Semioticians traditionally honor Russian linguistics of the early 20th century, and study Jakobson, Vinogradov, Vinokur or the early Trubetzkoy. They do, however, seldom consider Russian philosophers of the same period. Gustav Shpet is an important representative of Russian philosophers in discussion with Hegel, Neo-Kantian thinkers and contemporaries in Russia and abroad, among them Edmund Husserl, originator of transcendental phenomenology. Shpet introduced Husserl’s phenomenology in Russia and expanded those ideas in his 1914 Appearance and Sense. A triangle “Hegel—Husserl—semiotics” emerged where Shpet (...) emphasized the concept of discourse in phenomenology: a philosophical challenge to modern semiotics. (shrink)

This contribution analyses the importance of the State Academy of the Study of Arts in the appropriation of Hegel's aesthetics in Russia. In immediate connection to this discussion at the GAKhN is Gustav Špet’s conception of the ontology of art. This concept represents an attempt of a non-metaphysical interpretation of Hegel’s aesthetics. There, art is interpreted as an autonomous mode of the cultural existence as “aesthetic reality.” In this interpretation of art Špet refers to two of Hegel's theses in which (...) art is determined as “appearance” which stands as a "quasi-reality" and the aesthetic object gets its ontological status because of “recognition” by humans. These theses help Špet to develop an alternative to Marxist aesthetics. (shrink)