7 5 Aesthetics of German Romanticism

At the turn of the XVIII-XIX centuries, a broad social and cultural movement was unfolding in Europe that influenced all spheres of spiritual life - romanticism. It consisted as a peculiar cultural phenomenon, a scale similar to the Renaissance and the Enlightenment. The principle of universalism is a characteristic feature of romanticism, which combined art, philosophy and science As an aesthetic phenomenon, romanticism is characterized by a synthesis of artistry and philosophical reflection. The use of the concept of romanticism in science is ambiguous. So, in the Age of Enlightenment it was more often used. to characterize knightly literature, Schlegel identified it with new poetry, unlike classical (ancient) Novalis considered the concept of romantic to be the same poetic Zagalo; Totozhny poetic zagal.

The late F. Schelling’s spirit of romanticism deeply defined that, when he was young, he was recognized as the spiritual head of the Ensk romantics school: The human spirit was wonderful when it was relaxed, found it justifiable about its true freedom about everything that exists, and ask not what it is, but that is possible [1, C 6quot; [1, p. 6].

Founded Romanticism in Germany, although the first romantic is considered to be J. Rousseau - an eminent critic of the contradictions of free competition society, which was asserted on the ruins of feudalism, and about the head building and singer of freedom of spirit. The romantic movement in Germany is reflected in literature, and later - in music, painting, philosophy, philology, etc. To the most famous before the romantics , who combined educational and new romantic ideas in their work, belonged to IG Hamann (1730-1788), young IV-Goethe (1749-1832) and F. Schiller ( 1759-1805) eminent theorist om movement Stürmer (movement Storm and onslaught in formed in the 70s of the eighteenth century) was And G Herder (1744-1803) - the ideological inspirer of the movement and creator of its aesthetic principles Aesthetic ideas in philosophy And Herder significantly influenced the worldview of the romance ikiv He advanced the principle of a historical approach to art The last philosopher considers the achievement of the culture of the people, not individual refined natures The spiritual experience of the people appears to be the subject of art And Herder sees the source of all poetry [6, p 4 47], paying great attention to bringing the historical role of the people in the creation of a national language to the historical historical role of the people in the creative nation.

In art, And Herder asserts realistic principles, in particular, he is highly elevated by genius W. Shakespeare, whose dramaturgy, according to the critic, most consistent with the requirements of the new time. The main problems of his aesthetics include the question of the essence and source of beauty. And Herder substantiates the ontology of beauty: it should be in the living nature. He defines the essence of beauty as “translucency, form, in a sense of revealing perfection” [8, pp. 566-567] Perfection, which is considered as understood by Herder in aesthetics e, identical to the notion of regularity , is achieved through generalization, that is, it is real in the dialectic of a special and general ability of aesthetic perception, experience and comprehension of expressive forms of reality, as the ability to form perfect works of art, the philosopher notes, - inherits a historical the formation of humanity. The process of formation of creative skills is valid as a dialectical unity of the individual and the universal, personal and generic in the sense of spiritual experience and media and CSOs that priobreteniidosvіdu zasobah Yogo nabuttya.

In aesthetics and Goethe (works: On the anniversary of Shakespeare (1771), About the German architecture (1773), Simple imitation of nature, manner, style (1789), About truth and believability the art of (1798 ir - and there is no end to it (1813-1816), etc.) launched the theory of romantic creativity, the idea of ​​the veracity of art associated with the concept of imitation of nature for la Goethe aesthetic is art based on the calm affirmation of being, on his contemplation of love However, the artist does not copy reality He irritates imitated I am the alphabet of nature, reading nd by syllables, he invents his own way, creates a language for himself to convey in his own way what he perceived with his soul in order to provide an object, which he re-depicts, his own form, without having before himself and not remembering it with precision [8, p 85]. The above opinion is important for an in-depth understanding of imitation in art, because it notes the unity of nature forms and the idea of ​​forms, a certain fate of the artist and is realized in the work as a unity of nature and spirituality, designated talent mittsya і is realized in the creation of the natural and spiritual.

For the development of the aesthetic theory of the late 18th - early 19th centuries, particularly for the aesthetics of representatives of German classical philosophy (Schiller, Schelling, Hegel) ideas of the representatives of the early go or Ensk of literary romanticism were important (brothers August and Friedrich Schlegel, Novalis, Wackenroder, Tick) and Heidelberg romanticism (Kleist, Brentano, Arnim, the Grimm brothers), and also the work of F. Gelderly on and E. Hoffmann. Ensk's circle also included F. Schelling as an independent aesthetic direction. In the middle of the last decade of the 18th century, one of the founders of the movement Ensk Romantics F. Schlegel: French Revolution , Naukvchennya Fichte and Master Goethe were expressive trends of the era [N 12, p. 196] Unlike the Enlightenment, who considered rational knowledge to be the dominant sphere of spiritual experience, romanticism proclaims the value of the sphere of the irrational and subjective in spiritual experience: feelings, fantasies, experiences, inspirations, romantic aesthetics focusing Em focuses on the problem of the internal world of the subject Program in the named sense an anonymous treatise Systematic program of German idealism , published in 1796. In it in the sense of unifying, the idea of ​​beauty in its Platonic understanding was considered. The highest act of reason covering all ideas is The act of aesthetic truth and good are joined by kindred bonds only in beauty. The philosopher, like a poet, must possess an aesthetic gift [3, t 2, p. 212] We trace the closest ideas in the work of Schlegel A." General overview of the modern state German literature (lectures delivered in Berlin 1801-1804) Recall that this idea is reflected in the aesthetics of F. Schillerc, read in Berlin 1801-1804 p.). Nagadaєmo, scho cia іdeya is depicted in the aesthetics of F. Schiller.

The object of criticism of the romantics is the excessive rationalization of spiritual experience inherent in particular Enlightenment, And Schlegel notes to the enlighteners that they "pursue primary irrationality as impassive enisty." Romantics begin to consider the aesthetic unifying basis of sensual and rational experience in the sense of enlighteners, which they considered morality was morality.

If classical canons are beautiful canons of the beautiful, then for romantic poets they only appear as obstacles and conventions. "In his striving for an absolutely expressive form, which certainly and to end his experience, he (poet - VM) destroys an already produced form for A new, minimalist and individual [13, p. 136]. The goal of the artist is an absolute manifestation that has survived the manifestation of Anne, free from any conventions. The main subject of the display of romance is the inner world of the personality in all the richness of its nuances. ovlivaet syncretism of different types and genres of romantic art: poetry and music; musical poetry, musical painting, musical drama and poetic dramas and under.

The formation of aesthetic ideas Ensk romantics significantly influenced the idea of ​​an empirical absolute I , appears in philosophy and Fichte impersonation without conscious creative beginnings, concentrated in creative action. Accordingly, the meaning of life of a real person should be directed to activity, is - in the infinite pursuit of higher , the final goal Romantics, following the ideas of philosophy and Fichte, saw the concentrated personification of the creative possibilities of man’s individual I of the artist. Natural creativity, in particular, poetic, reflecting the inner world of the artist, was considered the highest activity. The spiritual world was the only true one in contrast to the real, ordinary world order, to a real, everyday life.

Romantic aesthetics synthesizes philosophy and aesthetics on the basis of aesthetic, as all the transmissive beginnings of the world Romanticism reconstructs the very concept of philosophy , because it becomes poetic philosophy or phylosophical poetry , because in it the language of concepts merges together with in the language of feelings, conceptual thinking is with a sensual-poetic perception [2, p. 264] Romantic philosophy is characterized by symbolic downloads enisty, and poetry is the saturation of metaphysics and poetry is the ultimate metaphysics.

The interest of romanticism in the sphere of the irrational is also due to the spiritual opposition of the post-revolutionary (Great French Revolution 1789-1794) society, claimed the pragmatic Ideas of the Enlightenment to be replaced with spiritual values, translated into a purely practical plan, compromising the mind. The reaction of the romantics mentioned social processes appeared in the form of anti-rationalist the spiritual position of the Epoch in the objectively beautiful art, F Schlegel represented as the great aesthetic revolution , was to lead humanity to a common to equal perfection. The art of romance was considered not a specific type of aesthetic activity, but gave it universal significance as a possible means of creating a new aesthetic reality on the ruins of the old culture. Accordingly, aesthetic motives of aesthetic motives should rely on morality.

According to romantic notions, art is significant only when it turns into reality in a certain way. After all, a romantic artist feels not only a poet, but also actively involved in creating aesthetic reality: a priest, leader, prophet. Poetry for him is a religious act, theurgy [7 , from 137] F. Schlegel considers romantic poetry to be a special kind, the only thing that is the more art and poetry as such; since all poetry in a certain sense must be romantic [12, from 195] Is Investigators point out aestheticism of romanticism, the desire for artistic design, the introduction of order in the AOC, the creation of a new world within one’s own ego "[13, p 877in_ of the powerful ego" [13, p. 877].

Striving for the lost integrity of being has a distinct direction in the search for the ideal of integrity. Such is the ideal of romance sought in the past - in the art of Greek antiquity F. Schlegel in the works O in the study of Greek poetry (1707), Talk about poetry ( 1800) and the publications of the magazines Athenaeum and Lyceum substantiated the theory of romantic poetry as a source of harmonization of the world, and ancient Greek art is considered to be a specific model Romantic poetry is progressive universal poetry to be the mirror of the whole world, the image of the epoch ", says Viy [12, 194]. The interest in poetry was also due to the fact that it saw the predecessor of philosophy, religion, art and a certain concentrated expression of the connection between spirit and being ( Holderlin, Schelling) Novalis, in search of the ideal of spirituality, turned to a closer past — medieval antiquity, in particular, mythology and folklore — middle age, the zokrem of folklore and folklore.

Romanticism has an interest in mythology, is considered by the world of primordial images, undifferentiated unity of consciousness and being In connection with the problems of mythology and poetic language, the problems of language and culture as a special way of being human being are also solved. Schlegel raises the question of the historical development of national literatures, distinguishing literature as a certain whole and at the same time direction of its development times in the most important nations The thought of the philosopher was of particular importance for understanding the place and role of literature in the system of spiritual experience, teratura is the totality of the intellectual life of a nation [2 p. 133] On the basis of understanding literature as the embodiment of the nation’s spirit, a philosopher brings literature history closer to philosophy of history, he begins to analyze the problems of the philosophy of history (Lectures on the history of philosophy ) Romantic aesthetics reveals the value of folk art for the knowledge of the national spirit. Interest in folklore and folk art, which, as we have shown above, can be traced in early romanticism in works, in particular, Herder, and becomes the subject of special attention of the Heidelberg romantics (Arnim, Brentano, the Grimm brothers, etc.). They are inclined to consider folk art (songs, fairy tales) more valuable than professional art (psni, kazki) more tsynnisty, not all professional mist.

Romantics are looking for ways to create a new mythology as a means of overcoming reflexive culture they are inspired by all the unusual: the majestic, amazing, terrible, that can raise feelings over the ordinary course of events Romanticism prefers elevated over the beautiful just considering the aforementioned foundation Comparing art and scientific knowledge, romantics prefer the first as a source food feelings, and to the knowledge of a rather negative, because they believe that it destroys the mystery of the world And Schlegel in the work General review of the German state of literature, "notes that the Enlightenment made a rose and a servant of feelings, which, in their opinion, should not be sensual, but clever. According to the critic, this approach works to satisfy the" ultimate "practical needs of man, but beyond comprehension the irrational sphere is full of feelings, where the senses enjoy the mind They didn’t recognize the rights of fantasy and, perhaps, would willingly completely cure people of it [12, with 169 or b people away from it "[12, p. 169].

The subject of criticism in the aesthetics of romanticism is de romanticization of nature, understanding it only as a subject of knowledge, pacification of nature by the human mind. Representative of the mystical romance Novalis in the essay Christy drunkenness or Europe , a romantic compilation Hymn of the night , unfinished novel Heinrich von Oterdingen, "an unfinished philosophical story Students with Caica and others developed the concept of magical idealism as a synthesis of nature, spirit and soul. He sought to return the lost integrity of a person (unity of spirit and soul) and nature, looking for a sample of such integrity in the days of the European Middle Ages. Philosophy of nature acquires from Novalis an organic connection with the philosophy of man, and the chain of their connection is history. The unifying basis he considers ontological unity - divinity, nature and man's spirituality. only by rational means, but also the mystical experience is not deprived of rationalistic habits, but also by mystical dosvid.

Oppositionally referring to rational philosophy and science, Novalis notes the values ​​of a poetic attitude to nature: The poet comprehends nature better than the mind of a scientist [12, p 324] Restoring a lost golden age is achievable on the basis of coordinated human relations with nature, the thinker sees through the active work of poets, because it is their work that most fully reflects the spirit of nature, its inner life for an aesthetic theory, an important idea of ​​Novalis about the role of feelings in the knowledge of nature, i.e. spiritual comprehension of the secrets of the natural world ogazhnnn tānmitsi natural light.

Relationship with nature in the aesthetics of romanticism has a different meaning. Romanticism sees the inner world as the main subject of artistic knowledge; we can only compare the spiritual life of a person to nature’s life without the serpentine diversity and grandeur of its manifestations due to the kinship of the human world and the natural world - the divinity of both began.

The sustainable interests of romantic aesthetics include the problem of creative genius and talent. In Novalis, poetic creativity is the creation of the world in its natural manifestations. Therefore, the poet, according to an objective basis, Ava is the bearer of the philosophical spirit He creates according to the objective logic of life, unfolds through contradictions in order to get his harmonious conclusion There is nothing romantic for the fact that the name is called peace and destiny. We live in a huge (both in the sense of the whole and in the sense of particulars) novel [12, p 828] X In the romantic conception of creativity, the artist appears as a figure that provides events, in the basics of internal logic, expediency, and aesthetic completeness, which makes them human, that is, spiritual, tobto spiritual.

Важным в рассуждениях Новалиса есть понимание исторического содержания поэтического мышления Анализируя творчество В Шекспира, он подчеркивает: поэтика его произведений вобрала все разнообразие эстетических проявлений жизни, а вплоть до противоположного В них чередуются поэзия с антипоетичним, гармония с дисгармонией, обыденное, низкое, уродливое с романтическим, высоким, прекрасным, настоящее с воображаемым В этом состоит отличие его тв коров от греческой трагедии Гениальная интуиция художника сродни природе, поэтому искусство является природой, которая бы сама себя созерцает На этом основании произведения искусства могут рассматриваться родственными природе, ведь они являются символическими и многозначными, простыми и неисчерпаемыми, как создание природы Произведение искусства предстает продуктом гениальности художника, находит за поверхностью вещей и отношений их прихода ваний, трансцендентный смысл Следовательно понятие красоты романтики связывали с творчеством - источником создания нового, необычного и, в свою очередь, новое, необычное видели источником творчества, которое надихачості, яке надихає.

Достижения гениальных художников служили для философского романтизма убедительным аргументом в пользу ценности творческой интуиции, способной проникать в скрытые глубины жизни и создавать его целостный, внутренне жизненный образ Это был своеобразный аргумент романтиков против аналитического подхода науки к природному миру, что подвергался расчленения, разрушения присущей ему целостности Поэтому романтики ВБА чают в искусстве не только посредника между миром свободы и необходимости, но предоставляют ему статуса определенного верховной реальности и универсального языка символа устраняет ограниченность понятийного выражения [13, с 878 [13, с. 878].

Важное значение для эстетической теории имели герменевтическая студии Ф Шляермахера (1768-1834) Идеи его эстетики изложены в работах О религии: речи к образованным людям, среди тех, которые ее презирают (1799) и Лекции по эстетике , читаемые в Берлинском университете 1819, 1825, 1832 гг В первой из работ осмысливается внутренний опыт романтической личности, утверждается как новая религия [12 с 210-305] В Лекциях по эстетике философ выдвигает идею существования художественных способностей у каждого человека, но не считает их чем-то тождественным, называя различия их по глубине и полноте Этот подход весь Ливий вводом в круг творческого процесса мир воспринимающего субъекта, способного сопереживать, а значит, создавать собственный образ воспринимаемых произведений Поэтому расширяется понятие творчества, которое не ограничения ся только творчеством гениальных художников Собственно, речь идет о герметичность-неэтичное проблематику, что именно в эстетике Ф Шляермахера впервые рассматривается как универсальный методологический инструмент по анализу ку нием в физкультурно-исторических, в том числе художественных текстельтурно-історичних, у тому числі художніх текстів.

Философ выделяет следующие элементы текстов: стиль, построение фразы и произведения в целом Это позволяет прослеживать индивидуальную манеру художника и особенности времени создания работы В связи с проблемой интерпретации й текста рассматриваются вопросы связи интуиции и интеллекта, сознательного и без сознательного В рецептивной эстетике Ф Шляермахера раскрыта связь сознательного и без сознательного в творческом процессе Философ визн ачае различия в деятельности духовных структур создателя искусства и воспринимающего субъекта Если художник в акте художественного творения преимущественно полагается на интуицию, на без сознательное, то интерпретация тв ору большинстве своем сознательным процессом Не менее ценна для теории эстетики идея самоценности искусства как свободного самовыражения творческого духа Философ вводит критерий ценности произведения искусства, применяя понятия совершенство, завершенность, т.е. художественная убедительность, которые и образуют понятие прекрасное произведение В трактате Эстетика исследуются также вопросы видовой специфики отдельных искусств с учитывая особенностей художественного языка Поэтическая речь философ считает средством сокровенных проявлений человеческой души, в отличие от обыденного языка, не способного отображать движения души (поэтому она не объединяет, а ро соединяет людей) Философ сочетает в анализе метод интуитивного и продуктивного предположения по компаративный методуїтивного та продуктивного припущення з компаративним методом.

Важной проблемой из числа исследуемых философским романтизмом проблема романтической иронии ее развил Ф Шлегель, а также другие представители Йенского романтизма (например, А Шлегель, Тик, Новалис с) Основным ее источником была философия И Фихте, перенесена Ф Шлегелем в сферу эстетического Сущностью иронии есть идея своеобразия мышления о вещах Романтическая ирония проявление противоречия видимого и сущего ього в процессе эстетических суждений о явлениях Ф Шлегель считает именно философию истинной родиной иронии, которую можно было бы определить как прекрасное в сфере логического [12, с 76] Ирония в процессе мышления ния о явлениях выносит наружу их внутреннюю противоречивость, причем оказывается также внутренняя противоречивость суждений о явлениях Парадоксальность, отмечает Ф Шлегель, является непременным условием, душой и при нципом Ирониушею та принципом іронії.

Важной для понимания эстетических характеристик иронии является осуществлена ??философом ее духовная градация, выделение ее видов Первой (и самой главной) Ф Шлегель считает грубую иронию, имеющуюся в самой природе и вещей, ее настоящим домом история человечества; следующие - изящная и изощренная иронии (последняя имеющаяся у поэтов) Кроме этой классификации, обусловленной объективными качествами предмета суждения выделяют также виды иронии по эстетическим способом и характером выявления суждений о явлениях: драматическую и двойную Кроме того, автор выделяет особый вид - иронию иронии - и приводит большое кол ость ее модификаций Эстетическим феноменом Ф Шлегель считает сам процесс постоянного развертывания мысли через ряд возражений Образцом эстетически совершенной иронии возникает сократовская ирония Для нее характер не одновременно непринужденно и вполне продуманное притворствота цілком продумане удавання.

Диалектическая разработка теории иронии осуществлена ??также в трудах К Зольгера (1780-1819) и Жан Поля (Иоганн Пауль Фридрих Рихтер, 1763-1825), рассматривающие иронию центральным принципом творчества Ирония оп посередковуе все противоположности, образующие художественную целостность, произведение искусства Это объективное и субъективное, реальность и идея, жизненный материал и идеал Применение иронии характерные для художественной й творчестве немецких (Тик, Новалис, Гофман, Брентано), английских (Байрон), французских (Мюссе), русских (Пушкин, Лермонтов), украинский (Шевченко) романтикуиків.

Романтизм раскрылся как широкий духовный феномен во всех европейских странах и США и повлиял на все сферы жизни до середины XIX в Важное значение для развития идей романтической эстетики имел художественный р романтизм, возникший как особый художественное направление, развернувшись в своеобразии национальных культур, и отличался разнообразием художественных стилей, направлений и школ Он ярко проявился в различных видах и жанрах искусства Романтизм возник также у истоков философии и эстетики иррационализма XIX-XX с ст.