Lo bello y lo siniestro - download pdf or read online

By Eugenio Trías

ISBN-10: 8499892558

ISBN-13: 9788499892559

Una obra clave para comprender los angeles historia de las rules estéticas y de l. a. teoría del arte.

Publicado por primera vez en 1982 y merecedor del Premio Nacional de Ensayo en 1983, Lo bello y lo siniestro es un texto imprescindible para comprender l. a. historia de las principles estéticas y de los angeles teoría del arte.

Mediante el análisis de obras diversas -desde las pinturas renacentistas de Sandro Botticelli hasta los angeles célebre película Vertigo de Alfred Hitchcock- el genial filósofo valora l. a. evolución histórica de dos categorías estéticas opuestas, lo bello y lo siniestro, para descubrir lo que ambas tienen de chic. Eugenio Trías persigue y consigue incansablemente para ofrecer al lector uno de los ensayos más descollantes de nuestro tiempo.

Esta nueva edición de Lo bello y lo siniestro ha sido revisada y actualizada por su autor y analizada, en un magnífico prólogo, por Vicente Verdú.

La crítica ha dicho...
«Ha sido esa ruta important en pos de hallar una solución al problema de los angeles verdad, los angeles que ha situado a Trías en l. a. vanguardia del último pensamiento europeo.»
El Mundo

«Eugenio Trías se acercó a los angeles perfección formal y filosófica en estas páginas.»
Rafael Narbona, El Cultural, El Mundo

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Extra info for Lo bello y lo siniestro

Sample text

The sensuous impulsion excludes from its subject all autonomy and freedom; the formal impulsion excludes all dependence and passivity. But the exclusion of freedom is physical necessity; the exclusion of passivity is moral necessity. Thus the two impulsions subdue the mind: the former to the laws of nature, the latter to the laws of reason. It results from this that the instinct of play, which unites the double action of the two other instincts, will content the mind at once morally and physically.

Reason also utters the decision that man shall only play with beauty, and he shall only play with beauty. For, to speak out once for all, man only plays when in the full meaning of the word he is a man, and he is only completely a man when he plays. This proposition, which at this moment perhaps appears paradoxical, will receive a great and deep meaning if we have advanced far enough to apply it to the twofold seriousness of duty and of destiny. I promise you that the whole edifice of aesthetic art and the still more difficult art of life will be supported by this principle.

Before truth causes her triumphant light to penetrate into the depths of the heart, poetry intercepts her rays, and the summits of humanity shine in a bright light, while a dark and humid night still hangs over the valleys. But how will the artist avoid the corruption of his time which encloses him on all hands? Let him raise his eyes to his own dignity, and to law; let him not lower them to necessity and fortune. Equally exempt from a vain activity which would imprint its trace on the fugitive moment, and from the dreams of an impatient enthusiasm which applies the measure of the absolute to the paltry productions of time, let the artist abandon the real to the understanding, for that is its proper field.

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Lo bello y lo siniestro by Eugenio Trías


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