The Philosophy of Fine Art, volume 2 (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)
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- ~170.000 palabras · 798 pasajes
Cita esta obra
- APAHegel. (n.d.). The Philosophy of Fine Art, volume 2 (of 4). Digital reproduction: SigPhi. https://sigphiai.com/es/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-2-of-4
- MLAHegel. The Philosophy of Fine Art, volume 2 (of 4). Digital reproduction, SigPhi, https://sigphiai.com/es/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-2-of-4.
- ChicagoHegel. The Philosophy of Fine Art, volume 2 (of 4). Digital reproduction, SigPhi. https://sigphiai.com/es/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-2-of-4.
Referencia de la edición que reproduce SigPhi: SigPhi es su reproducción digital, no el editor. El año de la edición no consta en los metadatos (por eso «n.d.») y el traductor solo aparece cuando consta.
De qué trata
El segundo volumen: las tres formas del arte —simbólica, clásica y romántica— y qué las distingue.
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.
and it flees from the same once more into itself. It is this recoil which presents to us the fundamental type of the _romantic_ type of art. Here we find, by reason of the free spirituality which pervades the content, such content makes a more ideal demand upon expression than the mere representation through an external or physical medium is able to supply; the form on its external side sinks therefore to a relation of _indifference_; and in the romantic form of art we consequently meet with a separation between content and form as we previously found it in the symbolic form, with this difference that it is now due to the subordination of matter to spiritual expression rather than the predominance of externality over ideal significance. It is in this way that symbolic art _seeks_ after that perfected unity of ideal significance and external form, which classical art in its representation of substantive individuality succeeds in _communicating_ to sensuous perception, and which romantic art _passes over and beyond_ through its overwhelming insistence on the claims of Spirit. [Footnote 1: _Art._ Hegel takes the ordinary scientific sense to describe the meaning. The word "type" would more truly express it.] [Footnote 2: _Für sich selber ist._ That is, having arrived at one form of determination, returns upon itself and throws off another form, just as the plant germ after arriving at the leaf expands into the bud, and so on.] [Footnote 3: That is, with no reference to intelligent principle.] [Footnote 4: _Allgemeiner Gedanken._ Hegel means the bare generalizations or abstract conceptions of thought.] SUBSECTION I THE SYMBOLIC TYPE OF ART INTRODUCTION OF THE SYMBOL GENERALLY Symbol, in the signification we here attach to the word, is not merely the beginning of art from the point of view of its notional development, but marks also its first appearance in history.…