{\rtf1\ansi\ansicpg1252 {\fonttbl {\f1\fswiss\fcharset0\fprq0 Arial;} } {\colortbl; \red0\green0\blue0; \red0\green0\blue255; } {\stylesheet {\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033\level1 heading 1;} {\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\level2 heading 2;} {\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\level3 heading 3;} {\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\level4 heading 4;} {\s5\li1260\fi-180\loch\af1\hich\af1\fs20\ppscheme-1\lang1033\level5 heading 5;} {\s6\li1620\fi-180\loch\af1\hich\af1\fs20\ppscheme-1\lang1033\level6 heading 6;} } \pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs40 Georg Wilhelm Friedrich Hegel}{\hich\af1\loch\f1\fs40 (1770-1831)\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\i\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\i\hich\af1\loch\f1 The Philosophy of Fine Art}{\hich\af1\loch\f1 [selection in Goldblatt and Brown] written: 1820-1829 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 German philosopher Georg Wilhelm Friedrich Hegel 1770-1831\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Books Hegel Published in his lifetime}{\hich\af1\loch\f1\fs20 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs28 The Difference Between Fichte}{\i\loch\af1\hich\f1\fs28 \'92}{\i\hich\af1\loch\f1\fs28 s and Schelling}{\i\loch\af1\hich\f1\fs28 \'92}{\i\hich\af1\loch\f1\fs28 s Systems of Philosophy }{\hich\af1\loch\f1\fs28 [1801] \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs28 Phenomenology of Mind}{\hich\af1\loch\f1\fs28 [1807] \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs28 Science of Logic}{\hich\af1\loch\f1\fs28 [1812-16] \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs28 Encyclopedia of the Philosophical Sciences }{\hich\af1\loch\f1\fs28 [1817-30] \par }\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs24 (Pt. I) }{\i\hich\af1\loch\f1\fs24 The Logic of Hegel}{\hich\af1\loch\f1\fs24 , \par }\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs24 (Pt. II) }{\i\hich\af1\loch\f1\fs24 Hegel's Philosophy of Nature}{\hich\af1\loch\f1\fs24 \par }\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs24 (Pt. III) }{\i\hich\af1\loch\f1\fs24 Hegel's Philosophy of Mind}{\hich\af1\loch\f1\fs24 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs28 Elements of the Philosophy of Right}{\hich\af1\loch\f1\fs28 [1821] \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Books Published After his Death}{\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Lectures_on_Aesthetics" \\o "Lectures on Aesthetics"}{\fldrslt\cf2\ul{\i\hich\af1\loch\f1 Lectures on Aesthetics}}}{\hich\af1\loch\f1 [our reading]\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Lectures_on_the_Philosophy_of_History" \\o "Lectures on the Philosophy of History"}{\fldrslt\cf2\ul{\i\hich\af1\loch\f1 Lectures on the Philosophy of History}}}{\hich\af1\loch\f1 1837 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Lectures_on_Philosophy_of_Religion" \\o "Lectures on Philosophy of Religion"}{\fldrslt\cf2\ul{\i\hich\af1\loch\f1 Lectures on Philosophy of Religion}}}{\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Lectures_on_the_History_of_Philosophy" \\o "Lectures on the History of Philosophy"}{\fldrslt\cf2\ul{\i\hich\af1\loch\f1 Lectures on the History of Philosophy}}}{\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Birthplace of Hegel in Stuttgart, Germany}{\hich\af1\loch\f1\fs48 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Hegel with students\line Lithograph by F. Kugler}{\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Current Conceptions of a Work of Art\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 A work of art is no product of Nature but of man.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It is created essentially for man, uses a sensuous medium [such as paint in painting], and is addressed to his senses.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It contains an end [a purpose] bound up with it [explained in the last section]\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 False inferences.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 One could infer from the first point that such an activity can be known, divulged, learned, and reproduced by others.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Also, one could infer that the imitator needs only master the way of doing it, and that anybody may produce works of art once they are acquainted with the rules of art production. \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Yet, such works can only be formally regular and mechanical, something exterior requiring only an empty effort of will and dexterity.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 It is not a matter of contributing out of [one's] own resources. [This point is similar to Kant.]\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Animation of a work of art.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Ordinary thinking naturally assumes that works of art are subordinate to works of Nature, possessing no feeling of their own, since they are dead things. \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 We admit that the work of art merely shows animation on its surface, and is merely stone etc., but this element of external existence is not what makes a work a creation of }{\b\hich\af1\loch\f1 fine art.\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Art originates in the human spirit\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\b\loch\af1\hich\f1 \'93}{\b\hich\af1\loch\f1 A work of art is only truly such in so far as originating in the human spirit, it continues to belong to the soil from which it sprang}{\b\loch\af1\hich\f1 \'94}{\b\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1 It has received the baptism of the mind and soul of man.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 The higher rank of landscape paintings over actual landscapes.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The spiritual values of a single event, character, etc. are seized in the work of art with greater purity and clarity.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 So it is of higher rank than any product of Nature that hasn}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 t passed through the mind.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 For example }{\b\hich\af1\loch\f1\fs28 the landscape painting is of higher rank than purely natural landscape.}{\hich\af1\loch\f1\fs28 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 Everything which partakes of spirit is better than anything begotten by mere Nature.}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Art, unlike Nature, is able to represent divine ideals.\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\i\hich\af1\loch\f1\fs16 Joseph Mallord William Turner English Romantic Painter, Watercolorist & Draftsman \line 1775 }{\i\loch\af1\hich\f1\fs16 \'96}{\i\hich\af1\loch\f1\fs16 1851 The}{\i\hich\af1\loch\f1\fs18 Burning of the Houses of Parliament: 1834}{\hich\af1\loch\f1\fs40 \line \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Contemporary photo Houses of Parliament at night, London\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 2. Sensuous medium.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Art is produced for man's sense-apprehension [for example, seeing] under obligations to a sensuous medium [for example, paint]. \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 [Some infer from this] that the function of fine art is to arouse feeling, precisely pleasant feeling. \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The investigation of fine art becomes, then, a treatise on the emotions, determining which feelings art ought to excite, i.e. fear and compassion.\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Contemplating misfortune.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 For example it might be noted that contemplating misfortune through art can bring satisfaction [Aristotle first observed this, although Hegel dates the idea to Moses Mendelssohn, a German-Jewish philosopher 1729 }{\loch\af1\hich\f1\fs24 \'96}{\hich\af1\loch\f1\fs24 1786 who wrote }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 On sentiments}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24 in 1755] \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs24 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs32 But feeling is the undefined obscure region of spiritual life.}{\hich\af1\loch\f1\fs40 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 What is felt remains cloaked in the form of separate personal experience}{\loch\af1\hich\f1\fs28 \'85\'94}{\hich\af1\loch\f1\fs28 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 And the distinctions of feeling are wholly abstract: they do not give us any knowledge of the subject-matter itself. \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Fear, anxiety, etc., are one type of emotion under various modifications: they are in part purely quantitative degrees of intensity, and are also indifferent to content. \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Fear\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 In fear, for example, the individual possesses an interest in the existence [of a thing, e.g. a tiger] which is fused with the negative affection [feeling], but this fear does not condition any particular content.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 It is a wholly empty form of a subjective state.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 It sheds no light on essential content [e.g. of the feeling of justice].\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The feeling remains purely subjective, and the concrete fact vanishes.\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 3. The End of Art\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 What is the End which man proposes to himself in the creation of the content embodied by a work of art? (A detailed discussion of this will give us the }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 true notional content}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28 or essence of art. [like Plato and Aristotle])\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 One of the most prevalent ideas is the principle of the imitation of Nature. The idea is that we get the most complete satisfaction of Nature is successfully imitated. [Gombrich]\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Against the Imitation View\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But this is only the aim of bare [superfluous] repetition. \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 This is presumptuous trifling, for it lags behind Nature, and can only produce one-sided illusions, a semblance of real fact addressed to one sense. [Similar to Plato}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s point.] \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Also it gives us only a pretense of Nature's substance.\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Muslims: no copies of men.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 [That is why the] Turk [meaning, more generally, Mohammedans or Muslims] will have no pictures or copies of men and other objects\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 [On this view] the body is given, but no living soul. \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 Left, }{\loch\af1\hich\f1\fs20 \'93}{\hich\af1\loch\f1\fs20 James Bruce, Scottish explorer of the Nile.}{\loch\af1\hich\f1\fs20 \'94}{\hich\af1\loch\f1\fs20 by Dofter Esther. On the right is }{\loch\af1\hich\f1\fs20 \'93}{\hich\af1\loch\f1\fs20 A Learned Abyssinian at Gondar}{\loch\af1\hich\f1\fs20 \'94}{\hich\af1\loch\f1\fs20 whom Bruce knew.}{\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Fine architectural detail at the Alhambra Palace [Muslim] in Southern Spain. 1333-1391\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Ethiopian church art 18}{\hich\af1\loch\f1\fs24\super th}{\hich\af1\loch\f1\fs24 century\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 These pictures will rise up in judgment against their creators on the Last Day.}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28 Mohammed\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs36 Al-}{\b\hich\af1\loch\f1\fs36 Muwatta}{\b\hich\af1\loch\f1\fs36 }{\b\hich\af1\loch\f1\fs36 Hadith}{\b\loch\af1\hich\f1\fs36 \'a0}{\b\hich\af1\loch\f1\fs36 }{\b\hich\af1\loch\f1\fs36 Hadith}{\b\hich\af1\loch\f1\fs36 54.8, Koran}{\hich\af1\loch\f1\fs36 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs16 JUAN FERNANDEZ, EL LABRADOR, }{\b\hich\af1\loch\f1\fs16 Spainish}{\b\hich\af1\loch\f1\fs16 , Madrid\line }{\i\hich\af1\loch\f1\fs16 Still Life with Two Bunches of Grapes, 1620-1630. }{\hich\af1\loch\f1\fs16 Said to have been inspired by Zeuxis}{\loch\af1\hich\f1\fs16 \'92}{\hich\af1\loch\f1\fs16 grapes.}{\i\hich\af1\loch\f1\fs16 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 There are completely deceptive imitations: painted grapes of Zeuxis.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs18 Franz }{\b\hich\af1\loch\f1\fs18 R}{\b\loch\af1\hich\f1\fs18 \'f6}{\b\hich\af1\loch\f1\fs18 sel}{\b\hich\af1\loch\f1\fs18 von }{\b\hich\af1\loch\f1\fs18 Rosenhoff}{\b\hich\af1\loch\f1\fs18 Austrian, born after 1626-died after 1700}{\hich\af1\loch\f1\fs18 }{\hich\af1\loch\f1\fs18 Trompe}{\hich\af1\loch\f1\fs18 }{\hich\af1\loch\f1\fs18 l'oeil}{\hich\af1\loch\f1\fs18 of a capuchin monkey in his crate (The cheeky monkey)}{\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Bultner's monkey bit a painted cockchafer in a }{\hich\af1\loch\f1\fs28 R}{\loch\af1\hich\f1\fs28 \'f6}{\hich\af1\loch\f1\fs28 sel}{\hich\af1\loch\f1\fs28 illustration.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 August Johann Roesel von Rosenhof,\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs28 Insecten Belustigung}{\hich\af1\loch\f1\fs28 ([1746]--61),\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 The business of imitation.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But it is foolish to think the quality of a work is enhanced if the last word about it is that it deceives even doves and monkeys.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 So, in the mere business of imitation, art cannot maintain its rivalry with Nature.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Pleasure in producing a resemblance.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 We then have no end left here but pleasure in [the magic] of producing a resemblance to Nature.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 If the copy must follow slavishly the thing copied the delight becomes null and cold, or bring surfeit [excess or overindulgence].\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 As Kant said, we become soon tired of a man who can imitate a nightingale's song perfectly: we take it to be but a clever trick, neither Nature nor art.\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 We expect more from the free creative power of man.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\hich\af1\loch\f1\fs28 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 We like the nightingale's song when it resembles the rhythmic flood of human feeling from the native springs of its life.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Our necessarily-restricted delight in imitation is contrasted to enjoyment in man's own invention, even of insignificant technical products. \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 We may feel more proud of the invention of the hammer [than of a highly realistic painting].\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Abstract zest in imitation is like the man who threw lentils through a small hole [hard to do, but not too admirable], and was rewarded by Alexander with some lentils.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 The proper end of art is higher than moral improvement. \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It is false that art has to serve moral ends, be didactic [teaching] and ameliorative [improving]: it would then have its essential aim not in itself but in something else.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 "What is the end?" does not imply "what is the use?"\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Art is not merely a useful instrument for realizing an end outside the realm of art. \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Art}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s Function\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1 Art's function is to reveal }{\b\i\hich\af1\loch\f1 truth }{\b\hich\af1\loch\f1 under the mode of art's sensuous or material configuration, and prove that it possesses its final aim in itself. [This is against both Plato and Kant, who thought art could give us no knowledge. Hegel is more like Aristotle here.]\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs40 It should represent its own self-revelation.}{\hich\af1\loch\f1\fs40 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Instruction, purification, improvement, etc. have nothing to do with the work of art as such.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 This point of view leads to the fundamental idea of art in terms of its ideal or inward necessity.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 True appreciation of art takes its origin from this.\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 An antithesis overcome.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 There was an antithesis between spirit and nature found in educated men and in philosophy itself, and when philosophy overcame this opposition, it found its own content, and that of Nature and of art.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The reawakening of philosophy [by Hegel himself in his other writings] implies the re-awakening of the science of art [aesthetics] concerning its true origination.\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 This also allows us to more highly appreciate art. \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\b\i\hich\af1\loch\f1\fs18 Sistine Madonna }{\b\hich\af1\loch\f1\fs18 Raphael}{\hich\af1\loch\f1\fs18 ,\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs18 1513-1514\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs18 Oil on canvas 265 }{\loch\af1\hich\af1\fs18 \'d7}{\hich\af1\loch\f1\fs18 196 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs18 Dresden\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs18 Hegel saw this painting.\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs18 Jan van Eyck}{\hich\af1\loch\f1\fs18 1390 }{\loch\af1\hich\f1\fs18 \'96}{\hich\af1\loch\f1\fs18 1441}{\b\hich\af1\loch\f1\fs18 \line The Ghent altarpiece: Adoration of the Lamb}{\hich\af1\loch\f1\fs18 \line oil on panel (138 }{\loch\af1\hich\af1\fs18 \'d7}{\hich\af1\loch\f1\fs18 242 cm) }{\loch\af1\hich\f1\fs18 \'97}{\hich\af1\loch\f1\fs18 1432\line Saint Bavo Cathedral, Ghent. Hegel saw the central panel of this painting.\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Rembrandt }{\i\hich\af1\loch\f1\fs18 The Militia Company of Captain Frans Banning Cocq}{\hich\af1\loch\f1 }{\hich\af1\loch\f1\fs18 1642. Hegel saw this painting.\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033\ql {\hich\af1\loch\f1\fs18 Bartolom}{\loch\af1\hich\f1\fs18 \'e9}{\hich\af1\loch\f1\fs18 Est}{\loch\af1\hich\f1\fs18 \'e9}{\hich\af1\loch\f1\fs18 ban Murillo (1618-1682) }{\i\hich\af1\loch\f1\fs18 Old Woman and Boy}{\hich\af1\loch\f1\fs18 ("La Vieja"), \line around 1670\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Stephen }{\hich\af1\loch\f1\fs24 Houlgate}{\hich\af1\loch\f1\fs24 , }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Hegel Aesthetics,}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24 Stanford Encyclopedia of Philosophy (2009) }{\field{\*\fldinst HYPERLINK "http://plato.stanford.edu/entries/hegel-aesthetics/"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs24 http://}{\hich\af1\loch\f1\fs24 plato.stanford.edu/entries/hegel}{\hich\af1\loch\f1\fs24 -aesthetics/}}}{\hich\af1\loch\f1\fs24 accessed March 7, 20111\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Art, for Hegel, [like Religion and Philosophy] gives expression to spirit's understanding of itself. It differs from philosophy and religion, however, by expressing spirit's self-understanding not in pure concepts, or in the images of faith, but in and through objects that have been specifically }{\i\hich\af1\loch\f1\fs24 made}{\hich\af1\loch\f1\fs24 for this purpose by human beings. Such objects}{\loch\af1\hich\f1\fs24 \'97}{\hich\af1\loch\f1\fs24 conjured out of stone, wood, color, sound or words}{\loch\af1\hich\f1\fs24 \'97}{\hich\af1\loch\f1\fs24 render the freedom of spirit visible or audible to an audience. In Hegel's view, this }{\i\hich\af1\loch\f1\fs24 sensuous}{\hich\af1\loch\f1\fs24 expression of free spirit constitutes }{\i\hich\af1\loch\f1\fs24 beauty}{\hich\af1\loch\f1\fs24 . The purpose of art, for Hegel, is thus the creation of beautiful objects in which the true character of freedom is given sensuous expression.\par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Aim of Art\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 The principal aim of art is not, therefore, to imitate nature, to decorate our surroundings, to prompt us to engage in moral or political action, or to shock us out of our complacency. It is to allow us to contemplate and enjoy created images of our own spiritual freedom}{\loch\af1\hich\f1\fs24 \'97}{\hich\af1\loch\f1\fs24 images that are beautiful precisely }{\i\hich\af1\loch\f1\fs24 because}{\hich\af1\loch\f1\fs24 they give expression to our freedom. Art's purpose, in other words, is to enable us to bring to mind the truth about ourselves, and so to become aware of who we truly are. Art is there not just for art's sake, but for beauty's sake, that is, for the sake of a distinctively sensuous form of human self-expression and self-understanding.}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24 \par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs24 \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Beauty is Objective\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Hegel [unlike Kant, holds that] beauty is an objective property of things. In his view, however, beauty is the direct sensuous }{\i\hich\af1\loch\f1\fs24 manifestation}{\hich\af1\loch\f1\fs24 of freedom, not merely the appearance or imitation of freedom. It shows us what freedom actually looks like and sounds like when it gives itself sensuous expression (albeit with varying degrees of idealization). Since true beauty is the direct sensuous expression of the }{\i\hich\af1\loch\f1\fs24 freedom}{\hich\af1\loch\f1\fs24 of spirit, it must be produced }{\i\hich\af1\loch\f1\fs24 by}{\hich\af1\loch\f1\fs24 free spirit }{\i\hich\af1\loch\f1\fs24 for}{\hich\af1\loch\f1\fs24 free spirit, and so cannot be a mere product of nature. Nature is capable of a formal beauty, and life is capable of what Hegel calls }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 sensuous}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24 beauty (}{\i\hich\af1\loch\f1\fs24 PK}{\hich\af1\loch\f1\fs24 , 197), but true beauty is found only in works of }{\i\hich\af1\loch\f1\fs24 art}{\hich\af1\loch\f1\fs24 that are freely created by human beings to bring before our minds what it is to }{\hich\af1\loch\f1\fs24 be free}{\hich\af1\loch\f1\fs24 spirit. \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Formal qualities\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Beauty, for Hegel, has certain formal qualities: it is the unity or harmony of different elements in which these elements are not just arranged in a regular, symmetrical pattern but are unified }{\i\hich\af1\loch\f1\fs28 organically..}{\hich\af1\loch\f1\fs28 . [a Greek sculptural] profile is beautiful}{\loch\af1\hich\f1\fs28 \'85}{\hich\af1\loch\f1\fs28 because the forehead and the nose flow seamlessly into one another, in contrast to the Roman profile in which there is a much sharper angle between the forehead and nose (}{\i\hich\af1\loch\f1\fs28 Aesthetics}{\hich\af1\loch\f1\fs28 , 2: 727}{\loch\af1\hich\f1\fs28 \'96}{\hich\af1\loch\f1\fs28 30). \par }\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Beauty as Content\par }\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 Beauty, however, is not just a matter of form; it is also a matter of }{\i\hich\af1\loch\f1\fs24 content}{\i\loch\af1\hich\f1\fs24 \'85}{\hich\af1\loch\f1\fs24 the freedom and richness of spirit}{\loch\af1\hich\f1\fs24 \'85}{\hich\af1\loch\f1\fs24 the Idea, or absolute reason, }{\i\hich\af1\loch\f1\fs24 as}{\hich\af1\loch\f1\fs24 self-knowing spirit. Since the Idea is pictured in religion as }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 God,}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24 the content of truly beautiful art is in one respect the }{\i\hich\af1\loch\f1\fs24 divine}{\hich\af1\loch\f1\fs24 . Yet}{\loch\af1\hich\f1\fs24 \'85}{\hich\af1\loch\f1\fs24 the Idea (or }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 God}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24 ) comes to consciousness of itself only in and through finite human beings. The content of beautiful art must thus be the divine in human form or the divine within }{\i\hich\af1\loch\f1\fs24 humanity}{\hich\af1\loch\f1\fs24 itself (as well as purely human freedom)... the most appropriate sensuous incarnation of reason and the clearest visible expression of spirit is the human form}{\loch\af1\hich\f1\fs24 \'85}{\hich\af1\loch\f1\fs24 . Truly beautiful art thus shows us sculpted, painted or poetic images of Greek gods or of Jesus Christ}{\loch\af1\hich\f1\fs24 \'97}{\hich\af1\loch\f1\fs24 that is, the divine in human form}{\loch\af1\hich\f1\fs24 \'97}{\hich\af1\loch\f1\fs24 or it shows us images of free human life itself. \par } }