Poesia e Filosofia: a estética de Hegel e sua aplicação à poesia de Gonçalves Dias

Abstract

The thesis proposes an approach to Gonçalves Dias' poetry from the perspective of the Hegelian philosophy of art. It is therefore divided into two large parts. The first, more theoretical, expresses the most conceptual moment of the Aesthetics Courses, namely, the universal horizon associated with the Idea of the beauty and the concept of art, with its objective determinations expressed in the category of the ideal. For Hegel, the production of the work of art constitutes the unity between the concept and its exposition in reality, whose content is eminently spiritual, that is, cultural and collective, and it is, therefore, in this medium that we will find the determinations under which it moves and the conditions for the expression of the philosophy of fine art are engendered. By designating fine art as an object of philosophical speculation, the German thinker seeks to explain the Idea of the beauty as a unity of the totality of the concept with its reality throughout history through the manifestation of symbolic, classical and romantic forms. In the second part of the thesis, based on the understanding of the dialectical and historical instruments of the hegelian philosophy of art, in particular the expression of its romantic art form, we approach the poetry of Gonçalves Dias. Therefore, we reframe the understanding of romanticism in the literary field, extending its interpretation to the philosophical sphere. This was necessary because the classifications of the art of poetry are defined by literary historiography and this, in turn, although it has merits, only evidences a periodization of chronological models, relating literary and poetic styles to the characteristics and criteria of historiography, which they often subordinate the whole of the works of art to elements exogenous to their sphere. We approach the work of Gonçalves Dias from the romantic and subjective spirit of modernity, as defined by the Hegelian Aesthetics, allowing the free exposure of poetic fantasy abroad. The dramatic poetry of Gonçalves Dias both incorporated the great questions of his period and transcended his time by configuring the epic spirit of original peoples as well as the lyricism of love and popular culture in the representation of poetic language. Only within the scope of aesthetics as a philosophy of art was it possible to bring out the conceptual and historical elements that still allow us to dialogue with this production that constitutes our national community. The idea that Gonçalves Dias' poetry has its own cognitive content and not a simple translation of European movements and periodizations gained a new interpretative key in relation to the Hegelian Aesthetics Courses.