ヘーゲルの<感性論 (Ästhetik) > : 心の病をめぐって

Abstract

At the beginning of his "Lectures on Aesthetics" Hegel said regarding its title that the subject of his lectures is "philosophy of art" and "beauty" essentially realized in artworks, while "aesthetics" means, correctly speaking, "a new science" of "sensation" and "feeling", and so the title "aesthetics" isn't suitable. However, Hegel "let" this title "stand" for the reason that a word "aesthetics" has been already in common use. Despite of Hegel's hesitation in using the word "aesthetics" or under a neglect of this hesitation, his "Philosophy of Art" was published after his death (1935) by his pupil G. Hotho under the name of "Lectures on Aesthetics". Since then, it has been selfevident to take "aesthetics" for a science of art and beauty, namely "Artistik" (W. Welsch), and to call aesthetics of German idealism from Kant to Hegel "classic aesthetics", since Hegel made much of it as a real foundation of modern aesthetics in the sense of "philosophy of art". Even post-modernist aesthetics still depends on the tradition of this neglect of Hegel's hesitation, when it proposes the emancipation of aesthetics from the aesthetics as "Artistik" bound to the "classic aesthetics". But when we reexamine the various texts of so-called "German idealism", it will become clear that there are many important concepts of "aesthetics" that are never reduced to the "Artistik". As Kant's "transcendental aesthetics" is, for example, by no means an "Artistik", but a transcendental theory of human experience, so his "critique of aesthetic judgment" should also be understood as a theory of competences of human recognition in general, rather than a simple theory of beauty and art in particular. In the same way we can find "aesthetics" as a "new science" in various works of late Hegel. It is true that Hegel never argued on "aesthetics" explicitly. But if we reexamined the texts in the period of his maturity after "Phenomenology of Spirit" in detail, we would be convinced that Hegel has grasped the structures of human experience in context of history and the particular functions of "sensation" and "feeling" in it, and his "Lectures on Aesthetics" is based on this implicit aesthetics. In this article I turn my attention to Hegel's implicit aesthetics in his theory of diseases of the mind and its relation to the "Lectures on Aesthetics".