Esthétique de la contemplation et esthétique de la transgression. À propos du passage de la Religion au Savoir Absolu dans la « Phénoménologie de l'Esprit » de Hegel

摘要

Art in Hegel is often presented as a « having been » (gewesen), bound to the past, glued into the unsurpassable limits of sensible configuration. It would therefore cover an outdated situation, and should be abandoned for an expression conforming more to the living word of the absolute spirit, which can only effect itself by setting itself in a type of objectivity in constant processivity, in transgression. However the Absolute Knowing is not the retreat of an autonomous subjectivity or the sufficiency of a transparency to self which denies all content. The Absolute Knowing is presented in the Phenomenology of Mind as a return to the immediateness « being-there », no longer stuck in its fascinating appearance, but conforming to the movement itself which places it in being, « operation proper to the self». If then aesthetics is frequently devalued in Hegel, because it is characterised by its attachment to the « visionary age », the Absolute Knowing does more than propose for investigation new possibilities for an aesthetics of transgression. In fact the two aspects have to be taken into consideration equally. The distanciation required by the contemplative attitude is the very condition of the expressivity of the beautiful. But a process of transgression would take into account at the same time the promotion of being and the promotion of destiny in the poetic act, in the interaction of its incessant metamorphoses.