Da aparência à realização da liberdade através da arte: um estudo sobre o conceito de belo em Schiller e Hegel

Abstract

This is a study about the development of the concept of beauty and art in the context of German idealism, and is concentrate in aesthetic and philosophical positions of Schiller and Hegel. We are interested in showing how the defense of objective reasons of beauty as well as the attempt to achieve freedom through the aesthetic appearance, as formulated and developed by Schiller in Kallias or the beauty (1793), in Letters About Aesthetics Education of Man (1895) and Naive and Sentimental Poetry (1800), have been incorporated by the Lectures on Aesthetics (1818-29) of Hegel, and marked as the key step for the establishment of a system specifically aesthetic, therefore, no longer restricted to the limits that Kant's transcendental philosophy required it, win or suffering, however, throughout these lessons, a reformulation speculative that moves dialectically from "the idealistic definition of beauty as a manifestation of the idea in sensitive definition of art to a realistic achievement of the human spirit in world history ", which results, on the one hand, the movement of dissolution of a certain conception of beauty and art, still defended by Schiller and in part by Hegel, and on the other hand, the emancipation movement of another possibility of art as an autonomous sphere itself. Thus, work is divided into two parts. The first part, entitled "Schiller and the objectification of beauty", it is proposed to clarify the meaning of a objective foundation of beauty, and how the theory of aesthetic objectivity, although geared to the principles of Kantian philosophy, anticipate, and even allows the ideal-realism aesthetic that would be taken by the philosophy of art in Hegel. The second part, entitled "Hegel and the dialectical conception of beauty," seeks to show the position and meaning of beauty and art in the Hegelian system, and aims to understand how is configured and how is still possible to support, in the development of the art forms, a complementarity between idealistic and realistic theories of beauty, if Hegel himself recognize in modern poetry, an imbalance and even an overcoming of the idealistic concept of classical beauty in favor of a sort of prosaic realism arts. Our work culminates, so in order to elucidate the modern art, and intended to show that although this no longer includes an appearance of the beautiful ideal, it does not follow the order or the death of art. The art takes shape prosaic and absorb the contradictions of everyday life, not to become itself only mundane, but to accomplish, now so acutely aware of their history, what has always tried to do: turn the work of the world work of his own freedom.