This article explores the significance of Hegel’s aesthetic lectures for Dewey’s approach to the arts. Although over the last two decades some brilliant studies have been published on the “permanent deposit” of Hegel in Dewey’s mature thought, the aesthetic dimension of Dewey’s engagement with Hegel’s heritage has not yet been investigated.

This inquiry will be developed on a theoretical level as well as on the basis of a recent discovery: in Dewey’s Correspondence traces have been found of a lecture on Hegel’s Aesthetics delivered in 1891 within a summer school run by a scholar close to the so-called St. Louis Hegelians. Dewey’s deep and long-standing acquaintance with Hegel’s Aesthetics supports the claim that in his mature book, Art as Experience, he originally appropriated some Hegelian insights. First, Dewey shared Hegel’s strong anti-dualistic and anti-autonomistic conception of the arts, resisting post-Kantian sirens that favored instead an interpretation of art as a separate realm from ordinary reality. Second, they basically converged on an idea of the arts as inherently social activities as well as crucial contributions to the shaping of cultures and civilizations, based on the proximity of the arts to the sensitive nature of man. Third, this article argues that an original re-consideration of Hegel’s thesis of the so-called “end of art” played a crucial role in the formulation of Dewey’s criticism of the arts and of the role of aesthetic experience in contemporary society. The author suggests that we read Dewey’s criticism of the removal of fine art “from the scope of the common or community life” (lw 10, 12) in light of Hegel’s insight that the experience of the arts as something with which believers or citizens can immediately identify belongs to an irretrievable past.

本文探讨了黑格尔的美学讲座对杜威的艺术方法的意义。尽管在过去的二十年中，已经在杜威成熟思想中对黑格尔的“永久存款”发表了一些出色的研究，但尚未研究杜威与黑格尔遗产的互动的美学意义。

这项探究将在理论层面以及最近的发现基础上发展：在杜威的书信中，发现了1891年在一个暑假学校里由一位与所谓的亲近的学者开办的关于黑格尔美学的演讲的踪迹。圣路易斯黑格尔人。杜威对黑格尔美学的长期深入了解支持了他在成熟的《艺术即经验》一书中的说法。，他最初采用了一些黑格尔的见解。首先，杜威分享了黑格尔对艺术的强烈反二元论和反自治概念，抵制了后康德时代的警笛声，后者反而倾向于将艺术解释为与普通现实分开的境界。其次，他们在艺术接近人类敏感本质的基础上，基本上将艺术观念融合为固有的社会活动以及对文化和文明塑造的重要贡献。第三，本文认为，对黑格尔关于“艺术的终结”的论点的原始重新考虑在杜威对艺术的批评以及审美经验在当代社会中的作用中起着至关重要的作用。（lw 10，12）根据黑格尔的见解，认为作为信徒或公民可以立即识别的事物的艺术经历属于无法挽回的过去。