Stylistics: Rethinking the Artforms After Hegel

by Richard Dien Winfield

Winfield develops a systematic theory of the fundamental styles of art, addressing the most neglected area of aesthetics, without which neither cultural divides, artistic periods, nor the fate of art in modernity can be understood. Stylistics thoroughly critiques Hegel's analysis of symbolic, classical, and romantic art in order to conceive the basic modes of artistic style. In so doing, the book presents an alternative to the two most prevalent approaches in the metaphysical mimetic theory pioneered by Plato and Aristotle and the transcendental theory of aesthetic reception pioneered by Hume and Kant and followed by most contemporary theorists. Unlike these two approaches, Stylistics pays due heed to the individuality and unity of meaning and configuration basic to artistic phenomena, making possible a rigorous differentiation of particular forms of artistic style. Because the resulting analysis of style never loses sight of the self-understanding that art provides, Stylistics provides powerful tools for reinterpreting the cultural differences of antiquity and modernity and of East and West.

Genres: Philosophy

148 pages, Paperback

First published December 1, 1995

About the author

Richard Dien Winfield (PhD Yale) is Distinguished Research Professor at the University of Georgia, where he has taught since 1982. Winfield has served as president of the Society for Systematic Philosophy, the Hegel Society of America, and the Metaphysical Society of America.

Reviews

[Alexander Asay · Rating 4 out of 5]

In this meticulous exploration of aesthetic theory, Winfield ambitiously reevaluates Hegel's philosophy of art, focusing specifically on the styles of symbolic, classical, and romantic art. Winfield does not merely restate Hegel's views but critically dissects them to forge a new path in understanding art through a Hegelian lens.

Winfield begins by challenging the two predominant schools of aesthetic thought: the mimetic theories of Plato and Aristotle, which emphasize art's imitation of reality, and the more subjective, reception-based theories from Hume and Kant. Instead, he introduces a method where art's meaning and configuration are central, advocating for a style-based analysis that recognizes art's self-understanding and cultural significance across different epochs and regions.
Stylistics is structured to tackle each art form systematically. Winfield first addresses the symbolic art, where he explores how art symbolizes ideas beyond its immediate sensory appearance. He then moves to classical art, discussing its perfect harmony of form and content, and critiques Hegel's perceived limitations on this style. Finally, in his treatment of romantic art, Winfield examines how art transcends into the realm of inwardness, questioning the implications for modernity and art's role therein.

Throughout, Winfield's writing is characterized by a high level of philosophical rigor, making his arguments both compelling and complex. His approach not only provides a fresh perspective on Hegel's aesthetic philosophy but also extends it to contemporary art forms, offering readers tools to interpret cultural differences and the evolution of art from antiquity to the modern world.

The text is replete with examples and is particularly notable for its logical, step-by-step progression through philosophical concepts, making it an invaluable resource for those with a keen interest in Hegelian thought or the philosophy of art. However, the work's intellectual demands might be more suited to readers with a background in philosophy or those willing to engage deeply with its analytical nature.

Disclaimer: I was student of Dr. Winfield at the University of Georgia.