- Università del Molise - Dipartimento di Scienze Umanistiche, Sociali e della Formazione
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- Università del Molise, Dipartimento Di Scienze Umane E Sociali, Faculty Memberadd
- Aesthetics, German romanticism and idealism, Portraiture and the Problematic of Representation, Theory of Sublime, Art and Nature, German literature of the Goethezeit, and 18 morePhilosophy, Romanticism, German Studies, German Literature and Culture, Portraiture, Friedrich Schiller, Ethics, Hegel, German Idealism, 19th-century German philosophy, German Romanticism, G.W.F. Hegel, Tragedy, History of Philosophy, Literature and Philosophy, German Literature, Classical German Philosophy, and Idealismoedit
- Giovanna Pinna Giovanna Pinna (PhD 1993 Scuola Normale Superiore, Pisa) is professor of Aesthetics at the Università... moreGiovanna Pinna
Giovanna Pinna (PhD 1993 Scuola Normale Superiore, Pisa) is professor of Aesthetics at the Università del Molise (Italy), where she has also been teaching German Literature since 2005. She studied philosophy at the Università di Pisa and obtained a PhD in Philosophy from the Scuola Normale Superiore di Pisa (Summa cum Laude). She was exchange doctoral student at the University of Munich (1984) and at the Hegel-Archiv of the Ruhr-Universität Bochum, and Thyssen research fellow at the University of Munich. After a period as a high school teacher (1988-1994), she got a two-year post-doctoral scholarship at the Università Statale di Milano (1994-1996). From 1997 to 2001 she held a temporary position as lecturer of German studies (professore a contratto) at the Università della Calabria, where she was appointed as associate professor in 2002.
Her main research interests centre around literary and philosophical aesthetics, with special reference to 18th-19th century German culture. She has published extensively on authors such as G.W.F. Hegel, F.W.J. Schelling, F. Schiller, F. Schlegel, K.W.F. Solger, L. Tieck.
Over the last few years, she has developed a further strand of research focussing on philosophy of ageing and humanistic gerontology. In 2013-2014 she spent a sabbatical year at the Wissenschaftskolleg zu Berlin as invited scholar, working on a project on “Aging and the Experience of Time”.
In the fall term 2017 she was research fellow at the Italian Academy of Advanced Studies (Columbia University) with a project on the relationship between aesthetics and anthropology in Hegel’s philosophy. A commented edition of K.W.F. Solger’s Vorlesungen über Ästhetik has just appeared in the series “Philosophische Bibliothek” published by Meiner Verlag, Hamburg.
From 4.3.2018 until 20.6.2018 she was guest fellow at the Leibniz Zentrum für Literatur- und Kulturforschung in Berlin.edit - PhD Supervisor: prof. Remo Bodei, PhD Advisor: Prof. Valerio Verra, PhD advisor: Prof. Walther Jaeschkeedit
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The last few decades have been characterized by an increasing interest in the aesthetics of German Idealism. In particular the recent scholarly debate on Hegel’s philosophy has given new impetus to the reflection on art as a structural... more
The last few decades have been characterized by an increasing interest in the aesthetics of German Idealism. In particular the recent scholarly debate on Hegel’s philosophy has given new impetus to the reflection on art as a structural element of the self understanding of the modern subject. At the same time, this Hegel Renaissance has opened the door for a more nuanced comprehension of Idealistic aesthetics. This issue of Rivista di estetica aims to explore the Idealistic philosophy of art as a constellation of themes, problems and partly conflicting positions, rather than as a unified and closed theoretical model.
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celebri Lettere sull'educazione estetica dell'uomo (1795)-qui accompagnate dal saggio I limiti necessari nell'uso di forme belle-del grande poeta e filosofo Friedrich Schiller costituiscono una delle pietre miliari della riflessione... more
celebri Lettere sull'educazione estetica dell'uomo (1795)-qui accompagnate dal saggio I limiti necessari nell'uso di forme belle-del grande poeta e filosofo Friedrich Schiller costituiscono una delle pietre miliari della riflessione sulla modernità. Mentre la Rivoluzione francese scuote l'Europa e divide le coscienze, Schiller s'interroga sul rapporto fra l'uomo, inteso come unità problematica di sensibilità e ragione, e la sua evoluzione storica e antropologica, dallo stato di natura all'affermazione della razionalità e dei diritti. Lo scopo è quello di dimostrare che la bellezza sta a fondamento della libertà dell'essere umano e ne rappresenta al tempo stesso la prova. Al contrario di quanto affermato da Rousseau, è la cultura-e in primis la bellezza-a costituire l'umanità dell'uomo e a rendergli il pieno possesso della propria ragione. Così, dialogando con Kant e Fichte, Schiller sviluppa un'originale teorizzazione nella quale, attraverso i concetti di "gioco" e di "apparenza", definisce lo spazio dell'esperienza estetica, inaugurando motivi che perdureranno nella riflessione successiva, attraverso Hegel e l'Ottocento, fino ad arrivare a Adorno, Marcuse, Langer, Gadamer e oltre.
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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 (1815), gewesen war. Anders als der komplexe... more
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 (1815), 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 systematischer 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.
In drei Teilen entwickelt Solger hier eine spekulative ästhetische Theorie, deren systematischer 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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"Alle origini della prima produzione tragica di Friedrich Schiller, da I Masnadieri al Don Carlos, vi è la riflessione antropologico-metafisica sulla natura dell’uomo e sul rapporto tra anima e corpo condotta dall’autore durante gli... more
"Alle origini della prima produzione tragica di Friedrich Schiller, da I Masnadieri al Don Carlos, vi è la riflessione antropologico-metafisica sulla natura dell’uomo e sul rapporto tra anima e corpo condotta dall’autore durante gli studi di medicina all’accademia militare di Stoccarda.
Il volume presenta per la prima volta in traduzione italiana tre scritti risalenti agli anni 1780-1786: le due dissertazioni Filosofia della fisiologia e Saggio sul rapporto tra natura animale e natura spirituale dell’uomo e il saggio epistolare Dialoghi filosofici, che riflette le posizioni metafisiche del giovane Schiller nel quadro del dibattito illuministico tra materialismo e spiritualismo. L’importanza di questi scritti per la comprensione sia del percorso teorico di Schiller, che culmina nelle Lettere sull’educazione estetica, sia dell’originario interesse per la natura dell’uomo che anima le sue tragedie, è stata sottolineata dalla ricerca degli ultimi anni. Completano un volume un’introduzione della curatrice e un sintetico apparato di commento.
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Il volume presenta per la prima volta in traduzione italiana tre scritti risalenti agli anni 1780-1786: le due dissertazioni Filosofia della fisiologia e Saggio sul rapporto tra natura animale e natura spirituale dell’uomo e il saggio epistolare Dialoghi filosofici, che riflette le posizioni metafisiche del giovane Schiller nel quadro del dibattito illuministico tra materialismo e spiritualismo. L’importanza di questi scritti per la comprensione sia del percorso teorico di Schiller, che culmina nelle Lettere sull’educazione estetica, sia dell’originario interesse per la natura dell’uomo che anima le sue tragedie, è stata sottolineata dalla ricerca degli ultimi anni. Completano un volume un’introduzione della curatrice e un sintetico apparato di commento.
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Abstract: Introduzione a Schiller Il volume ricostruisce sistematicamente lo sviluppo delle teorie estetiche di Schiller, tenendo conto da un lato del rapporto con la tradizione filosofica e dall’altro dall’interazione tra l’elaborazione... more
Abstract: Introduzione a Schiller
Il volume ricostruisce sistematicamente lo sviluppo delle teorie estetiche di Schiller, tenendo conto da un lato del rapporto con la tradizione filosofica e dall’altro dall’interazione tra l’elaborazione dottrinale e la riflessione dell’autore sulla propria attività letteraria. L’analisi si articola in cinque capitoli, che in parte seguono lo sviluppo cronologico, in parte analizzano i nuclei concettuali dell’estetica schilleriana: 1. Il primo capitolo esamina gli scritti giovanili, che muovono da una concezione medico-antropologica e procedono in parallelo con l’elaborazione die primi drammi (I Masnadieri, Don Carlos). 2. Il secondo capitolo è dedicato all’influsso del pensiero kantiano e all’elaborazione di un’estetica di tipo trascendentale. 3. Il terzo capitolo si concentra sull’opera capitale di Schiller, le Lettere sull’educazione estetica, ricostruendone la genesi concettuale ed esaminandone i principali snodi teorici. 4. Il quarto capitolo è dedicato alla questione del sublime 5. Il quinto capitolo illustra l’interazione tra riflessione poetologica, filosofia della storia e antropologia nello scritto Sulla poesia ingenua e sentimentale.
Un ulteriore capitolo fonisce una panoramica delle principali interpretazioni della teoria estetica schilleriana dalla morte dell’autore ad oggi. Completa il volume un’ampia bibliografia internazionale.
Il volume ricostruisce sistematicamente lo sviluppo delle teorie estetiche di Schiller, tenendo conto da un lato del rapporto con la tradizione filosofica e dall’altro dall’interazione tra l’elaborazione dottrinale e la riflessione dell’autore sulla propria attività letteraria. L’analisi si articola in cinque capitoli, che in parte seguono lo sviluppo cronologico, in parte analizzano i nuclei concettuali dell’estetica schilleriana: 1. Il primo capitolo esamina gli scritti giovanili, che muovono da una concezione medico-antropologica e procedono in parallelo con l’elaborazione die primi drammi (I Masnadieri, Don Carlos). 2. Il secondo capitolo è dedicato all’influsso del pensiero kantiano e all’elaborazione di un’estetica di tipo trascendentale. 3. Il terzo capitolo si concentra sull’opera capitale di Schiller, le Lettere sull’educazione estetica, ricostruendone la genesi concettuale ed esaminandone i principali snodi teorici. 4. Il quarto capitolo è dedicato alla questione del sublime 5. Il quinto capitolo illustra l’interazione tra riflessione poetologica, filosofia della storia e antropologia nello scritto Sulla poesia ingenua e sentimentale.
Un ulteriore capitolo fonisce una panoramica delle principali interpretazioni della teoria estetica schilleriana dalla morte dell’autore ad oggi. Completa il volume un’ampia bibliografia internazionale.
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"That there is a connection between Romanticism and the sublime seems obvious, and it is indeed evident in the poetic, artistic, and musical production of European Romanticism as a whole. The sublime, as tension toward infinity, as... more
"That there is a connection between Romanticism and the sublime seems obvious, and it is indeed evident in the poetic, artistic, and musical production of European Romanticism as a whole. The sublime, as tension toward infinity, as elevation of the soul, and as experience of the absolute in nature, constitutes undoubtedly one of the characterizing features of the poetics of Romanticism. Much less known, however, is the theoretical reflection on the concept of the sublime, and in fact scholarship on the modern sublime tends to neglect its theoretical development after Kant and Schiller, moving directly to Nietzsche and the postmodern.
The theoretical definition of the sublime, on the contrary, plays a far from secondary role in the aesthetic of German idealism, where it was not conceptualized in opposition to the beautiful, but rather as one of its constitutive moments. While no longer approached in relation to the aesthetic experience of nature, the sublime has been included in art theory, ostensibly losing its theoretical centrality, but in reality contributing to modify radically the characteristics of the idea of the beautiful. That of philosophers is a form of crypto-sublime that is parallel but distinct from the sublime of poets and artists, and that operates underground to influence the definition of the forms of beauty.
The present volume aims to outline the development of the philosophical conception of the sublime from Schiller, who formulated a theory of tragedy based on Kant’s philosophy and thereby laid the foundation of Romanticism, to the philosophers of the Hegelian school, who placed the sublime, together with the comic, the ugly, and the grotesque, at the center of aesthetic reflection."
The theoretical definition of the sublime, on the contrary, plays a far from secondary role in the aesthetic of German idealism, where it was not conceptualized in opposition to the beautiful, but rather as one of its constitutive moments. While no longer approached in relation to the aesthetic experience of nature, the sublime has been included in art theory, ostensibly losing its theoretical centrality, but in reality contributing to modify radically the characteristics of the idea of the beautiful. That of philosophers is a form of crypto-sublime that is parallel but distinct from the sublime of poets and artists, and that operates underground to influence the definition of the forms of beauty.
The present volume aims to outline the development of the philosophical conception of the sublime from Schiller, who formulated a theory of tragedy based on Kant’s philosophy and thereby laid the foundation of Romanticism, to the philosophers of the Hegelian school, who placed the sublime, together with the comic, the ugly, and the grotesque, at the center of aesthetic reflection."
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Il volume presenta in traduzione italiana una delle opere poetiche più note di Friedrich Schiller, l’elegia La passeggiata (Der Spaziergang, 1795) e due saggi di carattere teorico. La Passeggiata rappresenta una sorta di piccola... more
Il volume presenta in traduzione italiana una delle opere poetiche più note di Friedrich Schiller, l’elegia La passeggiata (Der Spaziergang, 1795) e due saggi di carattere teorico.
La Passeggiata rappresenta una sorta di piccola filosofia della storia in versi, che corre parallela al discorso sviluppato da Schiller nei grandi saggi estetici ed è paragonabile per intenti e portata ad un’altra opera-modello del Neoclassicismo europeo, I sepolcri di Foscolo.
L’interpretazione del testo poético è connessa all’analisi degli altri due saggi contenuti nel volume, concernenti rispettivamente la rappresentazione poetica del paesaggio e l’estetica del giardino.
Oggetto dell’ampio saggio introduttivo è la discussione sul rapporto tra natura e cultura che, attraverso e in parte contro Rousseau, sta alla base dell’elaborazione dell’idea moderna di esperienza estetica.
La Passeggiata rappresenta una sorta di piccola filosofia della storia in versi, che corre parallela al discorso sviluppato da Schiller nei grandi saggi estetici ed è paragonabile per intenti e portata ad un’altra opera-modello del Neoclassicismo europeo, I sepolcri di Foscolo.
L’interpretazione del testo poético è connessa all’analisi degli altri due saggi contenuti nel volume, concernenti rispettivamente la rappresentazione poetica del paesaggio e l’estetica del giardino.
Oggetto dell’ampio saggio introduttivo è la discussione sul rapporto tra natura e cultura che, attraverso e in parte contro Rousseau, sta alla base dell’elaborazione dell’idea moderna di esperienza estetica.
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... Il sublime carsico: trasformazioni del concetto da Schiller a Vischer. Autores: GiovannaPinna; Localización: Aevum antiquum, ISSN 1121-8932, Nº. 3, 2003 , págs. 187-204. Fundación Dialnet. Acceso de usuarios registrados. ...
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Research Interests: Philosophy, Aesthetics, Epistemology, Literature, Continental Philosophy, and 15 moreGerman Idealism, Hegel, Literature and Philosophy, Subjectivity, Theory of literature, Chivalric literature, Epic, Hegelianism, Chivalry, Classical German Philosophy, Presupposition, Action (Physics), Epos, Continental Philosophy and Aesthetics, and Rivista di Estetica
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Research Interests: Philosophy and Art
La biografia, da tempo caduta in discredito come strumento di indagine storiografica, è tornata negli ultimi due decenni ad essere un genere ampiamente praticato ed oggetto di una vasta riflessione metodologica. All’intensificarsi... more
La biografia, da tempo caduta in discredito come strumento di indagine storiografica, è tornata negli ultimi due decenni ad essere un genere ampiamente praticato ed oggetto di una vasta riflessione metodologica. All’intensificarsi dell’uso di strumenti biografici in discipline come la sociologia, la psicologia e la pedagogia si affianca un nuovo biografismo storiografico che investe anche il campo della filosofia. La reazione all’antisoggettivismo strutturalista e postmoderno da un lato e un’esigenza neo-positivista di fondazione oggettiva delle interpretazioni dall’altro sono probabilmente all’origine di questo nuovo interesse per le biografie dei filosofi, di cui il presente contributo si propone di illustrare modelli e linee di tendenza.
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Jörg Robert, Vor der Klassik. Die Ästhetik Schillers zwischen Karlsschule und Kant-Rezeption. (Quellen und Forschungen zur Literatur- und Kulturgeschichte 72) De Gruyter, Berlin – Boston 2011. XII/490 S., € 129,95.Cordula Burtscher, Glaube und Furcht. Religion und Religionskritik bei Schiller. (W...more
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Nel passaggio tra il secolo 18 e il secolo 19 la discussione sulla tragedia diventa un tema centrale della discussione estetico-filosofica. Da un lato la questione dell’effetto e del significato morale della rappresentazione tragica viene... more
Nel passaggio tra il secolo 18 e il secolo 19 la discussione sulla tragedia diventa un tema centrale della discussione estetico-filosofica. Da un lato la questione dell’effetto e del significato morale della rappresentazione tragica viene accantonata e si ricerca piuttosto la definizione dell’essenza del tragico. Dall’altro il discorso sulla tragedia è collocato in un contesto di filosofia della storia e diventa parte costitutiva della riflessione sulla modernità. Il presente contributo si propone di riconsiderare sinteticamente dibattito sulla tragedia moderna attraverso le posizioni di quattro autori: due filosofi idealisti (Hegel e Solger), un tragediografo che è anche autore di importanti testi teorici (Schiller) e uno scrittore fortemente influenzato dal dibattito filosofico coevo (Kleist).
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Dans les theories esthetiques du romantisme allemand, le sublime joue un role moins evident que chez Kant ou Schiller, mais il a en effet une signification tout a fait remarquable pour la definition meme de la beaute artistique. Friedrich... more
Dans les theories esthetiques du romantisme allemand, le sublime joue un role moins evident que chez Kant ou Schiller, mais il a en effet une signification tout a fait remarquable pour la definition meme de la beaute artistique. Friedrich Schlegel dans le Studiumaufsatz definit le beau en general comme le resultat d’une tension dialectique entre l’agreable et le sublime. Sublime est dans ce contexte la recherche de l’infini, qui constitue la composante metaphysique, suprasensible de la creation artistique. Mais si la beaute classique reste concentre sur l’equilibre et la perfection naturelle de la forme, c’est exactement cet elan du sujet vers l’infini qui caracterise l’art romantique. Autrement que dans le sublime du XVIIIe siecle, aussi que dans les theories de Schiller et de Schelling, qui etablissent une relation etroite entre le sublime et le terrible de la tragedie, Schlegel elimine du concept de sublime toute negativite et obscurite, en les substituant avec l’idee fichteenne ...
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Research Interests: Philosophy and Rombach
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Philosophical reflection is a constitutive element of Schiller's dramatic production from its very beginning. This paper reconstructs the different stages of the interaction between Schiller’s tragedies and philosophy, the turning point... more
Philosophical reflection is a constitutive element of Schiller's dramatic production from its very beginning. This paper reconstructs the different stages of the interaction between Schiller’s tragedies and philosophy, the turning point of which can be seen in his theoretical work inspired by Kant. In his early tragedies, philosophical themes enter directly into the dramatic construction: in Die Räuber, we find a philosophical anthropology and critique of materialism, whereas in Fiesco and in Don Karlos, echoes of the thought of Shaftesbury, Montesquieu and Ferguson bring out the relationship between moral principles and political action. Instead, the late tragedies, beginning with Wallenstein, show a more complex and critical attitude towards philosophical thought, and are partly conceived as a response to questions left open in his theoretical writings.
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ABSTRACT E’ opinione diffusa che il concetto di sublime non giochi più alcun ruolo nell’estetica postkantiana, nonostante la marcata presenza del sentimento del sublime nell’arte e nella letteratura romantica europea. Questo articolo mira... more
ABSTRACT
E’ opinione diffusa che il concetto di sublime non giochi più alcun ruolo nell’estetica postkantiana, nonostante la marcata presenza del sentimento del sublime nell’arte e nella letteratura romantica europea. Questo articolo mira a mostra come in realtà nell'estetica del romanticismo tedesco il sublime trascendentale di Kant sia stato modificato e integrato in una più ampia concezione del bello. Dall’analisi delle diverse ricorrenze del concetto nell’opera di Friedrich Schlegel emerge che il sublime, che è correlato alle nozioni di entusiasmo e di trascendentale rappresenta la dimensione conoscitiva, metafisica e dialettica della concezione romantica dell'arte.
Parole chiave: Sublime, Romanticismo, Friedrich Schlegel ,Estetica, Trascendentale
ABSTRACT
It is widely believed that the concept of the sublime no longer plays any role in post-Kantian aesthetics, despite its widespread presence as a feeling in European Romantic art and literature. This article aims to show how in fact in the aesthetics of German Romanticism Kant's transcendental sublime was modified and integrated into a broader conception of the beautiful. An analysis of the various occurrences of the concept in Friedrich Schlegel's work shows that the sublime, which is related to the ideas of enthusiasm and the transcendental, represents the cognitive, metaphysical and dialectical dimension of the Romantic conception of art
Keywords: Sublime, Romanticism, Friedrich Schlegel, Aesthetics, Transcendental
E’ opinione diffusa che il concetto di sublime non giochi più alcun ruolo nell’estetica postkantiana, nonostante la marcata presenza del sentimento del sublime nell’arte e nella letteratura romantica europea. Questo articolo mira a mostra come in realtà nell'estetica del romanticismo tedesco il sublime trascendentale di Kant sia stato modificato e integrato in una più ampia concezione del bello. Dall’analisi delle diverse ricorrenze del concetto nell’opera di Friedrich Schlegel emerge che il sublime, che è correlato alle nozioni di entusiasmo e di trascendentale rappresenta la dimensione conoscitiva, metafisica e dialettica della concezione romantica dell'arte.
Parole chiave: Sublime, Romanticismo, Friedrich Schlegel ,Estetica, Trascendentale
ABSTRACT
It is widely believed that the concept of the sublime no longer plays any role in post-Kantian aesthetics, despite its widespread presence as a feeling in European Romantic art and literature. This article aims to show how in fact in the aesthetics of German Romanticism Kant's transcendental sublime was modified and integrated into a broader conception of the beautiful. An analysis of the various occurrences of the concept in Friedrich Schlegel's work shows that the sublime, which is related to the ideas of enthusiasm and the transcendental, represents the cognitive, metaphysical and dialectical dimension of the Romantic conception of art
Keywords: Sublime, Romanticism, Friedrich Schlegel, Aesthetics, Transcendental
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To appear January 2023
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This paper reconsiders the Idealistic aesthetics of tragedy from an unconventional point of view. It investigates the relationship between theory and dramatic canon by focusing on those works and authors that are excluded from the canon... more
This paper reconsiders the Idealistic aesthetics of tragedy from an unconventional point of view. It investigates the relationship between theory and dramatic canon by focusing on those works and authors that are excluded from the canon by the theoretical discourse. My aim is to show that Idealist philosophers and Romantic critics concur in constructing a unitary model of the tragic conflict that is partly defined through its contraposition to the 'Senecan' conception of tragedy as a representation of suffering and as a dialectic of passions. Seneca here stands for an entire line of European dramaturgy, culminating in French Classicism, in which the negativity that produces the mournful outcome is rooted in the inner self of the tragic hero and is not redeemed by the affirmation of a superior ethical or metaphysical instance. This contrast does not merely concern a literary model, but also, more generally, the conception of subjectivity underlying the dramaturgy of passions. This paper thus helps to shed light on the controversial relationship between the idealistic philosophy of the tragic with modern tragedy at large.
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akosian outlines the evolution of penance as a “personal act of reconciliation” (129) and the impact of Purgatory on religious thought in the thirteenth century. In her battle to overcome the sins of the flesh, Christina’s penitential... more
akosian outlines the evolution of penance as a “personal act of reconciliation” (129) and the impact of Purgatory on religious thought in the thirteenth century. In her battle to overcome the sins of the flesh, Christina’s penitential practices constitute a “severe self-punitive seven-year-long programme of ‘secret penance’” (137) which, performed in the service of others, effects the release of souls from Purgatory. In her fragility Christina embodies the Passion of Christ, her private penance bringing about what might be seen as a ‘public’ good. In the case of Elsbeth von Oye, the corrective punishment and extreme suffering inflicted on her body ultimately serve as an “Akt der Kontrollübernahme und Selbstermächtigung” (164). Punishment and penance perform a devotional function, turning Elsbeth’s body into a “Medium der religiösen Erkenntnis im Rahmen der imitatio Christi” (164). Chastisement becomes an “aktiv betriebene Selbstheilung” (162); the body itself an “Austragungsort des religiösen Geschehens” (169). Finally, punishment and suffering are also discussed by Katharina MertensFleury, who outlines their function in Konrad von Würzburg’s Pantaleon, the legend of a fourth-century doctor martyred under Emperor Maximianus. In her study of punitive sanctions against violations of social norms, reward and punishment as social control, and the assertion of power, familiar themes emerge: the centrality of the body (here its renewal or decay); the re-signification of human suffering as spiritual healing; punishment and pain as means of revealing or appropriating power; and sanctions imposed on the individual body as a strategy in the salvation of others, here spectators of Pantaleon’s martyrdom. The essays in this volume impress in a number of ways: first, the painstaking textual analysis on which each study is based. A lucidly outlined theoretical framework always supports this analysis, but the literary and historical sources are allowed to speak for themselves. Second, detail is used not just to build a specific argument but to point to broader contexts and connections, so that, third, the essays interact, commenting on and complementing one another. Through such intersections the volume illuminates the complex interconnectedness of medieval life, provides thoughtprovoking answers to the questions it poses, suggests new approaches to punishment and penitential practice, and proves its value not just to Germanists (or, indeed, medievalists) but to any scholar working on these topics.
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This paper reconsiders the Idealistic aesthetics of tragedy from an unconventional point of view. It investigates the relationship between theory and dramatic canon by focusing on those works and authors that are excluded from the canon... more
This paper reconsiders the Idealistic aesthetics of tragedy from an unconventional point of view. It investigates the relationship between theory and dramatic canon by focusing on those works and authors that are excluded from the canon by the theoretical discourse. My aim is to show that Idealist philosophers and Romantic critics concur in constructing a unitary model of the tragic conflict that is partly defined through its contraposition to the 'Senecan' conception of tragedy as a representation of suffering and as a dialectic of passions. Seneca here stands for an entire line of European dramaturgy, culminating in French Classicism, in which the negativity that produces the mournful outcome is rooted in the inner self of the tragic hero and is not redeemed by the affirmation of a superior ethical or metaphysical instance. This contrast does not merely concern a literary model, but also, more generally, the conception of subjectivity underlying the dramaturgy of passions. This paper thus helps to shed light on the controversial relationship between the idealistic philosophy of the tragic with modern tragedy at large.
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Jörg Robert, Vor der Klassik. Die Ästhetik Schillers zwischen Karlsschule und Kant-Rezeption. (Quellen und Forschungen zur Literatur- und Kulturgeschichte 72) De Gruyter, Berlin – Boston 2011. XII/490 S., € 129,95.Cordula Burtscher, Glaube und Furcht. Religion und Religionskritik bei Schiller. (W...more
Nel passaggio tra il secolo 18 e il secolo 19 la discussione sulla tragedia diventa un tema centrale della discussione estetico-filosofica. Da un lato la questione dell’effetto e del significato morale della rappresentazione tragica viene... more
Nel passaggio tra il secolo 18 e il secolo 19 la discussione sulla tragedia diventa un tema centrale della discussione estetico-filosofica. Da un lato la questione dell’effetto e del significato morale della rappresentazione tragica viene accantonata e si ricerca piuttosto la definizione dell’essenza del tragico. Dall’altro il discorso sulla tragedia è collocato in un contesto di filosofia della storia e diventa parte costitutiva della riflessione sulla modernità. Il presente contributo si propone di riconsiderare sinteticamente dibattito sulla tragedia moderna attraverso le posizioni di quattro autori: due filosofi idealisti (Hegel e Solger), un tragediografo che è anche autore di importanti testi teorici (Schiller) e uno scrittore fortemente influenzato dal dibattito filosofico coevo (Kleist).
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El presente trabajo reconsidera el significado y la función del concepto de sublime en la filosofía del arte de Schelling, que, como ocurre en general en los teóricos de la estética idealista y romántica, pone al menos prima facie en... more
El presente trabajo reconsidera el significado y la función del concepto de sublime en la filosofía del arte de Schelling, que, como ocurre en general en los teóricos de la estética idealista y romántica, pone al menos prima facie en segundo plano la cuestión de lo sublime para ...
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Strumenti critici Rivista quadrimestrale di cultura e critica letteraria ISSN : 0039-2618. Numero: 3, settembre 2000, Indice. DOI: 10.1419/12006. Itinerari dell'Io. Teoria e forme del viaggio in Ludwig Tieck Giovanna... more
Strumenti critici Rivista quadrimestrale di cultura e critica letteraria ISSN : 0039-2618. Numero: 3, settembre 2000, Indice. DOI: 10.1419/12006. Itinerari dell'Io. Teoria e forme del viaggio in Ludwig Tieck Giovanna Pinna, pp. 361 ...
... Il sublime carsico: trasformazioni del concetto da Schiller a Vischer. Autores: GiovannaPinna; Localización: Aevum antiquum, ISSN 1121-8932, Nº. 3, 2003 , págs. 187-204. Fundación Dialnet. Acceso de usuarios registrados. ...
Información del artículo Teoria e forme del viaggio in Ludwig Tieck: itinerari dell'Io.
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That there is a connection between Romanticism and the sublime seems obvious, and it is indeed evident in the poetic, artistic, and musical production of European Romanticism as a whole. The sublime, as tension toward infinity, as... more
That there is a connection between Romanticism and the sublime seems obvious, and it is indeed evident in the poetic, artistic, and musical production of European Romanticism as a whole. The sublime, as tension toward infinity, as elevation of the soul, and as experience of the absolute in nature, constitutes undoubtedly one of the characterizing features of the poetics of Romanticism. Much less known, however, is the theoretical reflection on the concept of the sublime, and in fact scholarship on the modern sublime tends to neglect its theoretical development after Kant and Schiller, moving directly to Nietzsche and the postmodern. The theoretical definition of the sublime, on the contrary, plays a far from secondary role in the aesthetic of German idealism, where it was not conceptualized in opposition to the beautiful, but rather as one of its constitutive moments. While no longer approached in relation to the aesthetic experience of nature, the sublime has been included in art t...
Dipartimento di Educazione e Scienze Umane Oltre la soglia Prospettive filosofiche sul sublime e sul suo ruolo nell'educazione Giovedì 2 maggio e venerdì 3 maggio 2024 AULA L0.4 • Palazzo Baroni • viale Timavo 93 • Reggio Emilia I... more
Dipartimento di Educazione e Scienze Umane Oltre la soglia Prospettive filosofiche sul sublime e sul suo ruolo nell'educazione Giovedì 2 maggio e venerdì 3 maggio 2024 AULA L0.4 • Palazzo Baroni • viale Timavo 93 • Reggio Emilia I SESSIONE "Il sublime dall'età moderna alla contemporaneità": Giovedì 2 maggio 15.00 Apertura dei lavori Introducono e coordinano
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III Convegno ADIT - Alumni DAAD - 2019
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Konzept Dass der menschliche Körper das Zentrum der bildenden Kunst darstellt, ist ein wiederkehrendes Motiv in den Vorlesungen über Ästhetik. Dabei ist das Vorbild, nach dem Hegel sich richtet, offensichtlich Winckelmanns Klassizismus... more
Konzept
Dass der menschliche Körper das Zentrum der bildenden Kunst darstellt, ist ein wiederkehrendes Motiv in den Vorlesungen über Ästhetik. Dabei ist das Vorbild, nach dem Hegel sich richtet, offensichtlich Winckelmanns Klassizismus und dessen Idee der schönen Naturform. Komplexer erscheint die Angelegenheit jedoch, wenn man die Behandlung des menschlichen Körpers in der Kunst der romantischen Epoche betrachtet, in deren Rahmen die idealisierte klassische Figur durch Bilder des verwundeten, gemarterten, sogar hässlichen Körpers ersetzt wird. Dem natürlichen menschlichen Körper schreibt Hegel eine besondere Stellung sowie eine Modellrolle für das Kunstwerk zu, weil die Körperlichkeit, die die erste Manifestation der Lebenseinheit darstellt, im Menschen durch die Aktivität des Bewusstseins sowie des Willens verständig gemacht erscheint. Die Tatsache, dass die Körperoberfläche das Bestehen der Selbstwahrnehmung und des Selbstbewusstseins durchscheinen lässt, bewirkt, dass jene das Verhältnis zwischen Inhalt und Form im idealen Kunstwerk vorwegnimmt. Der Grund dafür, dass eine natürliche Form wie der menschliche Körper so relevant in einer theoretischen Perspektive ist, die sich nicht, wenn nicht am Rande, mit dem Naturschönen befasst, muss also darin gesucht werden, dass die Idee des Kunstwerks an sich in Verbindung mit den Konzepten von Leben, Organismus und Seele definiert wird, in Relation zu Begriffen also, die ihren systematischen Hauptort in der Naturphilosophie und der Anthropologie haben.
Abstract
Die Vereinigung der Seele mit ihrer externen Form bildet für Hegel das Ideal der Kunst, wobei er in der klassischen Form ihren reinsten Ausdruck findet. Die menschliche Figur in ihrer bildhauerischen Perfektion, in der die Körperlichkeit an sich für die Seele in ihrer Individualität steht, stellt aber gleichzeitig die Grenze der klassischen Kunst dar. In meinem Beitrag möchte ich zeigen, auf welche Weise und aus welchem Grund an die Stelle des „imperfekten“ Anthropomorphismus der naturalistischen Konzeption des antiken Polytheismus in der modernen Kunst eine weitaus radikalere anthropomorphische Konzeption tritt, in der die Körperlichkeit, in ihrer Entstellung, die Seele und ihren Kontrast mit dem Körper widerspiegelt.
Dass der menschliche Körper das Zentrum der bildenden Kunst darstellt, ist ein wiederkehrendes Motiv in den Vorlesungen über Ästhetik. Dabei ist das Vorbild, nach dem Hegel sich richtet, offensichtlich Winckelmanns Klassizismus und dessen Idee der schönen Naturform. Komplexer erscheint die Angelegenheit jedoch, wenn man die Behandlung des menschlichen Körpers in der Kunst der romantischen Epoche betrachtet, in deren Rahmen die idealisierte klassische Figur durch Bilder des verwundeten, gemarterten, sogar hässlichen Körpers ersetzt wird. Dem natürlichen menschlichen Körper schreibt Hegel eine besondere Stellung sowie eine Modellrolle für das Kunstwerk zu, weil die Körperlichkeit, die die erste Manifestation der Lebenseinheit darstellt, im Menschen durch die Aktivität des Bewusstseins sowie des Willens verständig gemacht erscheint. Die Tatsache, dass die Körperoberfläche das Bestehen der Selbstwahrnehmung und des Selbstbewusstseins durchscheinen lässt, bewirkt, dass jene das Verhältnis zwischen Inhalt und Form im idealen Kunstwerk vorwegnimmt. Der Grund dafür, dass eine natürliche Form wie der menschliche Körper so relevant in einer theoretischen Perspektive ist, die sich nicht, wenn nicht am Rande, mit dem Naturschönen befasst, muss also darin gesucht werden, dass die Idee des Kunstwerks an sich in Verbindung mit den Konzepten von Leben, Organismus und Seele definiert wird, in Relation zu Begriffen also, die ihren systematischen Hauptort in der Naturphilosophie und der Anthropologie haben.
Abstract
Die Vereinigung der Seele mit ihrer externen Form bildet für Hegel das Ideal der Kunst, wobei er in der klassischen Form ihren reinsten Ausdruck findet. Die menschliche Figur in ihrer bildhauerischen Perfektion, in der die Körperlichkeit an sich für die Seele in ihrer Individualität steht, stellt aber gleichzeitig die Grenze der klassischen Kunst dar. In meinem Beitrag möchte ich zeigen, auf welche Weise und aus welchem Grund an die Stelle des „imperfekten“ Anthropomorphismus der naturalistischen Konzeption des antiken Polytheismus in der modernen Kunst eine weitaus radikalere anthropomorphische Konzeption tritt, in der die Körperlichkeit, in ihrer Entstellung, die Seele und ihren Kontrast mit dem Körper widerspiegelt.
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In the present paper, I shall consider the emergence of the old age as a problematic nexus in the continental philosophy of the twentieth century, and sketch a map of the philosophical discourse on old age, by illustrating who deals with... more
In the present paper, I shall consider the emergence of the old age as a problematic nexus in the continental philosophy of the twentieth century, and sketch a map of the philosophical discourse on old age, by illustrating who deals with this subject and why.
The philosophical reflection on old age revolves around three main points: the definition of ‘person’ with its social and ethical implications; the conception of time, both from the vantage point of the perception of the ageing individual, and as a psycho-social elaboration of the different stages of a life-span; the reflection on the body. Most approaches to the subject are related, in a one way or another, with phenomenological thought. My recognition starts with Max Scheler’s anthropological writings (whose relevance in this debate has not been fully appreciated so far), where he first addresses the issue of the final stage of human existence and one’s relation with death in a modern philosophical context. I shall then move on to considering the Catholic philosopher and theologian Romano Guardini, whose theory of the life stages had a significant influence on recent German gerontology (U. Lehr). The consideration on old age and aging, also cast in a phenomenological framework, takes on pessimistic overtones in the writings of the existentialists André Gorz and Jean Améry. (The latter’s famous On aging arose from discussion with the physician Herbert Plügge.) On the other hand, Simone de Beauvoir frames her discussion of old age in a gender-sensitive critique of society, which incorporates Marxist elements. The latter, twisted in a utopian sense, are also a premise of Ernst Bloch’s influential book Das Prinzip Hoffnung.
I will also give an account of more recent positions, such as the considerations on time by the philosopher of science Jürgen Mittelstrass, or Thomas Rentsch’s basic tenet that old age represents a radicalization of the fundamental situation (Grundsituation) of the human being.
The philosophical reflection on old age revolves around three main points: the definition of ‘person’ with its social and ethical implications; the conception of time, both from the vantage point of the perception of the ageing individual, and as a psycho-social elaboration of the different stages of a life-span; the reflection on the body. Most approaches to the subject are related, in a one way or another, with phenomenological thought. My recognition starts with Max Scheler’s anthropological writings (whose relevance in this debate has not been fully appreciated so far), where he first addresses the issue of the final stage of human existence and one’s relation with death in a modern philosophical context. I shall then move on to considering the Catholic philosopher and theologian Romano Guardini, whose theory of the life stages had a significant influence on recent German gerontology (U. Lehr). The consideration on old age and aging, also cast in a phenomenological framework, takes on pessimistic overtones in the writings of the existentialists André Gorz and Jean Améry. (The latter’s famous On aging arose from discussion with the physician Herbert Plügge.) On the other hand, Simone de Beauvoir frames her discussion of old age in a gender-sensitive critique of society, which incorporates Marxist elements. The latter, twisted in a utopian sense, are also a premise of Ernst Bloch’s influential book Das Prinzip Hoffnung.
I will also give an account of more recent positions, such as the considerations on time by the philosopher of science Jürgen Mittelstrass, or Thomas Rentsch’s basic tenet that old age represents a radicalization of the fundamental situation (Grundsituation) of the human being.
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A talk on Wieland and the anti-Classicist interpretation of ancient Greek culture
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Interdisciplinary Conference on Aging and Psychiatric Desease
Verona, 18.5.2017
Verona, 18.5.2017
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Conference at the University of Valencia (Spain) : the philosophical discussion on modernity
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Conference at the University of Copenhagen June 27-29
https://engerom.ku.dk/english/calendar/2019/frhromantik/
https://engerom.ku.dk/english/calendar/2019/frhromantik/
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‘Old age is not an academic subject.’ With these words Norberto Bobbio opens his De Senectute, excluding the possibility of speaking of the subject as a professor of philosophy (1996). Yet philosophy always seems to find ways to resurface... more
‘Old age is not an academic subject.’ With these words Norberto Bobbio opens his De Senectute, excluding the possibility of speaking of the subject as a professor of philosophy (1996). Yet philosophy always seems to find ways to resurface in his essay. After all, speaking of old age means speaking of the meaning and prospects of human existence, which is one of the central concerns of philosophy.
Furthermore, this claimed impermeability of old age to philosophical discussion is disproved by its increasing emergence as a problematic nexus in the philosophy of the last two centuries, in more or less systematic ways.
It is in the philosophy of the twentieth century, in which anthropology, the debate on natural sciences and political theory combine in a crucial fashion, that the problem of the conceptual definition and socio-anthropological significance of old age emerges more significantly. Most approaches to the subject focus on the phenomenology of existence, variously interpreted depending on the theoretical and ideological background of the authors.
In my talk I will try to trace, very briefly and without any pretense of exhaustivity, a sort of map of the philosophical discourse on old age in the past century, saying who deals with this subject and why, with special regard to the continental philosophy.
I will also provide a brief account of the recent debate on aging and old age.
Furthermore, this claimed impermeability of old age to philosophical discussion is disproved by its increasing emergence as a problematic nexus in the philosophy of the last two centuries, in more or less systematic ways.
It is in the philosophy of the twentieth century, in which anthropology, the debate on natural sciences and political theory combine in a crucial fashion, that the problem of the conceptual definition and socio-anthropological significance of old age emerges more significantly. Most approaches to the subject focus on the phenomenology of existence, variously interpreted depending on the theoretical and ideological background of the authors.
In my talk I will try to trace, very briefly and without any pretense of exhaustivity, a sort of map of the philosophical discourse on old age in the past century, saying who deals with this subject and why, with special regard to the continental philosophy.
I will also provide a brief account of the recent debate on aging and old age.
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You can also find the International Spring School on Instagram at proage_hhu, where you will be provided with further information
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Workshop Rome, March 28-29, 2023
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International conference at Università Luigi Vanvitelli
13-14 December 2021
13-14 December 2021
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Colloque de célébration du quatrième centenaire de la naissance de Jean de La Fontaine.
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Conference at Istituto Italiano per gli Studi Filosofici, Naples
November 8.-11. 2021
November 8.-11. 2021
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Conference at Istituto italiano di Studi Filosofici (Naples) on Remo Bodei
https://www.iisf.it/index.php/attivita/programmi/calendario-dei-seminari/la-ragione-impura-sulla-filosofia-di-remo-bodei.html
https://www.iisf.it/index.php/attivita/programmi/calendario-dei-seminari/la-ragione-impura-sulla-filosofia-di-remo-bodei.html
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Giovanna Pinna Abstract Classicismo ironico. Ekphrasis e avventura nei romanzi “greci” di Wieland/ Ironic Classicism. Ekphrasis and Adventure in Wieland's "Greek" Novels Tra gli scrittori del classicismo di Weimar Christoph Martin... more
Giovanna Pinna
Abstract
Classicismo ironico. Ekphrasis e avventura nei romanzi “greci” di Wieland/ Ironic Classicism. Ekphrasis and Adventure in Wieland's "Greek" Novels
Tra gli scrittori del classicismo di Weimar Christoph Martin Wieland è l’unico a mostrare una predilezione per forme letterarie antiche considerate “minori” come il romanzo ellenistico e la satira di Luciano. Nei suoi romanzi di ambientazione greca Geschichte des Agathon e Aristipp und einige seiner Zeitgenossen egli esprime una visione epicurea, sensuale e scherzosa del mondo classico. Il contributo si concentra sia sulle descrizioni ecfrastiche di statue e di raccolte di opere d’arte, sia sui dialoghi con pittori e scultori che costellano la narrazione, con cui Wieland mira a comunicare al lettore un’estetica dell’esperienza vissuta, in contrasto con l’idea della perfezione ideale dell’arte greca di Winckelmann.
Among the writers of Weimar Classicism, Christoph Martin Wieland can be said to be the only one to show a predilection for ancient literary forms considered as ‘minor’, such as the Hellenistic novel and Lucian’s satires. In his two novels set in Greece, Geschichte des Agathon and Aristipp und einige seiner Zeitgenossen, he expresses an Epicurean, sensual and playful vision of the Classical world. This paper focuses on the ekphrastic descriptions of single statues and art collections, as well as on the dialogues with painters and sculptors that punctuate these narratives. Thereby, it shows how Wieland aims to communicate to the reader an aesthetic of lived experience, in contrast to Winckelmann’s notion of the ideal perfection of Greek art.
Abstract
Classicismo ironico. Ekphrasis e avventura nei romanzi “greci” di Wieland/ Ironic Classicism. Ekphrasis and Adventure in Wieland's "Greek" Novels
Tra gli scrittori del classicismo di Weimar Christoph Martin Wieland è l’unico a mostrare una predilezione per forme letterarie antiche considerate “minori” come il romanzo ellenistico e la satira di Luciano. Nei suoi romanzi di ambientazione greca Geschichte des Agathon e Aristipp und einige seiner Zeitgenossen egli esprime una visione epicurea, sensuale e scherzosa del mondo classico. Il contributo si concentra sia sulle descrizioni ecfrastiche di statue e di raccolte di opere d’arte, sia sui dialoghi con pittori e scultori che costellano la narrazione, con cui Wieland mira a comunicare al lettore un’estetica dell’esperienza vissuta, in contrasto con l’idea della perfezione ideale dell’arte greca di Winckelmann.
Among the writers of Weimar Classicism, Christoph Martin Wieland can be said to be the only one to show a predilection for ancient literary forms considered as ‘minor’, such as the Hellenistic novel and Lucian’s satires. In his two novels set in Greece, Geschichte des Agathon and Aristipp und einige seiner Zeitgenossen, he expresses an Epicurean, sensual and playful vision of the Classical world. This paper focuses on the ekphrastic descriptions of single statues and art collections, as well as on the dialogues with painters and sculptors that punctuate these narratives. Thereby, it shows how Wieland aims to communicate to the reader an aesthetic of lived experience, in contrast to Winckelmann’s notion of the ideal perfection of Greek art.
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Conference at the University of Salamanca
September 13-15 2021
September 13-15 2021
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A German-Italian workshop on the multiple sides of the aesthetics of German Idealism and its relation with romantic thought.
Research Interests: Aesthetics, German Idealism, Hegel, Friedrich Wilhelm Joseph Schelling, Schleiermacher, and 14 moreImmanuel Kant, Adorno, Adorno's Aesthetic Theory, Schelling, Tragedy (Philosophy), Friedrich Schiller, Solger, Benedetto Croce, Giovanni Gentile, German romanticism and idealism, Friedrich Schlegel, End of the art, Hegel's aesthetics, and Classical German Philosophy
Call for Papers per due workshop correlati: Le estetiche dell'idealismo tedesco e il ruolo sociale dell'arte-Attualizzazione di un dialogo italo-tedesco Pavia, 14-16 maggio 2020 / Berlino, 24-26 settembre 2020 Organizzazione: Georg W.... more
Call for Papers per due workshop correlati: Le estetiche dell'idealismo tedesco e il ruolo sociale dell'arte-Attualizzazione di un dialogo italo-tedesco Pavia, 14-16 maggio 2020 / Berlino, 24-26 settembre 2020 Organizzazione: Georg W. Bertram / Luca Fonnesu / Giovanna Pinna.
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S c i e n z e u m a n e e d e m o c r a z i a c o n v e G n o I n T e r n a z I o n a L e D Ip a r T Im e n T o D I S c Ie n z e U m a n IS T Ic h e , S o c Ia L I e D e L L a F o r m a z Io n e
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Conference - Università del Molise
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Die Vorlesungen über Ästhetik erschienen 1829, zehn Jahre nach Solgers Tod, bei Brockhaus in Leipzig. Sie stellen die Wieder-gabe seines letzten, im Sommer 1819 an der Universität Berlin gehaltenen Kurses über die "philosophische... more
Die Vorlesungen über Ästhetik erschienen 1829, zehn Jahre nach Solgers Tod, bei Brockhaus in Leipzig. Sie stellen die Wieder-gabe seines letzten, im Sommer 1819 an der Universität Berlin gehaltenen Kurses über die "philosophische Kunstlehre" dar. Er starb im November 1819 im Alter von nur 39 Jahren. Solger genoss nicht nur unter den Schülern Hegels ein beachtliches Ansehen. So ist noch ein Monat vor Solgers Tod ein Besuch Hegels bei ihm überliefert. Hegel war daran interes-siert, Solgers Philosophie von der der Roman-tiker abzusondern und sie seiner eigenen dia-lektischen Sicht anzunähern. Die Rezeption seiner Ästhetik durch ein breiteres Publikum begann denn auch erst mit der Veröffentli-chung der Nachgelassenen Schriften Hegels. Im Kern von Solgers ästhetischem Denken steht, wie Giovanna Pinna in der Einleitung ausführt, die Auffassung, dass das Schöne ein Produkt einer Interaktion zwischen der schöp-ferischen Subjektivität und der phänomenalen Welt ist und "in der Vereinigung von Wider-sprüchen" besteht-dies jedoch nicht als Iden-tität, "sondern als dialektisches Wechsel-verhältnis der Gegensätze gedacht". Kunst ist für Solger das Resultat eines eigentümlichen Schaffens, in welchem Idee und Erscheinung in einem dialektischen Verhältnis zueinander stehen, das aber nie eine absolute Einheit erreicht und in dem der ideale Inhalt seine Abstraktheit verliert sowie die sinnliche Form sich von der Sphäre der Natur loslöst. Dahinter steht ein systematisches, durch den frühzeitigen Tod Solgers unterbrochenes Pro-jekt, indem die Idee des Schönen nebst der Wahrheit (Philosophie), dem Guten und der religiösen Anschauung des Göttlichen als eine der Grundformen des Verhältnisses vom Selbstbewusstsein zum Sein als Fundament der Existenz gesetzt ist. Das Verhältnis zwi-schen dem Allgemeinen und dem Besonde-ren, der Gegensatz, auf welchem aus Solgers Sicht alles menschliche Denken beruht, wird im Schönen als ein dialektisches Zusammen-treffen von Wesen und Erscheinung konzi-piert, so, dass im sinnlich Wahrnehmbaren die Idee enthalten ist. Von der spekulativen Idee des Schönen aus-gehend legt Solger im ersten Teil der Vorle-sungen die dualen Bestimmungen dar, welche die strukturelle Gegensätzlichkeit des Schön-heitsphänomens aufzeigt. Er arbeitet die grundlegenden Modalitäten heraus, in denen der spekulative Begriff des Schönen eine doppelseitige Realisierung im Endlichen findet: als Schönes bzw. Erhabenes oder als Tragisches bzw. Komisches. Im zweiten Teil entwirft Solger eine allgemeine Theorie der Kunst. Da die Kunst als Produkt eines sich im Spannungsfeld von Idee und Wirklichkeit be-wegenden Schaffens verstanden wird, wird gleichsam zwischen einer statischen und einer dynamischen Bestimmung des Schönen un-terschieden. Zwischen dem Resultat der Tä-tigkeit des schöpferischen Bewusstseins, dem Kunstwerk, und der dialektisch operierenden Tätigkeit selbst, der Phantasie. Solger sieht in der Kunst ein Sich-Herabsetzen der Phanta-sietätigkeit ins Werk, was im Modus des Symbolischen erfolgt. Das Symbol wird dabei als ein wahrnehmbares Objekt verstanden, als eine empirische Existenz, in der die Idee präsent ist, die Form also nicht Bedeutungs-träger, sondern selbst Bedeutung ist. Der dritte Teil der Vorlesungen behandelt die "be-sondere Kunstlehre". Solger vertieft darin Be-trachtungen über die künstlerischen Formen und die literarischen Gattungen. Solgers Vorlesungen sind nur in einer von Karl Ludwig Heyse edierten Nachschrift vor-handen und das Manuskript dieser Nach-schrift ist verschollen. Der Text der Ausgabe der "Philosophischen Bibliothek" erfolgt nach der ersten und einzigen, in Fraktur ge-setzten Ausgabe von 1829, wobei Druck-fehler stillschweigend korrigiert wurden.
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From August 1 to 8, 2024, the XXV World Congress of Philosophy (“Philosophy Across Boundaries”) will be held in Rome. As Chairs, weBoundaries") will be held in Rome. As Chairs, we would like to draw your attention to the new deadline for... more
From August 1 to 8, 2024, the XXV World Congress of Philosophy (“Philosophy Across Boundaries”) will be held in Rome. As Chairs, weBoundaries") will be held in Rome. As Chairs, we would like to draw your attention to the new deadline for the Call for Submissions concerning Section 52: "Philosophy of Aging". NOW : First February 2024
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Boundaries") will be held in Rome. As Chairs, we would like to draw your attention to the Call for Submissions concerning Section 52: "Philosophy of Age".
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Workshop on the conception of the museum in Germany in the first half of the 19th century. Rome, October 9-11, 2023. Istituto italiano di studi germanici
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Bando Summer School Società Italiana d'Estetica
"Significati estetici", Bertinoro (FC), 4-8 settembre 2023
"Significati estetici", Bertinoro (FC), 4-8 settembre 2023
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International Workshop on Aging and Old Age
Rome, 28-29.3.2023
Rome, 28-29.3.2023
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Per le celebrazioni del settimo centenario dantesco, i corsi di laurea di Lettere e beni culturali e di Letteratura e storia dell'arte del Dipartimento Susef dell'Universtà del Molise hanno organizzato nei giorni 12-14 ottobre 2021 un... more
Per le celebrazioni del settimo centenario dantesco, i corsi di laurea di Lettere e beni culturali e di Letteratura e storia dell'arte del Dipartimento Susef dell'Universtà del Molise hanno organizzato nei giorni 12-14 ottobre 2021 un convegno dal titolo "Fu miglior fabbro del parlar materno". Giornate dantesche per le scuole. Le discipline umanistiche all'Università del Molise. Ricerca e formazione. Si tratta di un'iniziativa sorta nell'ambito dell'orientamento per le scuole. Le giornate si terranno nell'Aula Magna dell'Università e in chiusura al Convitto Nazionale Mario Pagano di Campobasso.
Esperti internazionalmente riconosciuti di Dante si alterneranno ai docenti e ai laureati e alle laureate dei corsi di laurea di Lettere e Beni culturali e di Letteratura e Storia dell'arte del Dipartimento SUSeF in una sequenza di sessioni che culminerà con lo spettacolo della compagnia teatrale Pontos-Teatro, A riveder... le stelle!
Esperti internazionalmente riconosciuti di Dante si alterneranno ai docenti e ai laureati e alle laureate dei corsi di laurea di Lettere e Beni culturali e di Letteratura e Storia dell'arte del Dipartimento SUSeF in una sequenza di sessioni che culminerà con lo spettacolo della compagnia teatrale Pontos-Teatro, A riveder... le stelle!