Idealidade como poeticidade das artes na estética de Hegel

• Ano de defesa: 2022
• Autor(a) principal: Guilherme Ferreira
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; FAF - DEPARTAMENTO DE FILOSOFIA; Programa de Pós-Graduação em Filosofia; UFMG
• Palavras-chave em Português: Hegel; Estética; Filosofia da arte; Idealidade; Poeticidade; Filosofia - Teses; Arte - Filosofia - Teses; Estética - Teses; Hegel, Georg Wilhelm Friedrich, 1770-1831
• Link de acesso: http://hdl.handle.net/1843/50820; https://orcid.org/0000-0001-9241-9199

Among the numerous questions posed by Hegel’s philosophy of art to the later aesthetic debate, the question of “what is poetry and prose in art” is a subject that has so far received little attention from hegelian interpreters. It is true that the question of “the poetic and prosaic” is a matter that has already been the object of several investigations around the hegelian aesthetic text, but it is equally true that in none of the theses presented so far is it possible to identify a systematic and in-depth answer on the subject, except from the specific standpoint of “discursive poetic art” as it is presented in the last part of Hegel’s Courses in aesthetics. In view of this hiatus, the main hypothesis assumed in the development of this work, in all its unfoldings and deepening, concerns the structuring function played by the “authentic poetic” (or, more precisely, by the “fundamental poetic trait”) in the hegelian determination of romantic-modern art in general, especially painting and poetry. Ultimately, it is a matter of demonstrating that both Hegel’s “aesthetics” and “poetics” are articulated according to determinations of the same principle: artistic beautiful or ideal, being “the poetic” synonymous with the concept of the ideal and, therefore, a structural notion of the concept of art and the arts.