By William Desmond
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Additional info for Art and the Absolute: A Study of Hegel’s Aesthetics
These two above responses, in fact, tend to simply repeat the problem by differently bifurcating thinking and concreteness. Only thus might some conjunction of the logical and ontological orders be possible. Acutely sensitive to this question of concreteness, Hegel sought a possible position beyond the alternatives of thoughtless concreteness and unconcrete thought. To insist only on their irreducible difference is inevitably to fall foul of dualism, whereas the issue of concreteness requires the possibility of their continuity.
Hegel's Logic presents itself as a dramatic unity. 30 It should not surprise us that some of the most forceful and influential of Hegel's views in aesthetics are developed in connection with drama, particularly tragedy. Philosophy and art alike share in this common struggle to make articulate, each in their respective ways, this initial, undifferentiated tangle of the concrete. This struggle for the articulation of the concrete becomes the root out of which stem art and philosophy as distinct, though related, modalities of meaning.
28 What these images invoke is the idea of a rich unity within which there is an immanent, concrete complexity and which the normal oppositions of universal and particular do not properly succeed in capturing or articulating. The art work, I have contended, is one such vitally revealing instance. It is to give a misleading picture of the spirit informing Hegel's thought if we insist upon separating these two. 29 But what carries us to the final form is that the essential venturesomeness of thought remains and, despite the despair, will not be extinguished.
Art and the Absolute: A Study of Hegel’s Aesthetics by William Desmond