The Philosophy of Fine Art, volume 3 (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 · 873 pasajes
Cita esta obra
- APAHegel. (n.d.). The Philosophy of Fine Art, volume 3 (of 4). Digital reproduction: SigPhi. https://sigphiai.com/es/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/es/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/es/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-3-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 tercer volumen de las lecciones de Hegel sobre estética, en traducción inglesa.
Contexto e historia
Como todas las lecciones de Hegel, este texto no lo escribió él: lo compusieron los editores tras su muerte a partir de sus apuntes y de cuadernos de estudiantes de cursos distintos. El esquema que se le cita —arte simbólico, clásico y romántico, y el paso de la arquitectura a la poesía— es suyo, pero la formulación concreta a menudo no. La tesis más discutida, la del fin del arte, no dice que el arte se acabe: dice que ha dejado de ser la manera más alta en que una época se dice a sí misma la verdad.
Contexto editorial, no una fuente citable: a diferencia de los pasajes de la obra, estos datos no se pueden comprobar contra 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.…