The Philosophy of Fine Art, volume 3 (of 4)
- Idioma:
- anglès
- Completesa:
- Obra completa
- Autoria:
- Recollida o compilada per altri
- Estat del text:
- Sense soroll d'escaneig detectat (mesura automàtica sobre tot el text, no revisada a mà)
- Extensió:
- ~180.000 paraules · 873 passatges
Cita aquesta obra
- APAHegel. (n.d.). The Philosophy of Fine Art, volume 3 (of 4). Digital reproduction: SigPhi. https://sigphiai.com/ca/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-3-of-4
- MLAHegel. The Philosophy of Fine Art, volume 3 (of 4). Digital reproduction, SigPhi, https://sigphiai.com/ca/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-3-of-4.
- ChicagoHegel. The Philosophy of Fine Art, volume 3 (of 4). Digital reproduction, SigPhi. https://sigphiai.com/ca/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-3-of-4.
Referència de l'edició que reprodueix SigPhi: SigPhi n'és la reproducció digital, no l'editor. L'any de l'edició no consta a les metadades (per això «n.d.») i el traductor només hi surt quan consta.
De què tracta
El tercer volum de les lliçons de Hegel sobre l'estètica, en traducció anglesa.
Context i història
Com totes les lliçons de Hegel, aquest text no el va escriure ell: el van compondre els editors després de la seva mort a partir dels seus apunts i de quaderns d'estudiants de cursos diferents. L'esquema que se'n cita —art simbòlic, clàssic i romàntic, i el pas de l'arquitectura a la poesia— és seu, però la formulació concreta sovint no. La tesi més discutida, la de la fi de l'art, no diu que l'art s'acabi: diu que ha deixat de ser la manera més alta en què una època es diu a si mateixa la veritat.
Context editorial, no una font citable: a diferència dels passatges de l'obra, aquestes dades no es poden contrastar amb el corpus.
theogonies effervescent with abstract thoughts and their incomplete elaboration, single objects of sacred association in stone and wood and so forth, and the representation remains unaccommodating, monotonous or confused, stiff and dry. More especially in plastic art the facial expression is insipid with a repose which does not so much express spirituality in its essential penetration as a purely animal emptiness, or conversely is remorseless and exaggerated in its emphasis on characteristic traits. In the same way the bodily forms and their motion are devoid of life, the arms, for example, are glued to the body, the legs are not divided, or are clumsily moved, or in angular and constrained modes; and in other respects such figures are ill-shaped, suffer from narrow compression, or are excessively lank and extended. On the other hand we find that much more devotion and industry is spent upon accessories such as drapery, hair, weapons, and ornaments of a similar nature; the folds of the drapery remain wooden and independent, without being able to accommodate themselves to the limbs, just as we may often see for ourselves in images of the Virgin and saints of early times, where they are in part run together in monotonous regularity, and in part are continually broken up in harsh corners, not flowing freely in their lines, but scattered about with diffuseness over too wide a surface. And in the same way the first attempts at poetry are full of breaks, devoid of connection, monotonous, dominated in an abstract way by one idea or emotion, or elsewhere wild, violent, the particular being obscurely assimilated, and the whole as yet not bound together in a secure and ideal organic unity. It is only, however, after such preparatory work as the above that the style which is the main subject of our present inquiry commences with what is truly genuine fine art.…