بينيدتو كروتشه
الواقع روح في أربعة أشكال متمايزة – الجميل والحق والنافع والخير؛ والفن حدس هو في ذاته تعبير، وكل تاريخ حقيقي تاريخ معاصر، قصة الحرية.
التموضع
فيلسوف ومؤرخ وناقد في نابولي بنى «فلسفة للروح» في أربعة أشكال – الجميل والحق والنافع والخير –، وعرّف الفن حدسًا وتعبيرًا، ورأى أن كل تاريخ حق هو تاريخ معاصر؛ وصاغ عبر مجلته «النقد» الثقافة الإيطالية عقودًا.
الأفكار الرئيسة
- الفن حدسًا وتعبيرًا
- أشكال الروح الأربعة
- كل تاريخ هو تاريخ معاصر
- التاريخ قصة الحرية
الأساتذة: أنطونيو لابريولا
التأثير
تأثّر بـ 3
جيامباتيستا فيكو
تأثّر بـ ✓
In The Philosophy of Giambattista Vico (1911) Croce made Vico a precursor of his historicism, having presented him in the Aesthetic (1902) as the discoverer of aesthetics. B. Croce, Estetica come scienza dell’espressione e linguistica generale (1902); La filosofia di Giambattista Vico (1911); SEP “Benedetto Croce”
جيامباتيستا فيكو › 1668–1744
جورج فيلهلم فريدريش هيغل
تأثّر بـ ✓
In What Is Living and What Is Dead of Hegel’s Philosophy (1907) Croce limited the dialectic of opposites, adding a ‘nexus of distincts’ among the forms of spirit. B. Croce, Ciò che è vivo e ciò che è morto della filosofia di Hegel (1907); SEP “Benedetto Croce”
جورج فيلهلم فريدريش هيغل › 1770–1831
أنطونيو لابريولا تتلمذ على
تتلمذ على ✓
As a young man in Rome, living with his uncle Silvio Spaventa, Croce attended Labriola’s lectures on moral philosophy from 1884; in 1895 Labriola’s essays on historical materialism drew him into a study of Marx. B. Croce, Contributo alla critica di me stesso (written 1915)
التوثيق: مسودة بالذكاء الاصطناعي
أنطونيو لابريولا › 1843–1904
أثّر في 2
خوسيه كارلوس مارياتيغي
أثّر في
In Defence of Marxism (1928–29, ch. IV and VI) Mariátegui invoked Croce’s essays on historical materialism – the link between Hegel and Marx merely psychological, socialism grounded in a historical conception – against readings of Marxism as determinism and as a doctrine without ethics. J. C. Mariátegui, Defensa del marxismo (1928–29; book 1934), ch. IV “La filosofía moderna y el marxismo” and VI “Ética y socialismo”
التوثيق: مسودة بالذكاء الاصطناعي
خوسيه كارلوس مارياتيغي › 1894–1930
هايدن وايت
أثّر في
White, who came to Croce in Rome, wrote ‘The Abiding Relevance of Croce’s Idea of History’ (1963) and read him as a philosopher of history in Metahistory (1973). H. White, “The Abiding Relevance of Croce’s Idea of History”, Journal of Modern History 35 (1963); Metahistory (1973); H. Paul, Hayden White: The Historical Imagination (2011)
التوثيق: مسودة بالذكاء الاصطناعي
هايدن وايت › 1928–2018
النقد
انتقده 1
أنطونيو غرامشي أثّر في
أثّر في ✓
For Gramsci the philosophy of praxis had to do to Croce what Marx had done to Hegel, recasting Croce’s ethico-political history as a theory of hegemony (Notebook 10). A. Gramsci, Quaderni del carcere, Notebook 10 (1932–35), ed. V. Gerratana (1975); letter to T. Schucht (1932)
انتقده
Gramsci called for an ‘Anti-Croce’: Croce’s ethico-political history is speculative and leaves out force and struggle, his Storia d’Europa (1932) starting only after 1815 (Notebook 10). A. Gramsci, Quaderni del carcere, Q. 10, part I (1932–35), ed. V. Gerratana (1975)
التوثيق: مسودة بالذكاء الاصطناعي
أنطونيو غرامشي › 1891–1937
ينتقد 3
كارل ماركس
انتقد
Croce held that Marx’s historical materialism is no philosophy of history, only a canon of historical interpretation (Materialismo storico ed economia marxistica, 1900). B. Croce, Materialismo storico ed economia marxistica (1900), ch. 1
التوثيق: مسودة بالذكاء الاصطناعي
كارل ماركس › 1818–1883
جون ديوي
انتقد
Croce found Dewey’s Art as Experience (1934) so close to his own idealist aesthetics that he suspected borrowing; Dewey denied this (Journal of Aesthetics and Art Criticism, 1948). B. Croce, “Intorno all’estetica del Dewey”, La Critica 38 (1940) 348–353; Eng. “On the Aesthetics of Dewey”, Journal of Aesthetics and Art Criticism 6 (1948) 203–207; SEP “Dewey’s Aesthetics”
التوثيق: مسودة بالذكاء الاصطناعي
جون ديوي › 1859–1952
جيوفاني جنتيلي
انتقد
In the anti-fascist intellectuals’ counter-manifesto (1925) Croce rejected Gentile’s fascist manifesto, its confusion of politics with scholarship and its claim that fascism was a new faith. B. Croce, “Una risposta di scrittori, professori e pubblicisti italiani al manifesto degli intellettuali del fascismo”, Il Mondo, 1 May 1925; G. Gentile, Manifesto degli intellettuali fascisti (21 Apr. 1925)
التوثيق: مسودة بالذكاء الاصطناعي
جيوفاني جنتيلي › 1875–1944
الأعمال
يعرّف الفن بأنه حدس هو عينه التعبير، ويفصله عن المفاهيم والمنفعة والأخلاق، ويضيف تاريخًا لعلم الجمال يظهر فيه فيكو مكتشفًا له.
يُبقي على جدل الأضداد عند هيغل لكنه ينتقد خلطه بين الأضداد وأشكال الروح المتمايزة وفلسفته في الطبيعة والتاريخ.
يقدّم المعرفة التاريخية فكر الحاضر في الماضي، والحرية المثل الأخلاقي الذي يمنح التاريخ معناه.
الموقف
Croce is on the map as the central figure of Italian neo-idealism and, for half a century, of Italian culture. His philosophy of spirit distinguishes two theoretical forms, intuition and concept, and two practical ones, economic and ethical will; against Hegel he held that these are “distinct” forms, related as degrees, not opposites to be overcome in a dialectical synthesis. The “Aesthetic” of 1902 defined art as intuition identical with expression, independent of concepts, utility and morality, and presented Vico as the discoverer of aesthetics; it influenced R. G. Collingwood and literary criticism in Italy and beyond, and in 1948 Croce argued that Dewey’s aesthetics rested on idealist premises, which Dewey denied. In his theory of history Croce held that all true history is contemporary history, the thought of the present about the past, and later presented liberty as the moral ideal of history. Gramsci devoted a notebook to an “Anti-Croce” and criticised the speculative and politically moderate traits of this historicism. Croce interpreted fascism as a moral illness and an interruption of Italy’s liberal history; Piero Gobetti had seen it instead as the “autobiography of the nation”, and later historians have debated how far Croce’s reading spared the liberal elites who had helped fascism to power.
الحياة والسياق
Benedetto Croce was born on 25 February 1866 in Pescasseroli in the Abruzzi into a wealthy landowning family and grew up in Naples. In 1883 he lost his parents and his sister in the earthquake of Casamicciola on Ischia and was himself buried under the rubble for hours. He then lived in Rome with his uncle, the politician Silvio Spaventa, enrolled in law without taking a degree and attended Antonio Labriola’s lectures. Back in Naples from 1886, he lived as a private scholar on his own means and wrote first on the history and literature of Naples. In 1903 he founded the journal “La Critica”, in which Giovanni Gentile collaborated until 1922, and edited it until 1944. He became a senator in 1910 and was minister of public education in Giovanni Giolitti’s last government in 1920–21. In June 1924, after the murder of Giacomo Matteotti, he voted in the Senate for confidence in Mussolini’s government; on 1 May 1925 he published the manifesto of antifascist intellectuals in reply to Gentile and thereafter remained an opponent of the regime in Italy, watched by the police but tolerated. After 1943 he led the refounded Liberal Party, was a minister without portfolio in 1944 and sat in the Constituent Assembly. In 1946 he founded the Italian Institute for Historical Studies in Naples. He died in Naples on 20 November 1952.
أعمال رئيسة أخرى
- Logic as the Science of the Pure Concept (Logica come scienza del concetto puro, 1909)
- Philosophy of the Practical (Filosofia della pratica. Economica ed etica, 1909)
- Theory and History of Historiography (Teoria e storia della storiografia, 1917)
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