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The after of art: Kant, Hegel, and the dialectics of aesthetic agency.

机译:艺术的后继者:康德,黑格尔和审美机构的辩证法。

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摘要

Contemporary discourse on the arts is dominated by a suspicious orientation that seeks in various ways to conceive the "aesthetic" as an epiphenomenon of some underlying reality or force. This suspicious stance is in danger of foreclosing prematurely the possibility that art's most important cultural role in post-Enlightenment modernity might be to continue to make available and vital those experiential and imaginative dimensions of our lives that lie beyond the purview of scientific or conceptual discourses. I argue that the suspicious stance toward art can be traced ultimately to a severely impoverished understanding of the philosophical underpinnings of art in modernity. Since suspicious critics tend to approach art with certain a priori assumptions about what the aesthetic mystifies or occludes, they strategically pick out isolated doctrines from the German aesthetic tradition in support of these a priori assumptions. This dissertation, by contrast, seeks to give the German aesthetic tradition from Kant to Hegel a full hearing: key figures in this tradition not only anticipate modernist claims about art's spiritual powers as well as recent suspicious approaches to the aesthetic but also provide the conceptual resources for cutting across contemporary debates about aesthetic agency. My philosophical narrative culminates in Hegel's rich notion of the "after of art," which designates the internal dialectical mechanism by which certain forms of art are able not only to reflect on their own limitations but to "point through" themselves in order to project existential and epistemic possibilities that lie beyond the aesthetic domain. From a Hegelian perspective, instead of reducing the artwork to an epiphenomenon of underlying forces, we can conceive the artwork as a dialectical force in its own right.
机译:当代关于艺术的论述以一种可疑取向为主,该取向以各种方式寻求将“审美”理解为某种潜在现实或力量的现象。这种可疑的立场有可能过早地排除艺术在启蒙后现代性中最重要的文化作用可能是继续提供并赋予我们生命中那些超越科学或概念性话语权的体验和想象力的可能性的可能性。我认为,对艺术的可疑态度最终可以归结为对现代艺术哲学基础的严重贫困理解。由于可疑的评论家倾向于以某种先验的假设来对待艺术,以了解美学如何神秘化或遮蔽什么,因此他们从战略上挑选了德国美学传统中孤立的学说来支持这些先验的假设。相比之下,本论文力求使从康德到黑格尔的德国美学传统得到充分的聆听:该传统中的关键人物不仅预见了现代主义者对艺术精神力量的主张以及最近对美学的可疑方法,而且还提供了概念性资源。跨越当代关于美学代理的辩论。我的哲学叙事最终以黑格尔丰富的“事后艺术”概念结束,该概念指明了内部辩证机制,通过该机制,某些形式的艺术不仅能够反思自身的局限性,而且能够“指出”自身以投射存在性以及超越美学领域的认知可能性。从黑格尔的角度来看,我们可以将艺术品本身视为一种辩证力量,而不是将艺术品还原为潜在力量的现象。

著录项

  • 作者

    Roy, Ayon Kumar.;

  • 作者单位

    University of California, Berkeley.;

  • 授予单位 University of California, Berkeley.;
  • 学科 Philosophy.Aesthetics.
  • 学位 Ph.D.
  • 年度 2009
  • 页码 217 p.
  • 总页数 217
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:38:12

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