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ANNUARIO FILOSOFICO

N. 35 (2019)

Rosanna Finamore

Produzione di forme e loro perfezione dinamica nel pensiero estetico di Luigi Pareyson.
Assonanza e distanziamento dall’estetica di Luigi Stefanini


PP. 355-369

1. Le forme nell’orizzonte speculativo-ermeneutico dell’estetica pareysoniana, p. 355; 2. Contemplazione dell’opera e processualità dinamica della forma in Pareyson, p. 358; 3. I motivi spirituali della forma nella riflessione estetico-metafisica di Stefanini, p. 363; 4. Rilievi conclusivi, p. 368.

Abstract
Production of forms and their dynamic perfection in Luigi Pareyson’s thought.
Assonance and distancing from Luigi Stefanini’s aesthetics

The paper includes three sections. The first section gives reasons for Pareyson’s aesthetic reflection, starting from his critical position on the philosophy of the spirit and on the Crocian concepts of the totality and universality of art, in defense of the singularity, uniqueness, unrepeatability of the person of the artist and his/her work. Hence the relevance of the interpretation in the production process of forms. In the central section the meaning of the form in Pareyson is analyzed with regard to its contemplability; contemplation is as much of the artist as of the interpreter of the finished work; activity and receptivity, freedom and necessity belong to the process of
formatività. The last section investigates the formal relationships and spiritual motifs of the work of art in Stefanini’s aesthetic, who prefers to combine them, wanting to ensure the aesthetic value of the work itself, in close relationship with metaphysical instances. Artistic expressions are charged with absoluteness and beauty shines internally in the person’s aspirations to the truth and love of the Absolute.

Keywords: aesthetics, person, aesthetics, hermeneutics, form, work of art.



 

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