Philosophy of Art Ph 2113: Spring 2020 Write short essays to answer the following questions. Part One: Answer the following questions (each answer should be about 80-100 words) What distinguishes Kant’s “critical” approach to aesthetics and art from the “metaphysical” ones of Schelling, Hegel, or Nietzsche? Explain the different between an “artistic” culture and an “aesthetic” one and how that applies to the modern (post-Enlightenment, democratic) age. Explain the idea of “absolute Art” as it crystallizes in Schelling, Hegel, or Nietzsche (any one of them is enough).

QUESTION

Philosophy of Art

Ph 2113: Spring 2020

Write short essays to answer the following questions.

Part One: Answer the following questions (each answer should be about 80-100 words)

1. What distinguishes Kant’s “critical” approach to aesthetics and art from the “metaphysical” ones of Schelling, Hegel, or Nietzsche?
2. Explain the different between an “artistic” culture and an “aesthetic” one and how that applies to the modern (post-Enlightenment, democratic) age.

3. Explain the idea of “absolute Art” as it crystallizes in Schelling, Hegel, or Nietzsche (any one of them is enough).

(Art with a capital A refers to the idea of absolute Art throughout these prompts.)

4. How does modern aesthetics from Kant on reflect ancient tensions of iconophilia and iconoclasm, and of art as imitation and as communication with the beyond, the dead, the invisible, the transcendent?

Part Two: Answer question for each of the three thinkers, Schelling, Hegel, Nietzsche.  Each answer should be about 250-300 words.

Schelling

5. What is the fundamental paradox or contradiction in Schelling’s argument for the philosophical superiority of Art to philosophy? What are the implications for Art and for philosophy? 

Hegel

6. Explain Hegel’s thesis of the “end of Art” in the modern age—why (and in what sense) Art “for us” is a “thing of the past.”

7. Explain Hegel’s distinction between and sequence of Symbolic, Classical, and Romantic types of art. 
8. How does Hegel transform or replace the idea of art as “imitation” with the idea of expression (or spirit as self-objectifying, self-externalizing, or self-creating)? 

Nietzsche

9. Explain Nietzsche’s distinction between Apollo and Dionysus as symbols of artistic drives, forms of experience, and modes of culture or civilization. 
10. Why does the rise of philosophy with Socrates signify the end of the “tragic age” of the Greeks for Nietzsche? 
11. Why does Socratic-Alexandrian culture ultimately lead to a moral crisis that can be resolved, for Nietzsche, only by a rebirth of tragic myth (in the form of Richard Wagner’s music)?

12. Explain how Nietzsche plays off the visual image and musical imitation or representation against each other (in the Apollonian and the Dionysian) such that music “imitates” reality (or gives us a re-presentation of being or existence), while the artistic image is the “appearance of an appearance,” an illusion of perfection.

ANSWER

Exploring the Philosophical Foundations of Aesthetics and Art: Kant, Schelling, Hegel, and Nietzsche

Introduction

The realm of aesthetics and art has long been a subject of philosophical inquiry, with thinkers such as Kant, Schelling, Hegel, and Nietzsche offering distinct perspectives on the nature and significance of artistic expression. In this essay, we will delve into their philosophical frameworks, examining their unique contributions and shedding light on their views regarding the critical aspects of aesthetics and the concept of absolute Art. Additionally, we will explore how these philosophers engage with ancient tensions surrounding iconophilia and iconoclasm, as well as the role of art as both imitation and communication with the transcendent.

Part One

Kant’s “critical” approach

Kant’s approach to aesthetics and art is characterized by its critical nature, distinguishing it from the metaphysical approaches of Schelling, Hegel, and Nietzsche. Kant focuses on the subjective experience of beauty and the judgment of taste, emphasizing the individual’s aesthetic sensibility and the universality of aesthetic judgments based on disinterested pleasure.

Artistic culture vs. aesthetic culture

An “artistic” culture primarily values art for its own sake, cherishing the artistic process and aesthetic qualities of artworks. In contrast, an “aesthetic” culture expands beyond art, encompassing the appreciation of beauty in various domains of life, including nature, architecture, and everyday experiences. In the modern, post-Enlightenment, democratic age, there has been a shift towards an aesthetic culture as individuals seek to find beauty and harmony in all aspects of their lives.

Absolute Art in Schelling, Hegel, and Nietzsche

The concept of “absolute Art” takes different forms in the philosophies of Schelling, Hegel, and Nietzsche. Schelling envisions absolute Art as a means for the Absolute to express itself, uniting subject and object through the artist’s mediumship (Lahelma, 2014). Hegel sees absolute Art as the pinnacle of aesthetic expression, reconciling the dichotomies between spirit and nature, subjective and objective, by embodying the Idea. Nietzsche explores the Apollonian and Dionysian artistic drives, which symbolize contrasting principles. The fusion of these drives, for Nietzsche, leads to the creation of absolute Art.

Modern aesthetics and ancient tensions

Modern aesthetics, starting with Kant, reflects ancient tensions regarding iconophilia and iconoclasm, as well as the dual role of art as imitation and communication with the transcendent. These tensions trace back to the ancient Greeks, where art was seen as both a representation of the visible world and a means to connect with the invisible and the transcendent. Modern aesthetics continues to grapple with these tensions, seeking to reconcile the imitative nature of art with its capacity to evoke deeper meanings and spiritual connections.

Part Two

Schelling

Schelling’s fundamental paradox lies in his argument for the philosophical superiority of Art over philosophy. He suggests that philosophy, in its pursuit of absolute knowledge, is limited by its reliance on concepts and abstractions (Gare, 2018). Art, on the other hand, has the ability to embody and present truths that surpass conceptual understanding. This paradox presents implications for both Art and philosophy, challenging the primacy of philosophical discourse and urging a recognition of the unique insights and expressions that Art can offer.

Hegel

Hegel’s thesis of the “end of Art” in the modern age posits that Art, as an autonomous realm of expression, has been surpassed by other forms of knowledge and cultural developments. Hegel argues that Art’s historical purpose was to manifest the Absolute, but with the advent of modernity and the rise of rationality, other modes of expression and comprehension have taken precedence. Art “for us” has become a thing of the past, while its transformative power persists in the realm of history.

Hegel’s distinction between Symbolic, Classical, and Romantic types of art highlights the progressive development of Art. Symbolic art is characterized by a loose connection between form and content, while Classical art achieves a harmonious unity between the two. Romantic art emphasizes subjective expression and freedom of the artist’s spirit. These stages represent the evolution of Art’s ability to manifest the Idea.

Hegel replaces the notion of art as mere imitation with the concept of expression. Art, according to Hegel, is a medium through which spirit self-objectifies and externalizes itself. It serves as a means for spirit to manifest its inner essence, rather than a mere representation of the external world. In this way, Hegel transforms the traditional understanding of art and highlights its profound role in revealing the depths of human spirit and its creations.

Nietzsche

Nietzsche distinguishes between Apollo and Dionysus as symbolic representations of artistic drives, modes of experience, and cultural manifestations. Apollo embodies order, harmony, and the Apollonian artistic drive, which seeks to impose form and beauty upon chaotic existence. Dionysus represents the primal, ecstatic, and chaotic artistic drive, associated with revelry and dissolution of boundaries. Nietzsche suggests that a combination of these drives leads to the creation of absolute Art.

For Nietzsche, the rise of philosophy with Socrates signifies the end of the “tragic age” of the Greeks. The Socratic-Alexandrian culture prioritizes rationality and dialectic, diminishing the significance of the tragic and the Dionysian (Moeini, 2019). This transition marks a loss of the intense vitality and creative spirit that characterized the tragic age.

Nietzsche believes that Socratic-Alexandrian culture eventually leads to a moral crisis, which can only be resolved through a rebirth of tragic myth. Richard Wagner’s music, in Nietzsche’s view, represents this rebirth, as it combines the Apollonian and Dionysian elements, offering a potent and transformative artistic experience.

In Nietzsche’s philosophy, he contrasts the visual image and musical imitation or representation. While music is seen as capable of imitating reality and providing a re-presentation of existence, the artistic image is considered an illusion of perfection, an appearance of an appearance. Nietzsche highlights the distinctive qualities of these art forms and their divergent abilities to evoke different layers of human experience and perception.

Conclusion

Through the lens of Kant, Schelling, Hegel, and Nietzsche, we have explored the nuances of their philosophical frameworks and their perspectives on aesthetics and art. Each thinker offers valuable insights into the nature of artistic expression, the tensions between imitative and communicative aspects of art, and the significance of absolute Art. By analyzing their ideas, we can deepen our understanding of the complexities inherent in the world of aesthetics and art, as well as its enduring relevance in our modern age.

References

Lahelma, M. (2014). Ideal and Disintegration: Dynamics of the Self and Art at the Fin-de-Siècle. Helsinki. https://www.academia.edu/6291120/Ideal_and_Disintegration_Dynamics_of_the_Self_and_Art_at_the_Fin_de_Si%C3%A8cle 

Gare, A. (2018). Natural Philosophy and the Sciences: Challenging Science’s Tunnel Vision. Philosophies, 3(4), 33. https://doi.org/10.3390/philosophies3040033 

Moeini, A. (2019). The Case for Anthro-Culturalism: A Nietzschean Rejoinder to MacIntyre’s Critique of Modernity. Georgetown. https://www.academia.edu/40077626/The_Case_for_Anthro_Culturalism_A_Nietzschean_Rejoinder_to_MacIntyres_Critique_of_Modernity