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Aesthetic complacency and satisfaction of will in Schopenhauer's metaphysic of the beauty
Aesthetic complacency and satisfaction of will in Schopenhauer's metaphysic of the beauty;
Aesthetic complacency and satisfaction of will in Schopenhauer's metaphysic of the beauty;
Aesthetic complacency and satisfaction of will in Schopenhauer's metaphysic of the beauty;
Aesthetic complacency and satisfaction of will in Schopenhauer's metaphysic of the beauty;
Complacência estética e satisfação do querer na metafísica do belo de Schopenhauer
Registro en:
10.5902/2179378639300
Autor
Salviano, Jarlee Oliveira Silva
Institución
Resumen
Following in the footsteps of Kant, Schopenhauer builds his Metaphysics of the beauty from the conception of art “disinterested”. Knowledge determined by motives gives to the spectator of art the “exciting” and the mere empirical satisfaction, but not the beauty or the sublime. The Genius, most potent and effective representation of the Pure Subjectivity of Knowledge is described in the Book III of The world as will and representation in an apparently ambiguous way: as the Willenlos (free of will), like that free of the storm of the passions and the impetus of desires. But at the same time as that subjected to vehement affections and irrational passions. However, it is, in the aesthetic experience of the genius or the contemplator of art, a disinterested pleasure, a complacency of another order than that of the man of common sense and science. The article then seeks to analyze Schopenhauer’s concept of aesthetic complacency or satisfaction and its roots in Kant’s philosophy. Following in the footsteps of Kant, Schopenhauer builds his Metaphysics of the beauty from the conception of art “disinterested”. Knowledge determined by motives gives to the spectator of art the “exciting” and the mere empirical satisfaction, but not the beauty or the sublime. The Genius, most potent and effective representation of the Pure Subjectivity of Knowledge is described in the Book III of The world as will and representation in an apparently ambiguous way: as the Willenlos (free of will), like that free of the storm of the passions and the impetus of desires. But at the same time as that subjected to vehement affections and irrational passions. However, it is, in the aesthetic experience of the genius or the contemplator of art, a disinterested pleasure, a complacency of another order than that of the man of common sense and science. The article then seeks to analyze Schopenhauer’s concept of aesthetic complacency or satisfaction and its roots in Kant’s philosophy. Following in the footsteps of Kant, Schopenhauer builds his Metaphysics of the beauty from the conception of art “disinterested”. Knowledge determined by motives gives to the spectator of art the “exciting” and the mere empirical satisfaction, but not the beauty or the sublime. The Genius, most potent and effective representation of the Pure Subjectivity of Knowledge is described in the Book III of The world as will and representation in an apparently ambiguous way: as the Willenlos (free of will), like that free of the storm of the passions and the impetus of desires. But at the same time as that subjected to vehement affections and irrational passions. However, it is, in the aesthetic experience of the genius or the contemplator of art, a disinterested pleasure, a complacency of another order than that of the man of common sense and science. The article then seeks to analyze Schopenhauer’s concept of aesthetic complacency or satisfaction and its roots in Kant’s philosophy. Following in the footsteps of Kant, Schopenhauer builds his Metaphysics of the beauty from the conception of art “disinterested”. Knowledge determined by motives gives to the spectator of art the “exciting” and the mere empirical satisfaction, but not the beauty or the sublime. The Genius, most potent and effective representation of the Pure Subjectivity of Knowledge is described in the Book III of The world as will and representation in an apparently ambiguous way: as the Willenlos (free of will), like that free of the storm of the passions and the impetus of desires. But at the same time as that subjected to vehement affections and irrational passions. However, it is, in the aesthetic experience of the genius or the contemplator of art, a disinterested pleasure, a complacency of another order than that of the man of common sense and science. The article then seeks to analyze Schopenhauer’s concept of aesthetic complacency or satisfaction and its roots in Kant’s philosophy. Following in the footsteps of Kant, Schopenhauer builds his Metaphysics of the beauty from the conception of art “disinterested”. Knowledge determined by motives gives to the spectator of art the “exciting” and the mere empirical satisfaction, but not the beauty or the sublime. The Genius, most potent and effective representation of the Pure Subjectivity of Knowledge is described in the Book III of The world as will and representation in an apparently ambiguous way: as the Willenlos (free of will), like that free of the storm of the passions and the impetus of desires. But at the same time as that subjected to vehement affections and irrational passions. However, it is, in the aesthetic experience of the genius or the contemplator of art, a disinterested pleasure, a complacency of another order than that of the man of common sense and science. The article then seeks to analyze Schopenhauer’s concept of aesthetic complacency or satisfaction and its roots in Kant’s philosophy. Seguindo os passos de Kant, Schopenhauer erige sua Metafísica do belo a partir da concepção de arte “desinteressada”. O conhecimento determinado por motivos proporciona ao espectador da arte o “excitante” e a mera satisfação empírica, mas não o belo ou o sublime. O gênio, representação mais potente e eficaz da subjetividade pura do conhecimento, é descrito no Livro III de O mundo como vontade e representação de modo aparentemente ambíguo: como o Willenlos (isento de vontade), como aquele “livre da tempestade das paixões” e do “ímpeto dos desejos”. Mas, ao mesmo tempo, como aquele “submetido a afetos veementes e paixões irracionais”. No entanto, trata-se, na vivência estética do gênio ou do contemplador da arte, de um prazer desinteressado, de uma complacência de outra ordem que a do homem do senso comum e de ciência. O artigo procura, então, analisar o conceito de complacência ou satisfação estética em Schopenhauer e seu enraizamento na filosofia de Kant.
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