Title: Hegel, G.W.F. Lectures on the Philosophy of Art: The Hotho Transcript of the 1823 Berlin Lectures
Abstract: HEGEL, G. W. F. Lectures on Philosophy of Art: Hotho Transcript of 1823 Berlin Lectures. Introduction by Annemarie Gethmann-Siefert. Edited and translated by R. Brown. Oxford: Clarendon Press, 2014. xiii+ 508 pp.--After Hegel's death, his student Heinrich Gustav Hotho took over his course on aesthetics. standard English translation by T. M. Knox of Hegel's Aesthetics: Lectures of Fine Art is actually version produced by Hotho 1835 and revised 1842. One hundred seventy-six pages of current work are devoted to an essay by Gethmann-Siefert on 1823 transcript. There are forty-six pages of glossary, bibliography, and index; actual Hotho text is 263 pages. Knox translation is 1,237 pages--which adds almost 1,000 pages to 1823 lectures. difficulty is sorting out what is Hegel's and what is Hotho's. Gethmann-Siefert notes that Hotho's views differed important ways from Hegel's and that he imposed his own views as Hegel's text we have as standard English text. Hotho himself admits to drastic interventions constructing 1835 text. So we should go back to a direct transcription of Hegel's lectures. Hegel's several posthumously published works were based upon his own notes and also, rather extensively, upon student notes. Student notes also appear some works Hegel published--Elements of Philosophy of Right and Encyclopaedia of Philosophic Sciences--in smaller print as Zusdtze or additions. It is astonishing how much students were able to retain their notes. Hotho especially is a devoted scribe, hence current edition based on his notes for 1823 lecture series on aesthetics to get a relatively Hotho-free text through Hotho's own scribal fidelity. first quarter of Gethmann-Siefert's introduction focuses first upon contemporary importance of Hegel's aesthetics. Some view his phenomenological presentation and his sometimes revolutionary insights into nature of art as significantly more important than his systematic approach; and, of course, some view it opposite manner. author attributes difference part to sometimes contradictory character of what Hegel has to say. (One wishes that she had given some examples.) Concerning famous claim to the end of art, she notes that one should also speak of interminable of art Hegel's view. qualification in its highest should be added, for that mission is taken over by revealed religion and state, but art still has its future them. She goes on to delineate genesis of Aesthetics from four Berlin lecture courses 1820-21, 1823, 1826, and 1828-29. Hotho had also transcribed 1826 lecture series (which is no longer extant) and used it his construction of 1835 Hegel/Hotho text. Georg Lasson's critical edition stopped with General (which Hotho transcription includes what later became Part, that is, epochs of art: symbolic, classical, romantic) and did not include Individual (individual art forms, called Particular Part current work). In Lasson's work, Hotho's additions are placed parentheses. Hotho admits that, developing Aesthetics, he had to go beyond Hegel's expressed views to system that it implied. In his Encyclopaedia Hegel presented his system within which he lightly sketched main lines of his aesthetics. Poggeler suggests that Hegel himself could have supported Hotho's more extensive efforts this respect. In second section, Gethmann-Siefert traces genesis of Hegel's views on aesthetic matters from 1797 The Oldest System-Program of German Idealism up to his Berlin lectures from 1821 on. In 1818 first version of Encyclopaedia contained sketch of aesthetics within now emergent system and not yet separated from religion. (Intriguingly, philosophy is presented last version as synthesis of art and religion. …
Publication Year: 2015
Publication Date: 2015-09-01
Language: en
Type: article
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