The discussion of modernity as a philosophical issue developed in parallel with the emergence of aesthetics as a philosophy of art at the end of the 17th century. Starting from a speculative elaboration of the Querelle des anciens et des modernes, post-Kantian philosophers integrate a critical (Schiller), utopian (romantics) or dialectical (Hegel) philosophy of history into the analysis of the aesthetic phenomenon. My contribution focuses on Hegel's aesthetics, investigating the historical and conceptual premises of a conception that links both sides of the question, the critique of modernity and modernity as a critique. The theoretical pivot of Hegel's discourse, in which art is defined as one of the modes of self-knowledge of the absolute spirit, is the concept of action, from which the periodization of the Lectures on Aesthetics is structured. Modernity is identified with the last phase of romantic art, defined by the formula "formalism of subjectivity", in which artistic representation is the result of the interaction between the autonomy of the subject and the so-called "prose of the world". The object of the investigation is the contribution of this concept, which includes the thesis of the past character of art, to the definition of the concept of modernity.
ESTÉTICA COMO CRÍTICA DE LA MODERNIDAD
Pinna
2019-01-01
Abstract
The discussion of modernity as a philosophical issue developed in parallel with the emergence of aesthetics as a philosophy of art at the end of the 17th century. Starting from a speculative elaboration of the Querelle des anciens et des modernes, post-Kantian philosophers integrate a critical (Schiller), utopian (romantics) or dialectical (Hegel) philosophy of history into the analysis of the aesthetic phenomenon. My contribution focuses on Hegel's aesthetics, investigating the historical and conceptual premises of a conception that links both sides of the question, the critique of modernity and modernity as a critique. The theoretical pivot of Hegel's discourse, in which art is defined as one of the modes of self-knowledge of the absolute spirit, is the concept of action, from which the periodization of the Lectures on Aesthetics is structured. Modernity is identified with the last phase of romantic art, defined by the formula "formalism of subjectivity", in which artistic representation is the result of the interaction between the autonomy of the subject and the so-called "prose of the world". The object of the investigation is the contribution of this concept, which includes the thesis of the past character of art, to the definition of the concept of modernity.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
