Estetika nemške romantike kot osnova za modernistično vzpostavitev umetnine

Tomšič, Tina (avtor), Kobe, Zdravko (mentor)

Diplomska naloga predstavi kontekst in vzvode, zaradi katerih je prišlo do ontološkega obrata od objektivne k subjektivni estetiki, kar vzpostavlja subjektivno estetiko in kako je ta vzpostavitev vplivala na konkretno umetnost ter njeno interpretacijo. Z vzpostavitvijo meščanstva nastopi potreba po estetski vzgoji novovzpostavljenega družbenega razreda, koncept pa v svojem delu utemelji Friedrich Schiller, ki razloži, zakaj je potrebno disciplinirati afekte, ki jih v posamezniku izzove umetnost. Potrebo po novih elementih, ki tvorijo skupnost, izpostavi tudi Immanuel Kant, ki subjektivno estetiko vzpostavlja primarno skozi koncept sensus communis, skupnega/skupnostnega čuta, osnove za kritično vrednotenje umetnosti. Pojav subjektivne estetike zaznamuje razprava o avtonomiji umetnosti, ki depolitizira polje umetnosti in posamezno umetnino osami, naredi navidez neodvisno od zunanjih zahtev sveta in institucij. Kantov estetski model ne predstavlja prave podlage za avtonomijo umetnosti, saj se ne ukvarja s konkretnimi primerki umetnosti in njihovo ontologijo, temveč vzpostavlja kategorijo estetskega, ki sestoji iz kriterijev, kako posameznik na subjektivni način vrednoti vsako umetnino. Ne ukvarja se z vprašanjem neposrednega vpisovanja dela in pomena v umetnino. Podlago za avtonomijo podajo filozofi jenske romantike, najbolj konkretno Friedrich Schlegel, ki se obrnejo od estetike, ki predpostavlja splošno vrednotenje umetnosti na podlagi čutnih vtisov in nastopa kot splošno ovrednotenje estetskega, k filozofiji umetnosti, ki je specifična in upošteva ontologijo posameznega umetniškega medija. Schlegel osamitev in vzpostavitev avtonomije posamezne umetnosti razume skozi obliko fragmenta – ta je lahko neodvisen, samostoječ ali pa v komunikaciji z ostalimi fragmenti, zbranimi v zbirki fragmentov, ti pa so vedno znova lahko drugače interpretirani. Vzpostavi svojevrstno cikličnost razumevanja umetnosti. Tako vzpostavitev kategorije »estetske umetnosti« kot »avtonomne umetnosti« je ključno zaznamovala razumevanje umetnosti in kasnejšo vzpostavitev modernizma, pa tudi postmodernizma in sodobne umetnosti.

• Jezik: Slovenski jezik
• Ključne besede: nemški idelaizem, jenska romantika, Immanuel Kant, Friedrich Schlegel, sensus communis, fragment
• Vrsta gradiva: Diplomsko delo/naloga
• Organizacija: FF - Filozofska fakulteta
• Leto izida: 2022
• PID: 20.500.12556/RUL-141574
• COBISS.SI-ID: 126257923
• Datum objave v RUL: 01.10.2022

Sekundarni jezik

• Jezik: Angleški jezik
• Naslov: The Aesthetics of German Romanticism as a Basis for the Construction of Modernist Art

Izvleček

The thesis presents the context and reasons that led to the ontological turn from objective to subjective aesthetics, which establishes subjective aesthetics and analyses how this establishment affected concrete art and its interpretation. With the establishment of the bourgeoisie comes the need for aesthetic education of the newly established social class. The concept is described in work by Friedrich Schelling and explains the need for sustaining affections which arise when experiencing art. Immanuel Kant also points out the need for new community-building elements, which establishes subjective aesthetics primarily through the concept of sensus communis, the common sense, the basis for the critical evaluation of art. The emergence of subjective aesthetics is marked by the debate on the autonomy of art, which depoliticizes the field of art and makes the individual artwork isolated, independent of the external demands of the society and institutions. Kant's aesthetic model does not represent the right basis for the autonomy of art, as it does not deal with concrete examples of art and their ontology, but rather establishes the category of aesthetic, which consists of criteria for how an individual subjectively values each work of art. His aesthetics does not deal with the question of directly inscribing the work of an artist and meaning into the artwork. The basis for autonomy is provided by the Jenna romanticism, specifically by Friedrich Schlegel, which turns from aesthetics, which presupposes a general evaluation of art based on sensory impressions and acts as a general evaluation of the aesthetic, to a philosophy of art that is specific in the ontology of an individual artistic medium. Schlegel understands the isolation and establishment of the autonomy of individual art through the form of a fragment – it can be independent, stand-alone, or in communication with other fragments gathered in a collection of fragments, and these can thus be interpreted differently over and over again. It establishes a kind of cyclical understanding of art. Both the establishment of the category of "aesthetic art" and "autonomous art" were crucial to the understanding of art and the subsequent establishment of modernism, as well as postmodernism in contemporary art.

• Ključne besede: German idealism, Jena romanticism, Immanuel Kant, Friedrich Schlegel, sensus communis, fragment