This book explores the concept of the end of literature through the lens of Hegel's philosophy of art. In his version of Hegel's 'end of art' thesis, Arthur Danto claimed that contemporary art has abandoned its distinctive sensitive and emotive features to become increasingly reflective. Contemporary art has become a question of philosophical reflection on itself and on the world, thus producing an epochal change in art history. The core idea of this book is that this thesis applies quite well (...) to all forms of art except one, namely literature: literature resists its 'end'. Unlike other arts, which have experienced significant fractures in the contemporary world, Campana proposes that literature has always known how to renew itself in order to retain its distinguishing features, so much so that in a way it has always come to terms with its own end. Analysing the distinct character of literature, this book proposes a new and original interpretation of the 'end of art' thesis, showing how it can be used as a key conceptual framework to understand the contemporary novel. (shrink)

Cet article explore la notion hégélienne d’« arts imparfaits » (comme le jardinage ou la danse) qu’il considère comme étant à la marge du système conventionnel des arts, ne leur reconnaissant pas pleinement le statut d’arts. L’objectif est d’examiner les caractéristiques qui spécifient ces arts et les raisons de leur « exclusion » du système artistique établi. L’hypothèse avancée est que les traits que Hegel attribue à ces formes d’expression artistique, ainsi que leur « excentricité » par rapport aux œuvres (...) d’art canoniques, ont des éléments communs avec certaines formes d’art contemporaines, qui ont remis en question le système artistique traditionnel de manière radicale (land art, art in situ, performance art, etc.). Après avoir abordé la question générale du système des arts, en décrivant sa dimension philosophique et la position de Hegel à son égard, l’article se concentre sur les soi-disant arts imparfaits, et rend compte de l’« exclusion » de ces arts de la catégorie des arts proprement dits en explicitant la logique structurante du système des arts. Il examine ensuite deux exemples notables, à savoir le jardinage et la danse, en identifiant des éléments communs qui justifient à la fois leur « excentricité » et leur « exclusion » du système. Il explicite ensuite les raisons de l’imperfection de ces arts, que sont l’excès de nature et leur aspect indéterminé et hybride. Il esquisse en conclusion des pistes pour penser une interaction entre la perspective hégélienne et notre contexte artistique contemporain. (shrink)

This paper addresses the way Hegel determines the difference between poetry (i.e., literature) and history. Hegel’s position is particularly significant for understanding both the basic features of the two fields and the implications that their relationship generates, even in contemporary debates. Starting from a comparison with Aristotle’s fundamental position, I will show how the Hegelian proposal, while initially appearing akin to that of the Greek philosopher, actually differs profoundly from it. This divergence has to do with their different conceptions of (...) the relationship between the two disciplines and philosophy. Unlike Aristotle, for Hegel history is more philosophical than poetry, because, to be genuinely history, it must itself become philosophy. At the same time, if poetry becomes philosophy, it loses its specificity and ceases to be art. To reach this determination, I will show that the key factors concern how the individual practice of the two disciplines is conceived and, more importantly, the different ways they relate to universality. (shrink)