El concepto de ironia en K.W.F. Solger

Solger (1780-1819) distinguishes between apparent irony (a ridiculing attitude that does not permit a person to take anything seriously at all) and true irony, which he considers to be the fundamental, genuine condition of man. Placed between the infinite and the finite, the human being can only complete his eternal destiny in this present limited and finite world. Whatever is serious and of real importance can only be found in God, and in our own lives this is realized precisely through our fall. Tragic irony is the state of mid which illuminates this immediate presence of the divine in human existence. We can derive diverse forms of irony from irony: artistic-, religious-, moral- and dialectic irony. The only aspects Solger was abIe to develop in his philosophical system were those related to artistic irony -the irony of the fact that Eternal Idea fades away in sensible, tangible reality in general and in the reality of the individual as well, precisely through the understanding of art. Art is not fundamentally production, but what is more, it is the form of existence in which the Idea and its appearance in reality interpenetrate each other in perfect harmony-. This union is an instantaneous event which takes place in all artistic creation and artistic 're-creation'

Sobre la distinción entre valores estéticos y artísticos

En un intento de distinguir y relacionar entre sí los valores estéticos y los artísticos, el autor de este artículo resalta el carácter indefinido de las nociones estéticas y la conexión de los mismos con otros ámbitos de valor. Básicamente refiere lo artístico a la obra y a su proceso de creación y lo estético a la recepción de la misma, que a la vez contribuye a la apertura de los valores artísticos. Por otro lado, lo estético y lo artístico comparten la autonomía del arte, a diferencia de otras dimensiones axiológicas relacionadas, como son por ejemplo, la poesía, la psicología, la virtud, etc.In his attempt to distinguish aesthetic and artistic values and to establish relationships between these two groups, the writer of this article emphasises the indefinite nature of aesthetic concepts and the connection of these with other spheres of value. Basically the writer relates the artistic dimension of the work of art and its process of creation and the aesthetic dimension to its reception, which, in turn, contributes to the understanding of artistic values. On the other hand, the aesthetic and artistic dimensions share the autonomy of art, in contrast with other axiological dimensions such as those related to poetry (psychology, virtue, etc.)

El concepto de ironia en K.W.F. Solger

Solger (1780-1819) distinguishes between apparent irony (a ridiculing attitude that does not permit a person to take anything seriously at all) and true irony, which he considers to be the fundamental, genuine condition of man. Placed between the infinite and the finite, the human being can only complete his eternal destiny in this present limited and finite world. Whatever is serious and of real importance can only be found in God, and in our own lives this is realized precisely through our fall. Tragic irony is the state of mid which illuminates this immediate presence of the divine in human existence. We can derive diverse forms of irony from irony: artistic-, religious-, moral- and dialectic irony. The only aspects Solger was abIe to develop in his philosophical system were those related to artistic irony -the irony of the fact that Eternal Idea fades away in sensible, tangible reality in general and in the reality of the individual as well, precisely through the understanding of art. Art is not fundamentally production, but what is more, it is the form of existence in which the Idea and its appearance in reality interpenetrate each other in perfect harmony-. This union is an instantaneous event which takes place in all artistic creation and artistic 're-creation'

Teoría de la cosmovisión natural en Scheler

El artículo se centra en el desarrollo del concepto de cosmovisión en el pensamiento de Scheler. Tras su desvinculación con la noción idealista de Eucken de mundo del trabajo, Scheler elabora progresivamente una teoría de la cosmovisión, en correspondencia con su clasificación de los tres hechos: natural, científico y fenomenológico o puro. De aquí que haya una cosmovisión orgánica, otra mecánica y una reducción de los hechos a sus esencias, en cuyo dominio se incluye la clasificación de las cosmovisiones