Meno filosofija: XVIII-XX a. koncepcijų analizė

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Collection:
Mokslo publikacijos / Scientific publications
Document Type:
Knyga / Book
Language:
Lietuvių kalba / Lithuanian
Title:
Meno filosofija: XVIII-XX a. koncepcijų analizė
Publication Data:
Vilnius : Mintis, 1990.
Pages:
307 p
Notes:
Bibliografija; asmenvardžių ir dalykų rodyklė.
Contents:
Pratarmė — Įvadas — I. Meno filosofijos užuomazgos: Ankstyvasis švietėjų meno teorijų raidos etapas; Estetika ir meno filosofija I. Kanto sistemoje; F. Šilerio ir J. Gėtės filosofinio ir meninio mąstymo sintezės ieškojimai; Jėnos romantikų meno filosofija — II. Klasikinės meno filosofijos raida : Sisteminis veiksnys F. Selingo meno filosofijoje; G. Hėgelio meno filosofijos sistema ir metodas; Iracionalios „valios” metafizika A. Šopenhauerio meno filosofijoje — III. Metodologinių ieškojimų metas: Vokiečių klasikinio idealizmo meno filosofijos idėjų nykimas ir naujų metodologinių orientacijų formavimasis; F. Nyčė ir reliatyvistinės meno filosofijos metmenys; Formalistinė meno filosofija (K. Fydleris, A. Ryglis, H. Velflynas; Intuityvistinė meno filosofija (A. Bergsonas, B. Kročė); E. Panofskio transcendentinė meno' filosofija; Menas ir būtis M. Heidegerio meno filosofijoje — Pabaiga: Meno filosofija giminiškų mokslų sistemoje — Reziumė rusų kalba — Reziumė anglų kalba — Reziumė prancūzų kalba — Literatūros sąrašas — Asmenvardžių rodyklė — Dalykinė rodyklė.
Keywords:
LT
18 amžius; Prancūzija (France); Lietuva (Lithuania); Estetika / Aesthetics; Filosofija / Philosophy; Menas / Art; Politinė ideologija / Political ideology.
Summary / Abstract:

LTKnygoje analizuojamos idėjinės bei teorinės meno filosofijos ištakos, pradedant XVIII a. pabaiga, kai «meno tyrinėjimai tik pradeda įgyti savarankiško mokslo kryptį. Autorius išsamiai aptaria teorinių meno filosofijos tendencijų transformaciją nuo sintetinių filosofinių konstrukcijų j vėlesnes idealizmo formas. Daug vietos skiriama pohė- gelinės meno filosofijos teoretikų A. Šopenhauerio, S. Klerkegoro, F. Nyčės, A. Bejrgsono, B. Kročės, M. Heidegerio koncepcijų artallzei, parodoma prieštaringa jų įtaka Vakarų pasaulio meno praktikai. [Anotacija knygoje]Reikšminiai žodžiai: Meno filosofija; Idėjų istorija; Grožis; Menas; Philosophy of art; History of ideas; Beauty; Art.

ENThe search for the sources of the philosophy of art leads us back, to the Age of Enlightenment when a qualitatively new development stage of many art sciences is outlined. In England the fermentation of the ideas of the philosophy of art takes place in the terms of a special variety of aesthetics called 'style criticism' (E. Burke, F. Hutcheson, E. Shaftesbury). The representatives of this trend develop many basic categories of the future philosophy of art in the spirit of sensualism. In France, having joined seven different kinds of fine arts by the single principle of 'nature imitation', Ch. Batteaux cleared the way to the qualitatively new methodological approach to the phenomenon of art. That approach allows to reveal regularities that are common for all kinds of arts. Here art criticism problems come close to philosophical problems, therefore a theoretical basis for the historical (history-of-art) trend of the philosophy of art is formed. German thinkers who had a propensity to conceptualism and complicated theoretical constructions tried to systemize the most important achievements of their English and French forerunners. In Germany the intensive development of the idea of art autonomy brought to life a relatively independent branch of science, i. e. the 'philosophy of art’, that was regarded as identical to the simultaneously developing aesthetics in the second half of the XVIII century. The transformation of aesthetics into the philosophy of art was caused by the fact that the philosophical thought was focused on art recognized as an independent variety of aesthetical activities. Thus two basic trends of philosophy of art were formed 'primarily in German idealistic thought: (a) the 'theoretical' (philosophical) trend founded by A. Baumgarten and I. Kant; (b) the 'historical' (history-of-art) trend founded by J. Wlnckelmann, J. Goethe, F. Schiller and the Jena romanticists.For a certain period these two trends merged in the synthetic conceptions of F. Schelling and G. Hegel, the leading figures in German classical idealism. In the post-Hegel period the trends deported from each other again. As It was begun by A. Schopenhauer, irrationalistic motifs predominated in the theoretical trend (F. Nietzsche, K. Fiedler, A. Bergson, B, Croce) and descriptional and formalistic elements prevailed in the historical trend (J. Burckhardt, H. Talne, A. Riegl, H. Wölfflin, E. Panofsky). While A. Baumgarten’s philosophy regards aesthetics as the lowest grade of gnoseology investigating the beautiful and the philosophy of artistic creation, aesthetics and the crystallizing within aesthetics philosophy of art begin to transform into a relatively independent branch of scientific ' knowledge in I. Kant's philosophical system. F. Schiller, J. Goethe and the Jenna romanticists mitigate the rigorism of Kant's philosophy of art and bring it close to the comprehension of real art practice. F. .Schelling and G. Hegel create classical idealistic systems of philosophy of art that represent a systematic philosophical approach to philosophical research of origin, existence, function and inner structure of the world of art (the latter approach is mostly characteristic for G. Hegel). Notwithstanding the profundity and importance of the problems raised by G. Hegel and F. Schelling, their speculative conceptions that deduce the phenomena of art from supreme spiritual essences ('spirit', 'absolute idea', ’supreme reason1) became soon a hindrance for the theoretical thought that was approaching the understanding of real art practice.The gradual transformation of rationalistic attitude into irrationalism can be clearly retraced in the conceptions' of A. Schopenhauer, F. Nietzsche, A. Bergson, B. Croce. If the irrational principle is crucial, so it becomes impossible to build a systematic philosophy of art on the basis of rational principles. This is why the representatives of the irrationalistic philosophy of art aspire to elaborating problems of genius, of creation process, of intuition, of artistic creation sources that give way to the possibility of establishing the predominance of the irrational principle. In the post-Hegel period of the idealistic philosophy of art development the positions of the ’upwards' trend in philosophy of art are strengthened still. This trend represents an attempt to substitute abstract metaphysical constructions for a set of positive facts, their description and systemizing. Thus, in the second half of the XIX century a crisis in the development of the philosophy of art is noticed as the number of unsystematic, uncoordinated and contradictory empirical researches occurs. While being influenced by various positivistic, formalistic and psychological conceptions, the philosophy of art was forced not only to carry the burden of contradictions and difficulties that are peculiar to philosophical knowledge on the whole but also to lose its own significance, i. e. the systematic way of art comprehension that was acquired before. In addition to dominating at that time purely empirical trends, J. Burckhardt, H. Taine and F. Nietzsche formed inherently more culture-oriented conceptions. Later the constructions of K. Fiedler, A. Riegl, H. Wölfflin, A. Bergson, B, Croce, E. Utits and M. Dessoir are distinguished by their significance. [...]. [From the publication]

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5417003352
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2020-12-09 19:01:49
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