The Philosophy of Fine Art, volume 1 (of 4)
- Idioma:
- inglés
- Estado:
- Obra completa
- Autoría:
- Recogida o compilada por otros
- Estado del texto:
- Sin ruido de escaneo detectado (medición automática sobre todo el texto, no revisada a mano)
- Extensión:
- ~180.000 palabras · 845 pasajes
Cita esta obra
- APAHegel. (n.d.). The Philosophy of Fine Art, volume 1 (of 4). Digital reproduction: SigPhi. https://sigphiai.com/es/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-1-of-4
- MLAHegel. The Philosophy of Fine Art, volume 1 (of 4). Digital reproduction, SigPhi, https://sigphiai.com/es/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-1-of-4.
- ChicagoHegel. The Philosophy of Fine Art, volume 1 (of 4). Digital reproduction, SigPhi. https://sigphiai.com/es/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-1-of-4.
Referencia de la edición reproducida. SigPhi es la reproducción digital. Se incluyen año, editorial y traductor cuando constan; «n.d.» indica que no consta el año.
De qué trata
El primer volumen de las lecciones de estética: qué es lo bello artístico y por qué el arte no es una copia del mundo.
Contexto e historia
Estas lecciones tampoco las escribió Hegel: los editores las compusieron tras su muerte a partir de sus apuntes y de cuadernos de estudiantes de cursos distintos. El esquema que se cita es suyo —arte simbólico, clásico y romántico, y el recorrido de la arquitectura hasta la poesía—, pero la formulación exacta a menudo no. La definición de partida sí conviene tenerla clara: el arte es el aparecer sensible de la idea, y por eso no es decoración ni imitación de la naturaleza.
Contexto editorial, no una fuente citable: a diferencia de los pasajes de la obra, estos datos no se pueden comprobar contra el corpus.
such as family, fatherland, church, friendship, status, honour, and love. They are children of the one absolute Idea. Illustration of their contention (_β_) They must not act in discord with the main action. The position of evil powers as confronting them, and its treatment by classic and modern poetry (_γ_) Such forces must appear in Art as embodied in particular personalities. Contrast between ancient and modern art in this respect] (_b_) The individuals concerned in the action [(_α_) The relations between gods and men in classical art, and that between the Divine and the human in Christian art [_β_] Pathos considered in its relation to various modes of art] (_c_) Character [(_α_) Viewed as co-extensive or self-coherent individuality, relatively, that is, to the intrinsic wealth it connotes. Illustrations (_β_) Viewed relatively to the particular form under which it is bound to appear (_γ_) Viewed as a concrete unity coalescing wholly with its determinate form and as assured character. Illustrations classified in their stability and lack of such] III. The External Determination of the Ideal. 1. The abstract Externality as such. [(_a_) Spatiality, Uniformity, Figure, Time, and Colour. (_α_) How far such contribute to artistic production (_β_) The necessity of clear articulation of form and tone considered] 2. The Coalescence of the concrete Ideal with its external Reality [(_α_) The bond of unity regarded as no positive reality, but as a mysterious or secret connection. The relation of external Nature to the work of art. The Homeric poems contrasted with the "Niebelungenlied" in this respect (_b_) Where the unity is expressly due to human activity and human adaptation of means to ends [(_α_) The use made by man of ornament or of anything used for mere show, _e.g._, precious metals for statuary (_β_) The question how far objects used for practical purposes are suited for art.…