EMAIL<\/a> | SYLLABUS<\/a> | POLICIES<\/a> | QUESTIONS<\/a> | PRESENTATIONS<\/a> | JOURNALS<\/a> | PAPER<\/a> | FINAL<\/a><\/strong><\/p>\n\n\n\n Assigned:<\/strong> Georg W. F. Hegel. From Phenomenology of Spirit,<\/em> \u201cThe Master-Slave Dialectic\u201d (541-47) and from Lectures on Fine Art<\/em> (547-555 in Leitch, Vincent B. and William E. Cain, eds. The Norton Anthology of Theory and Criticism.<\/em> 2nd ed. New York: Norton, 2010. ISBN 978-0-393-93292-8).<\/p>\n\n\n\n 1. What is required, according to Hegel, for \u201cself-certainty\u201d? Why is it necessary in this regard that there should be a \u201clife-and-death struggle\u201d in which \u201ceach must seek the other\u2019s death\u201d? (543, paragraph 187)<\/p>\n\n\n\n 2. How does Hegel characterize the immediate aftermath of this \u201clife-and-death struggle\u201d? How does he describe the two kinds of consciousness that he calls \u201clord {Herr<\/em>} and bondsman {Knecht<\/em>}\u201d? (544, par. 189)<\/p>\n\n\n\n 3. How do the lord and bondsman, respectively, relate to the \u201cthing\u201d? What does laboring or \u201cwork{ing} at\u201d the thing turn out to be vital to the bondsman\u2019s consciousness? (544-45, par. 190)<\/span><\/p>\n\n\n\n 4. After the struggle, what contradiction or problem besets the lord\u2019s attempt to achieve self-certainty through his conquest of the one now called the bondsman? (545, par. 191-92)<\/span><\/p>\n\n\n\n 5. How does the bondsman\u2019s servitude lead to the surprising development of \u201ca truly independent consciousness? (545-46, par. 193-94)<\/span><\/p>\n\n\n\n 6. How is it, further, that \u201cconsciousness qua worker, comes to see in the independent being {of the object} its own independence\u201d? In other words, how, according to Hegel, does work, as \u201cformative activity,\u201d allow the bondsman to produce his own independent identity? (635-36, par. 195-96)<\/span><\/p>\n\n\n\n 7. We have read only a few selections by Kant and Hegel, but what similarities and differences can you find in the two philosophers\u2019 way of examining individual consciousness or identity? (general question, possible paper topic)<\/p>\n\n\n\n 8. How does Hegel moderate between those who say that art is merely a skill, and those who say that art is entirely a production of genius and not \u201ca product of general human activity\u201d (547-48)<\/p>\n\n\n\n 9. Why, according to Hegel, is art superior to the works of nature? From what \u201cuniversal and absolute need\u201d (550) does it spring, and how, on 551, does that need link it to \u201call acting and knowing\u201d? (549-51)<\/p>\n\n\n\n 10. What is the first or \u201csymbolic form of art\u201d In what lies its chief value? What \u201cdouble defect\u201d leads to its giving way to the classical stage of art? (551-52)<\/p>\n\n\n\n 11. How does the second or \u201cclassical art-form\u201d do away with the defects of the first form? How does it achieve such progress? (552-53)<\/p>\n\n\n\n 12. Nonetheless, what defect does classical art\u2019s success in relating Idea and shape lead to? How does Hegel define \u201cspirit\u201d (554), and how, according to Hegel, must classical artists have conceived of spirit when they represented it in \u201csensuously concrete form\u201d? (554-55)<\/p>\n\n\n\n 13. How does the third or \u201cromantic form of art\u201d solve the problem with classical art? How does its success amount to \u201cthe self-transcendence of art in the form of art itself\u201d (554-55)<\/p>\n\n\n\n 14. Again, how does romantic art\u2019s success also lead it to reach its point of failure? How is this problem similar to that of symbolic art? But what, according to Hegel, is \u201cthe essential difference\u201d between the respective failures? (554-55)<\/p>\n\n\n\n 15. Based on our selections, explain how Hegel\u2019s attitude towards the link between humanity and nature compares to Kant\u2019s. (general question, possible paper topic)<\/p>\n","protected":false},"excerpt":{"rendered":" GEORG HEGEL QUESTIONS FOR E492 MODERN CRITICAL THEORYCSU FULLERTON, FALL 2015 Assigned: Georg W. F. Hegel. From Phenomenology of Spirit, \u201cThe Master-Slave Dialectic\u201d (541-47) and from Lectures on Fine Art (547-555 in Leitch, Vincent B. and William E. Cain, eds. The Norton Anthology of Theory and Criticism. 2nd ed. New York: Norton, 2010. ISBN 978-0-393-93292-8). […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_eb_attr":"","footnotes":""},"wf_page_folders":[47],"class_list":["post-905","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/905","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/comments?post=905"}],"version-history":[{"count":2,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/905\/revisions"}],"predecessor-version":[{"id":5089,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/905\/revisions\/5089"}],"wp:attachment":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/media?parent=905"}],"wp:term":[{"taxonomy":"wf_page_folders","embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/wf_page_folders?post=905"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}From Phenomenology of Spirit,<\/em> \u201cThe Master-Slave Dialectic\u201d (1807)<\/h2>\n\n\n\n
From Lectures on Fine Art <\/em>(1835-38)<\/h2>\n\n\n\n