End-of-Art Philosophy in Hegel, Nietzsche and Danto

This book examines the little understood end-of-art theses of Hegel, Nietzsche, and Danto. The end-of-art claim is often associated with the end of a certain standard of taste or skill. However, at a deeper level, it relates to a transformation in how we philosophically understand our relation to the ‘world’. Hegel, Nietzsche, and Danto each strive philosophically to overcome Cartesian dualism, redrawing the traditional lines between mind and matter. Hegel sees the overcoming of the material in the ideal, Nietzsche levels the two worlds into one, and Danto divides the world into representing and non-representing material. These attempts to overcome dualism necessitate notions of the self that differ significantly from traditional accounts; the redrawn boundaries show that art and philosophy grasp essential but different aspects of human existence. Neither perspective, however, fully grasps the duality. The appearance of art’s end occurs when one aspect is given priority: for Hegel and Danto, it is the essentialist lens of philosophy, and, in Nietzsche’s case, the transformative power of artistic creativity. Thus, the book makes the case that the end-of-art claim is avoided if a theory of art links the internal practice of artistic creation to all of art’s historical forms. Preface......Page 6 Contents......Page 8 Abbreviations......Page 10 List of Figures......Page 13 1.1 Introduction......Page 14 1.2 The Birth of Philosophy and the End of Art......Page 17 1.3 The Problem Solving Narrative......Page 19 Works Cited......Page 21 2.1 The ‘Death of Art’ Topic......Page 22 2.1.1 The Significance of the End of Art......Page 24 2.2.1 Art in History......Page 27 2.2.2 Metaphysics and the Absolute......Page 28 2.2.4 The Symbolic Stage......Page 33 2.2.5 The Sublime......Page 34 2.2.6 Contrasts on the Sublime......Page 36 2.2.8 The Infinite......Page 37 2.2.9 The Classical Stage......Page 42 2.2.10 The Beautiful......Page 43 2.2.11 Sensus Communis......Page 45 2.2.12 Contrasts on the Beautiful......Page 47 2.2.14 The Ugly......Page 50 2.2.15 Contrasts on the Ugly......Page 53 2.2.16 Conclusion......Page 54 2.3 The End of Art and Its Cause......Page 56 2.4 The Superiority of Philosophy to Art......Page 72 2.4.1 The Aesthetic Tradition and the Ancient Quarrel......Page 73 2.4.3 End of History......Page 76 2.4.4 The Independence of Philosophy......Page 78 Works Cited......Page 97 Chapter 3 The Transformative Power of Creativity in Nietzsche’s Saving Illusion......Page 100 3.1 The Nature and Significance of Art in The Birth of Tragedy......Page 104 3.1.1 Nietzsche and Schopenhauer......Page 106 3.1.2 Apollo and Dionysus......Page 110 3.1.3 Transfiguring Illusion......Page 111 3.1.4 Pessimism and the Influence of His Mentors......Page 114 3.2.1 The Aesthetic Listener......Page 118 3.2.2 The Rebirth......Page 120 3.3 The Causes of the End of Redemptive Art......Page 121 3.3.1 Optimism and Pessimism......Page 122 3.3.2 Metaphysical Need......Page 123 3.3.3 Asceticism, Inspiration, and Illness......Page 124 3.3.4 The Romantic Illusion......Page 125 3.3.5 The Dissolution of Art......Page 127 3.3.6 Two Factors......Page 128 3.4 The Art of the Self: Perspectivism and the Transformation of Values......Page 130 3.4.1 De-deification of the World......Page 132 3.4.2 Pessimism of Strength......Page 136 3.4.3 Anti-Idealism, New Language and the Absent God......Page 138 3.4.4 Twilight of the Idols......Page 140 3.5 The Ideal and the Real: Philosophy and Art......Page 147 Works Cited......Page 158 4.1 Introduction......Page 160 4.1.1 Danto’s System......Page 161 4.1.2 Common Themes and Parallel Structures......Page 163 4.2.1 A Short Version of Danto’s Theory of Art......Page 166 4.2.2 Narrative Philosophy of History and the Freedom of Art......Page 169 4.2.3 Other Minds......Page 170 4.2.4 Covering Laws and Freedom......Page 171 4.3 Style Is the Man: The Body/Body Problem and the Anatomy of the Artwork......Page 180 4.4.2 Sartre and Style......Page 200 Works Cited......Page 215 5.1 The End of Art?......Page 218 5.1.1 Habermas and Danto......Page 223 5.2.1 Moving from the Eye to the Mind......Page 228 5.2.2 Gombrich......Page 229 5.2.3 Sprezzatura......Page 233 5.2.4 The Artistic Revolution......Page 235 5.3.1 Communication Breakdown......Page 239 5.3.2 Seeking a New Schematic......Page 245 5.3.3 Freedom in Art: Inexplicability Explained......Page 250 5.4 Something the Narrative Cannot Descry: A Problem-Solving Structure......Page 251 5.4.1 Style as a Problem-Solving Orientational Narrative......Page 272 5.4.2 Rhetoric in Post-History......Page 275 5.4.3 Overcoming Dualism in Style......Page 280 Works Cited......Page 287 Bibliography......Page 291 Index......Page 300 Preface 6 Contents 8 Abbreviations 10 List of Figures 13 Chapter 1 The End of Art Debate 14 1.1 Introduction 14 1.2 The Birth of Philosophy and the End of Art 17 1.3 The Problem Solving Narrative 19 Works Cited 21 Chapter 2 Hegel: The End of Art as Truth Incarnate 22 2.1 The ‘Death of Art’ Topic 22 2.1.1 The Significance of the End of Art 24 2.2 Overcoming Transcendent Metaphysics: Hegel and Kant on Sublimity, Beauty, and Ugliness 27 2.2.1 Art in History 27 2.2.2 Metaphysics and the Absolute 28 2.2.3 Hegel and Kant on the Sublime, the Beautiful, and the Ugly 33 2.2.4 The Symbolic Stage 33 2.2.5 The Sublime 34 2.2.6 Contrasts on the Sublime 36 2.2.7 Ontological Status 37 2.2.8 The Infinite 37 2.2.9 The Classical Stage 42 2.2.10 The Beautiful 43 2.2.11 Sensus Communis 45 2.2.12 Contrasts on the Beautiful 47 2.2.13 The Romantic Stage 50 2.2.14 The Ugly 50 2.2.15 Contrasts on the Ugly 53 2.2.16 Conclusion 54 2.3 The End of Art and Its Cause 56 2.4 The Superiority of Philosophy to Art 72 2.4.1 The Aesthetic Tradition and the Ancient Quarrel 73 2.4.2 Art as a Lure 76 2.4.3 End of History 76 2.4.4 The Independence of Philosophy 78 Works Cited 97 Chapter 3 The Transformative Power of Creativity in Nietzsche’s Saving Illusion 100 3.1 The Nature and Significance of Art in The Birth of Tragedy 104 3.1.1 Nietzsche and Schopenhauer 106 3.1.2 Apollo and Dionysus 110 3.1.3 Transfiguring Illusion 111 3.1.4 Pessimism and the Influence of His Mentors 114 3.2 The Condition of Redemptive Art 118 3.2.1 The Aesthetic Listener 118 3.2.2 The Rebirth 120 3.3 The Causes of the End of Redemptive Art 121 3.3.1 Optimism and Pessimism 122 3.3.2 Metaphysical Need 123 3.3.3 Asceticism, Inspiration, and Illness 124 3.3.4 The Romantic Illusion 125 3.3.5 The Dissolution of Art 127 3.3.6 Two Factors 128 3.4 The Art of the Self: Perspectivism and the Transformation of Values 130 3.4.1 De-deification of the World 132 3.4.2 Pessimism of Strength 136 3.4.3 Anti-Idealism, New Language and the Absent God 138 3.4.4 Twilight of the Idols 140 3.5 The Ideal and the Real: Philosophy and Art 147 Works Cited 158 Chapter 4 Danto and the End of Art: Surrendering to Unintelligibility 160 4.1 Introduction 160 4.1.1 Danto’s System 161 4.1.2 Common Themes and Parallel Structures 163 4.2 Danto’s Theory of History and His Theory of Art 166 4.2.1 A Short Version of Danto’s Theory of Art 166 4.2.2 Narrative Philosophy of History and the Freedom of Art 169 4.2.3 Other Minds 170 4.2.4 Covering Laws and Freedom 171 4.3 Style Is the Man: The Body/Body Problem and the Anatomy of the Artwork 180 4.4 End of Art: A Changing Style of Conversation 200 4.4.1 Origin of Style 200 4.4.2 Sartre and Style 200 Works Cited 215 Chapter 5 Style of the Future 218 5.1 The End of Art? 218 5.1.1 Habermas and Danto 223 5.2 Another Narrative: Gombrich’s Story of Art 228 5.2.1 Moving from the Eye to the Mind 228 5.2.2 Gombrich 229 5.2.3 Sprezzatura 233 5.2.4 The Artistic Revolution 235 5.3 Freedom in Seeking the New 239 5.3.1 Communication Breakdown 239 5.3.2 Seeking a New Schematic 245 5.3.3 Freedom in Art: Inexplicability Explained 250 5.4 Something the Narrative Cannot Descry: A Problem-Solving Structure 251 5.4.1 Style as a Problem-Solving Orientational Narrative 272 5.4.2 Rhetoric in Post-History 275 5.4.3 Overcoming Dualism in Style 280 Works Cited 287 Bibliography 291 Index 300