Stylistics : rethinking the artforms after Hegel

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Stylistics : rethinking the artforms after Hegel

Richard Dien Winfield

（SUNY series in Hegelian studies）

State University of New York Press, c1996

  • : pbk

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注記

Includes bibliographical references and index

内容説明・目次

内容説明

Winfield develops a systematic theory of the fundamental styles of art, addressing the most neglected area of aesthetics, without which neither cultural divides, artistic periods, nor the fate of art in modernity can be understood. Stylistics thoroughly critiques Hegel's analysis of symbolic, classical, and romantic art in order to conceive the basic modes of artistic style. In so doing, the book presents an alternative to the two most prevalent approaches in aesthetics: the metaphysical mimetic theory pioneered by Plato and Aristotle and the transcendental theory of aesthetic reception pioneered by Hume and Kant and followed by most contemporary theorists. Unlike these two approaches, Stylistics pays due heed to the individuality and unity of meaning and configuration basic to artistic phenomena, making possible a rigorous differentiation of particular forms of artistic style. Because the resulting analysis of style never loses sight of the self-understanding that art provides, Stylistics provides powerful tools for reinterpreting the cultural differences of antiquity and modernity and of East and West.

目次

Acknowledgments Introduction 1. The Problem of Artistic Style: Conceiving the Particular Forms of Art Controversies in Moving Beyond the Universal Features of Art The Artforms as Minimal Particularizations of Art The Ordering of the Artforms The Hierarchy of Artforms and the End of Art The Logical Differentiation of the Forms of Art The Basic Taxonomy of the Symbolic, Classical, and Romantic Forms of Art 2. The Symbolic Form of Art Preliminary Difficulties in Characterizing the Symbolic Form of Art The Role of the Symbol in Symbolic Art The Content of Symbolic Art The Construal of the Divine in Symbolic Art The Construal of Conduct in Symbolic Art The External Reality, Creation, and Reception of Symbolic Art The Primacy of Symbolic Art The Differentiation of Types of Symbolic Art The Completeness of the Varieties of Symbolic Art 3. The Classical Form of Art Preliminary Controversies in Conceiving Classical Art Is the Symbolic Artform the Historical and Conceptual Prerequisite of Classical Art? The Meaning and Shape of the Classical Form Hegel's Suspect Limitations upon the Classical Form The Classical Construal of the Divine and Conduct The External Reality, Creation, and Reception of Classical Art The Dissolution of Classical Art 4. The Romantic Form of Art The Aesthetic Challenge of Modernity and the Problematic of Romantic Art The Deduction of Romantic Art The Configuration of Content in Romantic Art The Romantic Contrual of Religious Representation The Romantic Contrual of Conduct Romantic Options in A World of Revolutionary Challenge Romantic Options in A Post-Revolutionary World The Formal Independence of Romatic Character Realism, Irony, and Non-Objectivism: The End of Romantic Art The Production and Reception of Romantic Art Romanticism and the End of Art 5. The Challenge of Conceiving the Individual Arts Prerequisites for a Philosophical Theory of The Individual Arts Individuating the Arts by Physical Media Kant's Division by Analogy to Speech Hegel's Division by Appeal to the Artforms The Prospects for a Systematic Division of the Arts Notes Index

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