Part 2 Section 1 Sign: conventional, not ambiguous Simile: not ambiguous, invented for momentary purpose Symbol: ambiguous Forms of art: Symbolic (the threshold of art) classical (true manifestation of art, not the first form, spiritual individuality, after complex mediations and transitions) romantic "On its objective side the beginning of art stands in the closest connection with religion." S...
2018-03-08 09:181人喜欢
Part 2 Section 1
Sign: conventional, not ambiguous
Simile: not ambiguous, invented for momentary purpose
Symbol: ambiguous
Forms of art:
Symbolic (the threshold of art)
classical (true manifestation of art, not the first form, spiritual individuality, after complex mediations and transitions)
romantic
"On its objective side the beginning of art stands in the closest connection with religion."
Symbolism three stages:
Unconscious Symbolism: Neither symbolic nor art
Sublime: Transition to symbol proper, no genuine beauty
Conscious symbolism: Symbol proper, work of art, by battle between meanings and sensuous representation
Chapter 1
Immediate unity of meaning and shape:
No such difference between soul and body, concept and reality
The Absolute has only the immediate presence of an object, the Divine
Zoroastrianism
Light does not symbolize the Absolute, it is the Absolute
The universal and that individuality are visualized and expressed as immediately one.
"poetic"
Fantastic symbolism
Meaning and the form of representation, sudden leap from one extreme to the other
Brahma: entirely withdrawn from sense and observation
Thinking requires self-consciousness which sets an object before itself in order to find itself therein.
Indian art:
The Absolute into immediately sensuous and individual thing
The extravagance of productions
Personifying universal meanings by using the human form
Symbolism proper
The Absolute becomes concrete
"The inward kept firmly in view on its own account contrasted with the immediacy of existence: the inward indeed as the negative of life, as death"
Riddle, ambiguous
Chapter 2
The meaning comes into consciousness on its own account, separated from the entire world of appearance
Sublime: to express the infinite, no object proves adequate for this representation
Pantheism (of art)
Pantheism, everything: universal soul, truth and excellence in individual being
The East
The art of sublime
Hebrew poetry
Sublime in the strict sense: the created world as finite, restricted, a glorifying accessory for the praise of God
Basically the world view of Christianity
Chapter 3
Conscious symbolism or comparative form of art: explicitly known, expressly posited as different from the external way in which it is represented.
Comparisons originating from the external object
Generally imperfect, remains subordinate, do not belong to poetry
Fable: not fabricated, concrete individuality as an actual event, maximum of naivete.
Parable, proverb, apologue
Metamorphoses
Comparisons which start from the meaning
Separation of meaning and shape, one of the two sides must be the beginning
Riddle, allegory (producing the most complete clarity), metaphor, image, simile
Part 2 Section 1 Sign: conventional, not ambiguous Simile: not ambiguous, invented for momentary purpose Symbol: ambiguous Forms of art: Symbolic (the threshold of art) classical (true manifestation of art, not the first form, spiritual individuality, after complex mediations and transitions) romantic "On its objective side the beginning of art stands in the closest connection with religion." S...
2018-03-08 09:181人喜欢
Part 2 Section 1
Sign: conventional, not ambiguous
Simile: not ambiguous, invented for momentary purpose
Symbol: ambiguous
Forms of art:
Symbolic (the threshold of art)
classical (true manifestation of art, not the first form, spiritual individuality, after complex mediations and transitions)
romantic
"On its objective side the beginning of art stands in the closest connection with religion."
Symbolism three stages:
Unconscious Symbolism: Neither symbolic nor art
Sublime: Transition to symbol proper, no genuine beauty
Conscious symbolism: Symbol proper, work of art, by battle between meanings and sensuous representation
Chapter 1
Immediate unity of meaning and shape:
No such difference between soul and body, concept and reality
The Absolute has only the immediate presence of an object, the Divine
Zoroastrianism
Light does not symbolize the Absolute, it is the Absolute
The universal and that individuality are visualized and expressed as immediately one.
"poetic"
Fantastic symbolism
Meaning and the form of representation, sudden leap from one extreme to the other
Brahma: entirely withdrawn from sense and observation
Thinking requires self-consciousness which sets an object before itself in order to find itself therein.
Indian art:
The Absolute into immediately sensuous and individual thing
The extravagance of productions
Personifying universal meanings by using the human form
Symbolism proper
The Absolute becomes concrete
"The inward kept firmly in view on its own account contrasted with the immediacy of existence: the inward indeed as the negative of life, as death"
Riddle, ambiguous
Chapter 2
The meaning comes into consciousness on its own account, separated from the entire world of appearance
Sublime: to express the infinite, no object proves adequate for this representation
Pantheism (of art)
Pantheism, everything: universal soul, truth and excellence in individual being
The East
The art of sublime
Hebrew poetry
Sublime in the strict sense: the created world as finite, restricted, a glorifying accessory for the praise of God
Basically the world view of Christianity
Chapter 3
Conscious symbolism or comparative form of art: explicitly known, expressly posited as different from the external way in which it is represented.
Comparisons originating from the external object
Generally imperfect, remains subordinate, do not belong to poetry
Fable: not fabricated, concrete individuality as an actual event, maximum of naivete.
Parable, proverb, apologue
Metamorphoses
Comparisons which start from the meaning
Separation of meaning and shape, one of the two sides must be the beginning
Riddle, allegory (producing the most complete clarity), metaphor, image, simile
Part 2 Section 1 Sign: conventional, not ambiguous Simile: not ambiguous, invented for momentary purpose Symbol: ambiguous Forms of art: Symbolic (the threshold of art) classical (true manifestation of art, not the first form, spiritual individuality, after complex mediations and transitions) romantic "On its objective side the beginning of art stands in the closest connection with religion." S...
2018-03-08 09:181人喜欢
Part 2 Section 1
Sign: conventional, not ambiguous
Simile: not ambiguous, invented for momentary purpose
Symbol: ambiguous
Forms of art:
Symbolic (the threshold of art)
classical (true manifestation of art, not the first form, spiritual individuality, after complex mediations and transitions)
romantic
"On its objective side the beginning of art stands in the closest connection with religion."
Symbolism three stages:
Unconscious Symbolism: Neither symbolic nor art
Sublime: Transition to symbol proper, no genuine beauty
Conscious symbolism: Symbol proper, work of art, by battle between meanings and sensuous representation
Chapter 1
Immediate unity of meaning and shape:
No such difference between soul and body, concept and reality
The Absolute has only the immediate presence of an object, the Divine
Zoroastrianism
Light does not symbolize the Absolute, it is the Absolute
The universal and that individuality are visualized and expressed as immediately one.
"poetic"
Fantastic symbolism
Meaning and the form of representation, sudden leap from one extreme to the other
Brahma: entirely withdrawn from sense and observation
Thinking requires self-consciousness which sets an object before itself in order to find itself therein.
Indian art:
The Absolute into immediately sensuous and individual thing
The extravagance of productions
Personifying universal meanings by using the human form
Symbolism proper
The Absolute becomes concrete
"The inward kept firmly in view on its own account contrasted with the immediacy of existence: the inward indeed as the negative of life, as death"
Riddle, ambiguous
Chapter 2
The meaning comes into consciousness on its own account, separated from the entire world of appearance
Sublime: to express the infinite, no object proves adequate for this representation
Pantheism (of art)
Pantheism, everything: universal soul, truth and excellence in individual being
The East
The art of sublime
Hebrew poetry
Sublime in the strict sense: the created world as finite, restricted, a glorifying accessory for the praise of God
Basically the world view of Christianity
Chapter 3
Conscious symbolism or comparative form of art: explicitly known, expressly posited as different from the external way in which it is represented.
Comparisons originating from the external object
Generally imperfect, remains subordinate, do not belong to poetry
Fable: not fabricated, concrete individuality as an actual event, maximum of naivete.
Parable, proverb, apologue
Metamorphoses
Comparisons which start from the meaning
Separation of meaning and shape, one of the two sides must be the beginning
Riddle, allegory (producing the most complete clarity), metaphor, image, simile
0 有用 阅微草堂 2012-01-18
这是一本让我真正理解什么是黑格尔的书籍； 哲学不一定非要是逻辑的，分析的， 也可是是美学分析， 喜欢，就是喜欢，因为我开始知道什么是黑格尔，我也知道什么是马克思
0 有用 揽薜荔讳谣诼 2019-07-21
黑格尔的美学和哲学是分不开的，感觉美学理论奠基和借鉴多源于此。
0 有用 daisy 2007-01-15
好深奥
0 有用 白牙 2018-06-13
1982年三印1.45
0 有用 火辣辣大辣条 2007-01-14
多数读不懂的书之九牛一毛耳
0 有用 bornlikethis 2021-05-28
黑格尔在自己的逻辑体系里总是自洽的，自己做自己的神
0 有用 Zbcassssssnor 2021-03-23
朱先生译得真好
0 有用 北茴 2021-02-07
外研社新版。2.1p331-384。2.2p437。2.3p489。2.4p555。2.5p613。2.6p640。2.7p673。黑格尔的建构着迷于无定型，着迷于不断地给出前提而不抑制其自由发展，赋予艺术和哲学严谨的辩证法精神。
0 有用 花雨满天又逢君 2021-02-07
黑格尔的艺术哲学受自身的哲学浸染太深，但不得不承认他对很多艺术作品的分析又是精彩的。浪漫型艺术的确体现出现实主义的特征，关注日常生活并赋予它价值，这与朗西埃的审美体制是吻合的，只不过黑格尔认为这是精神退居自身的结果。问题是，浪漫型艺术的“解体”是否从逻辑上必然导向艺术本身的解体？
0 有用 砚一 2021-01-22
说是不读哲学了= =，为了写报告还是把四本陆陆续续翻完了，唯一的收获大概是就是把pathos差不多搞清楚了，之前看《精神现象学》里面提到雅可比的“幽美灵魂”，当时没懂是啥梗，原来是在《美学》中展开的，黑格尔是真的喜欢莎士比亚啊，黑格尔的品味是莎士比亚、索福克勒斯、拉斐尔以及荷马也很有意思，大概是因为德国是哲学的顶峰，英国是艺术的顶峰吧，暗戳戳坏的典型。Pathos对奥尔巴赫也很重要，奥尔巴赫把pa... 说是不读哲学了= =，为了写报告还是把四本陆陆续续翻完了，唯一的收获大概是就是把pathos差不多搞清楚了，之前看《精神现象学》里面提到雅可比的“幽美灵魂”，当时没懂是啥梗，原来是在《美学》中展开的，黑格尔是真的喜欢莎士比亚啊，黑格尔的品味是莎士比亚、索福克勒斯、拉斐尔以及荷马也很有意思，大概是因为德国是哲学的顶峰，英国是艺术的顶峰吧，暗戳戳坏的典型。Pathos对奥尔巴赫也很重要，奥尔巴赫把pathos毫不吝啬地给了普鲁斯特，这也很有意思，毕竟小普算是半个犹太人~~ (展开)