Hegel's end of art and the artwork as an internally purposive whole
Date issued
Authors
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
License
Abstract
Hegel's end-of-art thesis is arguably the most notorious assertion in aesthetics. I outline traditional interpretive strategies before offering an original alternative to these. I develop a conception of art that facilitates a reading of Hegel on which he is able to embrace three seemingly contradictory theses about art, namely, (i) the end-of-art thesis, (ii) the continued significance of art for its own sake (autonomy thesis), and (iii) the necessity of art for robust knowledge (epistemicnecessity thesis). I argue that Hegel is able to embrace all three theses at once through a conception of the work of art as an internally purposive whole (what I call the "IP View" of art). On the IP View, because of the kind of wholes that artworks are, they (i.a) are valuable for their own sake as ends-in-themselves, (i.b) yield valuable experiences because they are valuable for their own sake, and thereby (i.c) are necessary for robust knowledge. Finally, I suggest that not only does Hegel appear to hold the IP View of art, but also that on such a view, there is a very sensible reason for affirming (one reading of) Hegel's end-of-art thesis as an important means to establishing art's actual significance for robust knowledge against soaring, but unsubstantiable, claims about art's potency with respect to robust knowledge.
Description
Keywords
Citation
Published in
Journal of the history of philosophy, 61, 3, The Johns Hopkins University Press, Baltimore, Md., 2023, https://doi.org/10.1353/hph.2023.a902880