Actualitatea frumosului

by Hans-Georg Gadamer

Rediscutind vechiul concept de mimesis in capitolul Arta si imitatie, Hans-Georg Gadamer ajunge la concluzia ca arta are drept caracteristica definitorie faptul ca poseda „o puternica energie spirituala ordonatoare“. Mimesis-ul este, asadar, „o reprezentare a ordinii“, iar experienta artei inseamna „a pune in ordine ceea ce ne dezagrega“. Opera de arta este un „adaos de fiinta“, pretinde o munca de constructie. Are, ca si dialogul hermeneutic, un efect de reducere a nonfamiliarului care ne inconjoara.


Profesor de filozofie la Universitatea din Leipzig si apoi la Heidelberg, Gadamer a incercat, dupa cum marturiseste el insusi, sa-i invete pe studenti „practica hermeneutica“. Filozofia nu mai inseamna contemplare, ea se justifica doar in ipostaza sa hermeneutica, de „practica, arta de a intelege si de a face inteligibil“. Comprehensiunea presupune prezenta celuilalt, iar interpretarea nu este altceva decit „fuziunea orizonturilor“. In Adevar si Metoda, cartea sa din 1960, Gadamer scria: „Comprendre, c’est comprendre autrement“. Principiul fundamental in filozofia hermeneutica este acela de a ramine deschis dialogului, iar prima conditie este sa stii sa asculti. In volumul La philosophie herméneutique, inspirindu-se dintr-o formula a lui Heidegger, Gadamer considera necesara o anumita „pietate a intrebarii“ („piété du questionnement“), pentru stabilirea unui acord intre partenerii dialogului, pentru succesul conversatiei. A vorbi cu celalalt inseamna a desteleni „conceptele sclerozate“ si a contribui la orientarea noastra in univers, la familiarizarea noastra cu lumile. Hermeneutica practica presupune de fapt un adaos de viata teoriei, o tensiune noua, un versant al (re)constructiei – daca nu a sensului, cel putin a unui acord, a unei intelegeri.

Genres: Philosophy, Art, Nonfiction, Essays, Theory, Literary Criticism, Theology

Unknown Binding

First published January 1, 1986

About the author

Hans-Georg Gadamer was born February 11, 1900 in Marburg, Germany.
(Arabic: هانز جورج غادامير)

Gadamer showed an early aptitude for studies in philosophy and after receiving his doctoral degree in 1922 he went on to work directly under Martin Heidegger for a period of five years. This had a profound and lasting effect on Gadamer's philosophical progression.

Gadamer was a teacher for most of his life, and published several important works: Truth and Method is considered his magnum opus. In this work Heidegger's notion of hermeneutics is seen clearly: hermeneutics is not something abstract that one can pick up and leave at will, but rather is something that one does at all times. To both Heidegger and to Gadamer, hermeneutics is not restricted to texts but to everything encountered in one's life.

Gadamer is most well-known for the notion of a horizon of interpretation, which states that one does not simply interpret something, but that in the act of interpretation one becomes changed as well. In this way, he takes some of the notions from Heidegger's Being and Time, notably that which Heidegger had to say about prejudgements and their role in interpreting and he turns them into a more positive notion: Gadamer sees every act and experience (which is a hermeneutical experience to a Gadamerian) as a chance to call into question and to change those prejudgements, for in the horizon of interpretation those prejudgements are not forever fixed.

Gadamer is considered the most important writer on the nature and task of hermeneutics of the 20th century, which was still widely considered a niche within Biblical studies until Truth and Method was widely read and discussed.

He died at the age of 102 in Heidelberg (March, 2002).

Reviews

[Genjiro · Rating 5 out of 5]

This volume is a collection of essays on Gadamer's reflections on art, literature and aesthetics. The writing is erudite, lucid and straightforward, making this more accessible than say Truth and Method. Gadamer's engagement, with the concepts of beauty and the beautiful, illustrate a vast range of possibilities, in which understanding and self-understanding can ultimately occur. If you are interested in Gadamer but don't know where to start, these essays might be the place.

[Christina “6 word reviewer” Lake]

Refreshingly resists idealistic conceptions of beauty.

[Aria Izik-Dzurko]

Interesting, but — my god — why do hermeneutic phenomenologists have to write like that?

[Felipe · Rating 4 out of 5]

Hans-Georg Gadamer, 1986
Rating: 4.5/5


*Concepts*

O texto discute questões filosóficas, antropológicas e estéticas sobre a essência da arte. Nele, o autor tenta abordar como experienciamos e interpretamos a arte, trazendo elementos como play, symbol e festival como moldes da nossa interação com a arte. Além disso, uma das questões centrais da obra é a pergunta de oq liga a tradição clássica artística à arte contemporânea.

Beleza: a função ontológica (de ser) do belo é ligar o ideal ao real. Para Platão, é aquilo que brilha mais fortemente e que nos atrai, sendo a imagem do ideal (reforçando essa ponte do ideal/real)

Arte: Criação única que não pode ser produzida seguindo regras

Play: Movimento originário de si mesmo, sem propósito utilitário, que é um aspecto de todos os seres vivos. Movimento com intuito de movimento.

Symbol: o simbólico representa significado sem apontar diretamente pra ele, permite que o significado se manifeste no próprio símbolo.

Festival: engloba e conecta indivíduos de forma participativa. O indivíduo escolhe participar.

O significado e a identidade de uma obra se resumem à interação com o espectador, que ativamente se engaja com esta. A identidade da obra é simplesmente existir, de forma passiva de receber julgamentos e escrutinização. A obra lança um desafio que é respondido pelo espectador de forma ativa e intencional.

A arte é única no sentido de que seu significado não pode ser transferido. Ela preserva o simbólico, de forma que este não pode ser recuperado em termos intelectuais.

Toda arte demanda uma participação ativa e construtiva da parte do espectador.

Uma obra só se revela em sua plenitude com a contemplação. É preciso aprender a habitar cada obra.


*Conclusions*

Arte é uma experiência estética multifacetada, que exige um engajamento ativo do espectador e que carrega significados simbólicos que não podem ser reduzidos à conceitos ou significados. Essa irredutibilidade vem do aspecto mais amplo da arte, que vai além de si mesma ao gerar um diálogo individual com cada espectador, diálogo esse que só atinge sua plenitude com contemplação e tempo.

Respondendo à pergunta principal levantada, oq liga a tradição clássica à arte contemporânea é a forma de experienciar a arte. Ambas necessitam de uma postura ativa de engajamento com a obra, que carrega significados simbólicos não totalmente reduziveis intelectualmente e que é um movimento contido em si mesmo, que não necessariamente tem propósito específico.


*Review*

Obra extremamente interessante que serve como introdução à estética filosófica. A questão central de o que é arte e como a vivenciamos é respondida de forma clara e eloquente. A segunda questão central, que tenta ligar a tradição clássica da arte à arte moderna é respondida implicitamente com a primeira questão, o que para mim foi uma resposta elegante. No geral o fluxo da obra é fluido e dinâmico, com vocabulário e argumentos acessíveis à iniciantes do gênero. A discussão sobre a insubstituibilidade da arte levanta uma tangente interessante: a não reprodutibilidade no cenário atual de reprodução em massa de conteúdo levanta a dúvida do que realmente é arte, oq circularmente volta à discussão central da obra. Leitura extremamente interessante que superou todas as expectativas. Nota final: 4.5/5

[Nada · Rating 4 out of 5]

" إننا بعد تجولنا في متحف ما ، لا مغادره بنفس الاحساس بالحياة الذي كان لدينا حينما دخلناه .. فإذا كان قد تحقق لنا بالفعل خبره فنية أصيلة بما شاهدناه فإن العالم عندئذ يصبح أكثر اشراقا و أخف ثقلا " ..
كتاب جيد و ملم بمعلومات ذات قيمه فقد تناول فيها أمثلة عظيمه مثل رؤية سقراط و بعض المحاورات التي تتحدث عن انحطاط الفن و التغيرات التي طرأت علي حركة الفن و انواع فن عديدة كما قام بتفسير تلك الأنواع ب إيجاز. و ايضا تناول نظريات ل عظماء مثل بريخت و رؤي مختلفة ل إدراك وسائل الجمال مثل رؤية كانط ..
كتاب رائع

[Ahad said · Rating 3 out of 5]

الجزء الاول من الكتاب كان مبالغ فيه بشدة، لم استطع تركيب الالغاز التي بسطها الكاتب، استمتعت اكثر في الجزء الثاني للمقالات التي جمعها الكاتب، الكتاب يتحدث عن تفسير ظواهر الفن باعتبارها جمال منسي، لا ينظر الى الفن بكونه حزء لا يتجزأ من حياة الانسان و انما هواية او عمل جانبي، في حين انه يعتبر من اساسيات الحياة الانسانية فهي تشتمل اللعب و الاحتفال و الاساطير و الطقوس الدينية بالتحديد المسيحية للكاتب. يظلم الكتاب نفسه في الجزء الاول كثيرًا. يستحق العمل بجهد حتى وصول النهاية.

[Kevin Fitzpatrick · Rating 4 out of 5]

This volume makes available Hans Georg Gadamer's extensive writings on art and aesthetics for the first time in English. The main piece included here, "The Relevance of the Beautiful," is Gadamer's eloquent and most sustained treatment of the aesthetics of art and the beautiful. Subtitled "Art as play, symbol, and festival," this article wonderfully links the philosophy of art with ideas more commonly associated with psychology or anthropology, making for a comprehensive, deeply entrenched and cogent analysis of the phenomena of art. Gadamer's conception of the link between Kant's theories and the phenomena of art in the archaic Greek period, along with his prescient understanding of how play informs all things human, creates an environment where the claims of art are made important, nay essential, even in the atmosphere of modern art, with its discordance and disruptions. Moreover, in the essays that follow the main one, Gadamer continues the presentation of sophisticated, technical philosophical concepts allied to clear, non-opaque presentations that characterized the introductory essay, with the effect of making real his salient ideas concerning the intersection of art and ideas. He particularly has very sophisticated and relevant statements and theories concerning the primacy and nature of the poetic endeavor, which are insightful and acutely actualized. Finally, the appendix includes a discussion of Kantian aesthetics which does justice to that particularly arcane subject matter. A wonderful introduction to an often obscure subject, Gadamer's essays cogently and clearly elucidate the 'playing field' of these ideas with grace and acute analysis. As such, this book is highly recommended.

[Gabriel · Rating 5 out of 5]

Despite the work being a response to the modern conception of art it would not be a mistake to start here for someone wanting to get into aesthetic theory.

The primary essay is able to synthesize and explain the basic foundations of aesthetic theory and due to its relevance to modern forms of art it is easily applied to today. As such I would recommend this to anyone who is interested in the field of aesthetics and wants an introduction.

The writing style is not terrible and anyone familiar with philosophy will find the style par for the course.

[Khaled Al-Faleh · Rating 3 out of 5]

مجموعة مقالات للفيلسوف الفينومينولوجي الألماني گَدامِرْ في موضوعات الإستيطيقا (الجميل، الاحتفال، التفسير، الصورة، المحاكاة، الشعر، اللعب، الحدس…)

الدكتور سعيد توفيق يقدّم في هذا الكتاب ترجمة جميلة توضّح نوعاً ما تلك المفاهيم للقارئ العادي

الكتاب الذي قرأته من طباعة (رؤية للنشر والتوزيع)

[Mindaugas · Rating 5 out of 5]

Art as play, symbol and festival.

[Chant · Rating 5 out of 5]

Always a pleasure to read Gadamer.

[dóra balázs · Rating 3 out of 5]

"Only interpretation provides the means to understand how this can occur [different interpretations of the same subject] and also to open culture once again to the voices of art."

[Roger Carter · Rating 5 out of 5]

Writing from memory now, but this book really changed my way of thinking, That's a good test of a writer.
This is a very difficult read however, as with most serious philosophy, particularly in translation and will take perseverence. The Relevance of the Beautiful is the critical chapter if you just want to read one section.