For the first time, Solger's lectures on aesthetics will be published in the Philosophical Library, with which the philosopher (and Hegel's colleague at the Berlin University) builds a bridge between idealistic and romantic views of art. The annotated edition finally makes Solger's lectures of 1819 available in a reliably edited version. Shortly before his early death in 1819, Solger gave lectures in Berlin on aesthetics, which were already the subject of his main work, the dialogue "Erwin. Four Talks on Beauty and Art". In contrast to the complex dialogue, however, the lectures, which only exist in a transcript by his student K.W.L. Heyse published in 1829, are much more accessible and comprehensible. In three parts, Solger develops here a speculative aesthetic theory whose systematic center is the romantic concept of irony. The first part ("Of the Beautiful") deals with the concept of the idea of the beautiful, the second with "Of Art" in general, the third with the "special" art forms, which he divides into universal (poetry), symbol-based (sculpture, architecture) and allegorically determined (painting, music) art forms. A high point of his aesthetic reflection is a theory of tragedy supported by a profound literary knowledge. Solger's aesthetics attempts to build a bridge between Romanticism and Idealism and was regarded by philosophers of the Hegel school such as Rosenkranz and Vischer as well as by poets such as Heine and Hebbel as the "other" aesthetics of German Idealism. It is based on the frailty of the beautiful and on the systematic elaboration of a tragic concept of irony. In addition, Solger develops a doctrine of the symbolic and allegorical as dialectically interwoven structural concepts of art, as well as the first deductive system of the arts, which brings the individual arts and artistic abilities, such as sensuality, imagination, wit or enthusiasm, into a coherent hierarchical and organic context.
K.W.F. Solger, Vorlesungen über Ästhetik. Mit einer Einleitung und Kommentar herausgegeben von Giovanna Pinna
PINNA, GiovannaPrimo
2017-01-01
Abstract
For the first time, Solger's lectures on aesthetics will be published in the Philosophical Library, with which the philosopher (and Hegel's colleague at the Berlin University) builds a bridge between idealistic and romantic views of art. The annotated edition finally makes Solger's lectures of 1819 available in a reliably edited version. Shortly before his early death in 1819, Solger gave lectures in Berlin on aesthetics, which were already the subject of his main work, the dialogue "Erwin. Four Talks on Beauty and Art". In contrast to the complex dialogue, however, the lectures, which only exist in a transcript by his student K.W.L. Heyse published in 1829, are much more accessible and comprehensible. In three parts, Solger develops here a speculative aesthetic theory whose systematic center is the romantic concept of irony. The first part ("Of the Beautiful") deals with the concept of the idea of the beautiful, the second with "Of Art" in general, the third with the "special" art forms, which he divides into universal (poetry), symbol-based (sculpture, architecture) and allegorically determined (painting, music) art forms. A high point of his aesthetic reflection is a theory of tragedy supported by a profound literary knowledge. Solger's aesthetics attempts to build a bridge between Romanticism and Idealism and was regarded by philosophers of the Hegel school such as Rosenkranz and Vischer as well as by poets such as Heine and Hebbel as the "other" aesthetics of German Idealism. It is based on the frailty of the beautiful and on the systematic elaboration of a tragic concept of irony. In addition, Solger develops a doctrine of the symbolic and allegorical as dialectically interwoven structural concepts of art, as well as the first deductive system of the arts, which brings the individual arts and artistic abilities, such as sensuality, imagination, wit or enthusiasm, into a coherent hierarchical and organic context.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
