“O sonho formador de Pigmaleão”: corpo e tato na estética de Herder
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Artefilosofia |
Texto Completo: | https://periodicos.ufop.br/raf/article/view/4310 |
Resumo: | Herder was deeply involved in the debates around the foundation of aesthetics as a philosophical discipline that had started in mid-eighteenth century, based on Baumgarten’s work. Since his first texts, we notice an intention to deepen the original project of a science of the senses, expanding the psychological inquire into the lower faculties into a true physiology of the senses, which should redirect all soul’s operations to their origins in the sensitive body. In his essay, Plastik [Sculpture], published in 1778, we will find the pinnacle of this debate. A text of apparently limited focus – a study on sculpture based on a theory of touch – it consolidates an important displacement of the original project of aesthetics, by incorporating Winckelmann’s passionate contemplation of sculpture. Herder rediscovers in the touching body, poetically understood, the roots of development of the human soul and of its engagement with the world through its bodily nature. In an unforeseen way, the opening to a world of symbolic shapes, in a thought inherent to sensibility, ends up bringing aesthetics to a completely different horizon, when compared to the empirical psychology in which it was conceived. |
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“O sonho formador de Pigmaleão”: corpo e tato na estética de HerderHerderBaumgartenWinckelmannaestheticstouchHerderBaumgartenWinckelmannestéticatatoHerder was deeply involved in the debates around the foundation of aesthetics as a philosophical discipline that had started in mid-eighteenth century, based on Baumgarten’s work. Since his first texts, we notice an intention to deepen the original project of a science of the senses, expanding the psychological inquire into the lower faculties into a true physiology of the senses, which should redirect all soul’s operations to their origins in the sensitive body. In his essay, Plastik [Sculpture], published in 1778, we will find the pinnacle of this debate. A text of apparently limited focus – a study on sculpture based on a theory of touch – it consolidates an important displacement of the original project of aesthetics, by incorporating Winckelmann’s passionate contemplation of sculpture. Herder rediscovers in the touching body, poetically understood, the roots of development of the human soul and of its engagement with the world through its bodily nature. In an unforeseen way, the opening to a world of symbolic shapes, in a thought inherent to sensibility, ends up bringing aesthetics to a completely different horizon, when compared to the empirical psychology in which it was conceived.A partir do gesto fundador de Baumgarten, em meados do século XVIII, Herder se envolveu profundamente com os debates de fundamentação da estética como disciplina filosófica. Desde seus primeiros textos, notamos a intenção de radicalizar o projeto original de uma ciência sensível, ampliando a investigação psicológica das faculdades inferiores em uma verdadeira fisiologia dos sentidos, que deveria reconduzir as operações da alma à sua origem no próprio corpo que sente. Será no ensaio Plástica, publicado em 1778, que encontraremos o momento culminante desse debate. Um texto de foco aparentemente limitado – um estudo sobre a escultura a partir de uma teoria do tato –, ele sintetiza, todavia, um importante deslocamento do projeto da estética ao recuperar a contemplação apaixonada da escultura a partir de Winckelmann. Na concretude da experiência de um corpo que toca e sente o outro de maneira poética, Herder redescobre as raízes do desenvolvimento da alma humana e de seu engajamento com o mundo a partir de sua condição corpórea. De maneira até mesmo imprevista, a abertura para um mundo de formas simbólicas, na descoberta desse pensamento do sensível, acaba por levar a estética muito além dos horizontes daquela psicologia empírica na qual fora concebidaUniversidade Federal de Ouro Preto2020-12-24info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionChamada restrita. Artigos convidados e avaliados pelos pares.Invited items and peer prices.Artículos invitados y precios similares.Articles invités et prix des pairs.application/pdfhttps://periodicos.ufop.br/raf/article/view/4310Artefilosofia; v. 15 (2020): Edição Especial ; 210-228Artefilosofia; Vol. 15 (2020): Edição Especial ; 210-2282526-78921809-8274reponame:Artefilosofiainstname:Universidade Federal de Ouro Preto (UFOP)instacron:UFOPporhttps://periodicos.ufop.br/raf/article/view/4310/3580Copyright (c) 2020 Pedro Franceschinihttp://creativecommons.org/licenses/by-nc-sa/4.0info:eu-repo/semantics/openAccessFranceschini, Pedro2022-01-07T17:01:35Zoai:pp.www.periodicos.ufop.br:article/4310Revistahttps://periodicos.ufop.br/raf/PUBhttps://periodicos.ufop.br/raf/oaiartefilosofia.defil@ufop.edu.br || periodicos.sisbin@ufop.edu.br1809-82742526-7892opendoar:2022-01-07T17:01:35Artefilosofia - Universidade Federal de Ouro Preto (UFOP)false |
dc.title.none.fl_str_mv |
“O sonho formador de Pigmaleão”: corpo e tato na estética de Herder |
title |
“O sonho formador de Pigmaleão”: corpo e tato na estética de Herder |
spellingShingle |
“O sonho formador de Pigmaleão”: corpo e tato na estética de Herder Franceschini, Pedro Herder Baumgarten Winckelmann aesthetics touch Herder Baumgarten Winckelmann estética tato |
title_short |
“O sonho formador de Pigmaleão”: corpo e tato na estética de Herder |
title_full |
“O sonho formador de Pigmaleão”: corpo e tato na estética de Herder |
title_fullStr |
“O sonho formador de Pigmaleão”: corpo e tato na estética de Herder |
title_full_unstemmed |
“O sonho formador de Pigmaleão”: corpo e tato na estética de Herder |
title_sort |
“O sonho formador de Pigmaleão”: corpo e tato na estética de Herder |
author |
Franceschini, Pedro |
author_facet |
Franceschini, Pedro |
author_role |
author |
dc.contributor.author.fl_str_mv |
Franceschini, Pedro |
dc.subject.por.fl_str_mv |
Herder Baumgarten Winckelmann aesthetics touch Herder Baumgarten Winckelmann estética tato |
topic |
Herder Baumgarten Winckelmann aesthetics touch Herder Baumgarten Winckelmann estética tato |
description |
Herder was deeply involved in the debates around the foundation of aesthetics as a philosophical discipline that had started in mid-eighteenth century, based on Baumgarten’s work. Since his first texts, we notice an intention to deepen the original project of a science of the senses, expanding the psychological inquire into the lower faculties into a true physiology of the senses, which should redirect all soul’s operations to their origins in the sensitive body. In his essay, Plastik [Sculpture], published in 1778, we will find the pinnacle of this debate. A text of apparently limited focus – a study on sculpture based on a theory of touch – it consolidates an important displacement of the original project of aesthetics, by incorporating Winckelmann’s passionate contemplation of sculpture. Herder rediscovers in the touching body, poetically understood, the roots of development of the human soul and of its engagement with the world through its bodily nature. In an unforeseen way, the opening to a world of symbolic shapes, in a thought inherent to sensibility, ends up bringing aesthetics to a completely different horizon, when compared to the empirical psychology in which it was conceived. |
publishDate |
2020 |
dc.date.none.fl_str_mv |
2020-12-24 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Chamada restrita. Artigos convidados e avaliados pelos pares. Invited items and peer prices. Artículos invitados y precios similares. Articles invités et prix des pairs. |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.ufop.br/raf/article/view/4310 |
url |
https://periodicos.ufop.br/raf/article/view/4310 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.ufop.br/raf/article/view/4310/3580 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2020 Pedro Franceschini http://creativecommons.org/licenses/by-nc-sa/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2020 Pedro Franceschini http://creativecommons.org/licenses/by-nc-sa/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Ouro Preto |
publisher.none.fl_str_mv |
Universidade Federal de Ouro Preto |
dc.source.none.fl_str_mv |
Artefilosofia; v. 15 (2020): Edição Especial ; 210-228 Artefilosofia; Vol. 15 (2020): Edição Especial ; 210-228 2526-7892 1809-8274 reponame:Artefilosofia instname:Universidade Federal de Ouro Preto (UFOP) instacron:UFOP |
instname_str |
Universidade Federal de Ouro Preto (UFOP) |
instacron_str |
UFOP |
institution |
UFOP |
reponame_str |
Artefilosofia |
collection |
Artefilosofia |
repository.name.fl_str_mv |
Artefilosofia - Universidade Federal de Ouro Preto (UFOP) |
repository.mail.fl_str_mv |
artefilosofia.defil@ufop.edu.br || periodicos.sisbin@ufop.edu.br |
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1798313558961815552 |