7 3 Aesthetics by Schiller

The aesthetics of F. Schiller, on which the philosopher himself emphasized, were based on the ascending ideas of aesthetics and Kant, in particular on general theoretical problems. It is indicative that the main works on aesthetics were written by F. Shiller in 1792-1796, i.e. after the publication of labor and Kant \ "Criticism of the ability of judgment \" The main things in his heritage include: \ "Kalle, or about beauty \" (1792), \ "On the dignity and charm \" (1793), On the sublime \ " (about 1792-1794), \ "On the naive and sentimental poetry \" (1793) the treatise \ "Letters on the aesthetic education of man \" (1793-1794) was large and significant for the theory of aesthetics. The philosopher adhered to the ideas of enlightening aesthetics in art history. In particular, he used the works of Herder and G. Lessing already in the early critical articles \ "On the modern German theater \" (1782) , \ "The Theater as a Mole Facility \" (1784) F. Schiller, under the influence of enlighteners, considered the theater as a means of propaganda of progressive ideas, a source of moral and aesthetic education. Analyzing the position of G. Lessing, he notices the creation of national theater as a school of education of national senses. and consciousness In the spirit of the ideas of time, the theater of classicism is criticized for its conventionality, in particular for the canonicity of forms. But the idea of ​​freedom of the artist’s personality is proclaimed. F. Schiller argues in dramatic works (\ "The Robbers \", \ "Insidiousness and Koch Anne \" and others. F. Schiller’s pochuttіv approving of the dramatist ’s works (" Rozbinyniki "," Pіdstupnіst i kokhannya "and this.).

The article \ "On the naive and sentimental poetry \" expresses important provisions regarding the historical development of art, the role of ancient artistic heritage for modern art, the meaningful idea of ​​the difference between traditional methods in art and the unequal possibilities of their development in different historical epochs of particular, two types of artistic reflections in art: realism and idealization (\ "naive and sentimental to poetry") They are considered in relationship, because in pure form, the first and second types rarely happen. Moreover, the philosopher believes that the greatest impression is made by works combining the tendencies called tendencies.

Particular attention is paid to the nature of artistic genius F. Schiller notes: genius is not guided by learned rules, but by guesses and feelings inspired by God (divine everything that creates health in nature) \ "Only genius can feel at home in the realm of the unknown and expand nature without going beyond its limits \ "[17, p. 256; [17, p. 256].

Important for the theory of aesthetics and for understanding the uniqueness of art of different historical eras is a comparison of differences between European and ancient Greek art. According to Schiller, they are caused by an excellent attitude to the world. The ancient Greeks are looking for human nature in the soulless world and see the influence of will even where blind need reigns. , that is, they are characterized by a harmonious and integral worldview that is a manifestation of the harmony of the inner world. Modern man, according to Schiller, honors nature, is able to engage in deep kim sense of indifference to the inanimate world This happened because \ "nature disappeared in our humanity, and we find nature in its truthfulness only externally, in a soulless world. The unnatural nature of our relations, customs and position causes us to look in the physical world for satisfaction. truth and simplicity \ "[17, p. 263i ..." [17, p. 263].

The peculiarities of the perception of nature by different peoples and cultures at an equal historical time are important for criticism, since he considers nature to be "the only flame that feeds the poetic spirit". His thought reveals there are real origins of the poetic, broader artistic ability of the whole: they are in harmonious harmony between perception and the thinking that was characteristic of people of ancient cultures, and modern man has a "broken consciousness". For her, harmony does not arise from reality, but only from an idea. Therefore, the poet will be the one who presents the reality of the ideal, or the other - represents an ideal It feels a roll with the ideas of Kant's aesthetics and a hundred from without a person's ability to have goals and make them perfect facilities їh doskonalimi zasobami.

Ph. Schiller, related to naive and sentimental poetry, is that they are called upon to organize the spiritual world of the perceiving person: naive art gives pleasure, because the perceiver feels how all the forces of his humanity act, acquiring the completed incarnation sentimental art makes one strive to create harmony in itself, i.e. it activates the human soul, gives it an internal movement [17, pp. 312-313] It was in this work that F. Schiller applied the concept of "method" for the first time in the history of aesthetic thought. In each type of artistic creativity, types and genres of art are considered, and they are capable of to realize the artistic idea Therefore, it was F. Schiller who discovered the unevenness of the historical development of art, the problem that was subsequently comprehensively disclosed in the “aesthetics” of Hegel “Estetici” by G. Hegel.

Due to differences in the understanding of beauty in naive and sentimental poetry, great attention is paid to the aesthetic perception of works of art. According to the perception of naive art, regardless of whether this form is lyrical or epic, dramatic or descriptive, our feeling will be stronger or weaker, but \ " it will never be varied, "the critic notes. On the contrary, the sentimental poet rozmirk ovue over the impression that objects make on him, his thoughts are based on the excitement that he calls in himself and conveys to us that there is a subject here that corresponds to an idea, and poetic power lies only with this relationship, and therefore the feeling is filled with the depth and grandeur of the idea, raising the perceiver over the limited experience F. Schiller also considers the problem of beauty of art, emphasizing and beauty is \ "product \" of consistency of spirit and feelings, and therefore it \ "touches \" all human abilities at the same time and can be perceived and appreciated only if all our forces are fully and freely applied. that you need to have a lively sense, open heart, fresh and non-weakened spirit, ie, to mobilize all of its nature [17, p 327] The philosopher considers this ability unattainable for those people, spiritual integrity or abstract thinking was initiated, then narrow petty interests. This thought takes on a comprehensive exposition, indicating that the current problems of one-sidedness of a person, the restriction of a wife to a rossudkovist attitude to the world, were relevant already in the times of F. Schillert, the boulevards of the same vzhe in the hours of F. Schiller.

Important in the creative heritage of F. Schiller is the development of the theory of aesthetic education (\ "Letters on the aesthetic education of man \") As already noted in the previous lecture, this problem was relevant in the philosophy of Enlightenment F. Schiller, following the ideas of enlighteners about the possibility of improving the human race under the condition education of mind and feelings, considers the ancient culture a real analogue of the possible these foxes and the fullness of the human spirit Comparing the state of harmony of the world of man of ancient cultures and the world of man and in the epoch of industrial development, he sees the reason for the disharmony of the latter in the disconnectedness of the bridge, the alienation of man from the fullness of being with the environment, society and his spiritual achievements. The idea of ​​historical inevitability and progression of the initial disintegration is consistently developed in the 27 "sheets" the internal integrity of a person and at the same time the drama of such a situation. After all, a person is transformed by an objective course of history into a means to achieve the goals of an external goal for himself. In the 19th century, s will be comprehended in the work of F. Nietzsche \ "Hellenism and pessimism \" Nitsche "Elinstvo and pesimism").

On the first pages of the treatise, F. Schiller, agrees with the principles of philosophy and Kant regarding the foundations of aesthetic and moral development, should be based on mastering the consciousness of \ "moral others. Nstinktams \" and \ "inner feelings \" to make them a reality for themselves. Actualization of moral problems, according to the philosopher, relegates to the background the problems of the beautiful and art oriented to the ideal. Focusing on this problem is relevant only because beauty and art personifies it - this is the real freedom and is able to live precisely in freedom, and in its modern era (and now, as we have already, this tendency has deepened) domination \ "needs \" \ "benefits,” notes Schiller, “has become a great idol of time, to whom all powers should serve and worship all talents \ "[17, I’m alone and worship all talanti" [17, p. 117].

Claiming the value of beauty for the spirit, F. Schiller notes that \ "freedom can be embraced only through beauty \" He considers the importance of harmony in the human soul and determines the basis of the latter, due to the pockets of the unity of the subjective spirit and the spirit of the people (objective spirit) , F. Schiller notes: mind is in it, no matter how high it rises, leads matter with love, does not mind putting it on itself. I lose my moral and aesthetic qualities as a modern man, compared with antiquity, the philosopher sees dominated and rozsudkov, that dismembers the integrity of the human spirit: the intuitive and efficient types of reason not only dissociate themselves from each other, but become enemies \ "The spirit of abstraction absorbs fire had to warm the heart and kindle the imagination \" [17, p 129] two basic requirements of their sensually rational nature: the first seeks to \ "absolute reality \", i.e. the transformation into the inner world of everything that is only a form, and thus the unfolding of all its abilities, the second should reveal the riches of the inner world existing in man, objectified in shaping [17, p 152], sensual and mental impulses, subject to their creative interactions, form a human person or, according to Schiller, when both impulses are "fulfilled by being, our humanity began its existence \" [17, 181] This opinion of the philosopher appears as a methodological basis not only for the EU Tetichnog in education, but also the formation of the human person as a holistic and creative subject of the individuality of the yak talіsnogo that creative sub' субkta.

The spiritual-forming power of beauty is in its essence: beauty is the \ "harmony of laws \", therefore freedom, with which the essence of beauty is associated, based on the highest inner necessity. Therefore, a person will become truly free if he develops both of his motivations. \ "it will not have freedom \" The aesthetic is the unifying principle of the human sensual and rational nature: \ "A sensual person can become rational only when the aesthetic is first made \" [17, 192] So, freedom is a consequence of relationship ability, and therefore is possible only under the condition of aesthetic attunement of the spirit. The unity of these fundamental foundations of spirituality and the value of aesthetic, of which beauty is a convincing sensual manifestation, are also explored in the writings of "O charm and dignity", \ "Kalle, or o beauty і гідність "," Каллій, or about beauty ".