მედიუმი – რომანტიზმის ფილოსოფიასა და რომანტიკულ ხელოვნებას შორის

Abstract

The theoretical understanding of the worldview of Romanticism is carried out in the philosophical teachings of Fichte and Schelling, And the Schlegel brothers are the rare exception in the history of European culture who have attempted to subject philosophical provisions to art. Their work is interesting in this regard. They cross a bridge between theoretical and subject aesthetics. The best demonstration of this point of view is their theoretical works “Schools of Greek Poetry” and “Fragments” and their subject- aesthetic implementation. These theoretical works emphasize the fact that in Greek culture there was a complete balance between the material and the ideal, the physical and the spiritual. They consider this to be the most essential weakness of the artistic assimilation of the world in Greek culture. In their view, this weakness in the artistic assimilation of the world of Greek culture must be overcome by the ideal of Christian art, which is focused on the spiritual and seems to neglect the material. In our view, these theoretical views of the Schlegel brothers were motivated by practical purposes. The Schlegel brothers aimed to reject the aesthetic principles of classicism that prevailed at the time. The aesthetic of classicism considered rationality and not emotionality, clarity and not mysticism as a necessary condition of a work of art. Strict regulation, orderliness and harmony, which in turn removed the emotional charge from the artistic fabric, and art in the dry sense-appeared as a phenomenon similar to the scientific nature. The aesthetics of Romanticism contrasts with this position, and the work created by the artistic method of Romanticism emphasizes the need for a sensory-emotional approach. The best demonstration of this is Fr. Schlegel’s novel “Lucinde” (1799), which deals with the artistic embodiment of the basic ideas of the “fragments” of his theoretical work. The novel is perceived as an artistic illustration of a subjectivist-idealistic attitude towards reality. It is a specimen of what Schlegel calls a romantic irony based on the fixture rejection of the object and the sharing of only the subject and his claims.