2. Part I - The Ideal3. Part II - The Types of Art(α) Symbolic Art(β) Classical Art(γ) Romantic Art4. Part III - The Several Arts(α) Architecture(β) Sculpture(γ) Romantic Art, comprising(i) Painting(ii) Music(iii) Poetry5. Conclusion]Commentary

Introduction à l'Esthétique / Le Beau

Cours d'esthétique 3

Leçons sur l'histoire de la philosophie VI : La philosophie moderne. De Bacon aux Lumières Avec la reconstitution critique du cours de 1825-1826

Partie intégrante des Appendices qui figurent en fin du livre de la Doctrine du concept de Hegel (second tome de la Science de la Logique, La logique subjective), l'Index que voici, étant donné son ampleur, a du en être détaché pour paraître en volume séparé.

Science de la logique : la doctrine du concept - Index des matières

Esthetique. Tome 5

La Science de la logique de Hegel comprend deux tomes : la Logique objective, avec les livres de l'Être (1812) et de la Doctrine de l'essence (1813), et la Logique subjective ou Doctrine du concept (1816).
En 1831, Hegel entreprit de réécrire, en l'amplifiant considérablement, le premier de ces ouvrages. Cette seconde version fut publiée en 1832, après la mort de son auteur, sous le titre La doctrine de l'être. C'est ce texte que l'on trouvera dans le présent volume. Il constitue le dernier état de l'écriture de Hegel sur ce premier moment de sa pensée logique.

Correspondance 3

Plus de livres de Georg Wilhelm Friedrich Hegel

Critiques

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