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, Giovanna
Primo
2017

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.
978-3-7873-3139-0
Erstmals in der Philosophischen Bibliothek erscheinen Solgers Vorlesungen über Ästhetik, mit denen der Philosoph und Kollege Hegels an der Berliner Universität eine Brücke zwischen idealistischer und romantischer Kunstauffassung schlägt. Die kommentierte Ausgabe macht Solgers Vorlesungen von 1819 nun endlich zuverlässig ediert verfügbar. Kurz vor seinem frühen Tod 1819 hielt Solger in Berlin Vorlesungen über Ästhetik, die schon der Gegenstand seines Hauptwerks, des Dialogs „Erwin. Vier Gespräche über das Schöne und die Kunst“, gewesen war. Anders als der komplexe Dialog sind jedoch die Vorlesungen, die nur in einer 1829 veröffentlichten Nachschrift seines Schülers K.W.L. Heyse überliefert sind, sehr viel zugänglicher und verständlicher gehalten. In drei Teilen entwickelt Solger hier eine spekulative ästhetische Theorie, deren systematischen Mittelpunkt der romantische Begriff der Ironie bildet. Im ersten Teil (»Vom Schönen«) geht es um den Begriff der Idee des Schönen, der zweite handelt »Von der Kunst« im Allgemeinen, der dritte von den »besonderen« Kunstformen, die er nach universellen (Poesie), vom Symbol getragenen (Skulptur, Architektur) und von der Allegorie bestimmten (Malerei, Musik) Kunstformen unterteilt. Einen Höhepunkt seiner ästhetischen Reflexion bildet eine von profunden literarischen Kenntnissen getragene Theorie des Tragischen. Solgers Ästhetik versucht eine Brücke zwischen Romantik und Idealismus zu schlagen und wurde von den Philosophen der Hegel-Schule wie Rosenkranz und Vischer sowie von Dichtern wie Heine und Hebbel als die »andere« Ästhetik des deutschen Idealismus betrachtet. Sie fußt auf der Hinfälligkeit des Schönen und auf der systematischen Ausarbeitung eines tragischen Ironie-Begriffs. Darüber hinaus entwickelt Solger eine Lehre vom Symbolischen und Allegorischen als dialektisch ineinander verflochtene Strukturbegriffe der Kunst sowie das erste deduktive System der Künste, das die einzelnen Künste und künstlerischen Fähigkeiten, wie Sinnlichkeit, Phantasie, Witz oder Enthusiasmus, in einen kohärenten hierarchischen und organischen Zusammenhang bringt.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11695/64385
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