Schelling y el Romanticismo

IF 0.3 0 PHILOSOPHY Aisthesis-Pratiche Linguaggi e Saperi dell Estetico Pub Date : 2020-01-13 DOI:10.7764/aisth.66.33

Mariya Veleva

引用次数: 1

Abstract

La concepcion estetica de Schelling en el Sistema del idealismo trascendental puede ser vista como un intento de restauracion no dogmatica, sino mas bien estetica de las “estructuras fuertes” como Dios, verdad y ser, ya definitivamente “debilitadas” en la filosofia critica de Kant. El fenomeno del arte atestigua que el Absoluto sea cognoscible y real. Y en esta restauracion estetica del Absoluto esta precisamente fundada la nocion romantica de la filosofia trascendental de Schelling. Se afirma que justamente el Romanticismo delegue en sus manos el instrumento (organon) perfecto —el arte— para la ejecucion de esta restauracion. Schelling se inspira primeramente en el Romanticismo para superar los problemas del racionalismo subjetivo (el dualismo y el mecanicismo cartesiano, la unidimensionalidad del Yo fichteano y la separacion kantiana del mundo en fenomenal y noumenal), y para dar el paso hacia una filosofia positiva, o una filosofia de la vida (Lebensphilosophie) en su obra tardia.

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谢林和浪漫主义

谢林在先验唯心主义体系中的美学概念可以被看作是对上帝、真理和存在等“强结构”的一种非教条的修复尝试，这些“强结构”在康德的批判哲学中已经被明确地“削弱”了。艺术现象证明了绝对是可知的和真实的。这种对绝对的审美恢复正是谢林先验哲学的浪漫主义所建立的。在这种情况下，浪漫主义将完美的工具(organon)委托给了他们的手中——艺术——来执行这种修复。谢林将首先在浪漫主义,克服主观理性主义的问题(笛卡尔的二元论和mecanicismo unidimensionalidad我fichteano和分离的世界kantiana乐趣和noumenal),在一个积极的基本,或开辟道路的基本生活(Lebensphilosophie) tardia他的工作。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico PHILOSOPHY-

CiteScore

0.30

自引率

0.00%

发文量

审稿时长

40 weeks

期刊介绍： The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.