Analiza la suerte del genio desde una perspectiva histórica, para ello cita el destino de personajes de la historia como Rubelais, Galileo, Colón, Tomas Moro, Byron, Dante entre otros. Sostiene que el genio es luchador; así el hombre que lo posee si es filósofo, combatirá con los filósofos; si es reformador con las viejas preocupaciones; si es crítico, con el blanco de sus burlas, si es político con los contrarios a sus doctrinas; y en general, todos con la envidia de sus contemporáneos. / Tesis

Sostiene que el genio concilia las discordancias, enlaza los dos mundos de lo real y lo ideal, resuelve en teoría general el problema de la armonía del espíritu y la naturaleza de cada individuo que en su ser realiza de manera particular. El genio es la síntesis de todas las vidas individuales, es la idea general, lo absoluto de Schelling, la personificación de la humanidad. Considera que el genio por su complejidad no es susceptible de un análisis científico, es imposible determinar sus procesos psicológicos, sin embargo se puede recorrer en sus obras los siguientes caracteres: espontaneidad y originalidad en la concepción, unidad sintética y orgánica en lo producido, y fecundidad inagotable en el seno de esa misma unidad que envuelve en cierto modo la intuición del porvenir, todo lo cual nos revela un poder creador de una intensidad extraordinaria, que tiene como propiedad innata la de desarrollarse necesariamente en el camino del progreso humano. / Tesis

[pt] A dissertação trata da idéia de gênio desenvolvida por Nietzsche e sua relação com a tradição filosófica - principalmente Kant, o Romantismo alemão e Schopenhauer. Mostramos como Nietzsche modifica o conceito cunhado pela tradição e inova sua significação. A idéia de gênio em Nietzsche pode ser compreendida em dois momentos. O primeiro é o que aparece no livro O Nascimento da Tragédia, onde o gênio possui um caráter sobre-humano capaz de revelar uma verdade fundamental, por meio da arte. No segundo momento arte e vida não mais se diferenciam. Nietzsche aproximará tal noção de gênio à vida, se afastando da concepção forjada pela dita tradição filosófica, onde o conceito de gênio designa um talento inato, e nada pode ser feito para despertar este talento. Procuramos mostrar que Nietzsche parece falar antes da dificuldade da formação de um indivíduo autêntico do que da impossibilidade total desta tarefa, visto que, a partir da constatação da não essencialidade dos valores, certos homens podem criar e também se tornar gênios. Nietzsche parece propor um certo ensinamento de como se tornar um indivíduo autêntico, capaz de criar seus próprios valores e afirmar a vida, apesar de toda sua falta de sentido. Assim, o ensinamento é paralelo ao desenvolvimento de suas reflexões sobre o gênio, que tem na capacidade criativa sua principal característica. / [en] This dissertation is about the idea of genius developed by Nietzsche in its relation to Kant, German Romantism and Schopenhauer. These show how Nietzsche modifies the concept shaped by tradition and innovates the current signification. The idea of genius in Nietzsche may be understood in two moments. The first one appears in The Birth of Tragedy, where the genius had an extra-human character that can reveal a fundamental truth by art. In the second moment Nietzsche shows the similiarities between art and life. Nietzsche approximated the notion of genius with the notion of life. He takes distance of the conception shaped by philosophical tradition, where the concept of genius means an innate talent and nothing can make this talent appear. We tried to show that Nietzsche speaks about the difficulty for the development of an authentic individual, instead of the impossibility of this task. After the evidence that the values don t have any essence in itself, some individuals can create and become genius. Nietzsche seems to propose a certainly education to be an authentic individual, able to create his own values and enhance life, although its non-sense. Therefore, this education is parallel of the development of his reflections about genius, who have in creative capacity his major characteristic.

At the third section of the “Analytic of the Beautiful” of the Critique of Judgement, Kant establishes the difference between pure judgements of taste and judgements of adherent beauty. The Author contends that the definitions presented there are problematic when one attempts to reconcile them with judgements of artistic beauty. In principle, every work of art supposes certain concepts and contents that determine it as an artistic object, so it would not be possible to formulate pure judgements of taste in their regard. In order to overcome these difficulties, it becomes necessary to articulate the ideas in relation to the nature of artistic production that Kant presents in the sections on Fine Art and the Genius, where the concept of “aesthetic ideas” (understood as internal intuitions of artistic objects) is introduced. Finally, the debate on landscape and gardening in the 18th century allows us to understand how pure judgements of taste can be made from two different ways of presenting aesthetic ideas in an artistic genre. / En el tercer momento de la “Analítica de lo bello” de la Crítica de la facultad de Juzgar, Kant establece la diferencia entre juicios puros de gusto y juicios de belleza adherente. A juicio del autor, las definiciones presentadas resultan problemáticas a la hora de intentar conciliarlas con juicios de belleza artística. En principio, toda obra de arte supone conceptos y contenidos que la determinan como objeto artístico, por lo que no sería posible emitir juicios puros de gusto sobre ellos. Es necesario articular las ideas en relación a la naturaleza de la producción artística presentadas en las secciones sobre arte bello y el genio, donde se introduce el concepto de “ideas estéticas” (entendidas como intuiciones internas de los objetos artísticos), para superar aquellas dificultades. Por último, el debate sobre paisaje y jardinería en el siglo XVIII permite entender cómo se puede emitir juicios estéticos puros a partir de dos formas distintas de presentar ideas estéticas en un género artístico.

Die Untersuchung widmet sich der visuellen Thematisierung autoreferentieller Fragestellungen zur Genese sowie den Grundlagen und Zielen von Malerei in der italienischen Druckgraphik des ausgehenden 16. und 17. Jahrhunderts. Erstmals wird diese bildliche Auseinandersetzung mit abstrakten kunsttheoretischen Inhalten zum zentralen Untersuchungsgegenstand erklärt und anhand von vier hinsichtlich ihrer ikonographischen Dichte herausragenden druckgraphischen Beispielen - Federico Zuccaris Lamento della pittura, Pietro Testas Liceo della pittura, Salvator Rosas Genio di Salvator Rosa und Carlo Marattas Scuola del Disegno – vergleichend analysiert. Neben der Rekonstruktion der Entstehungszusammenhänge befasst sich die Analyse mit dem Verhältnis von Text und Bild, offenen Fragen der Ikonographie, der zeitgenössischen Verlagssituation sowie dem Adressatenkreis und somit schließlich der Motivation für jene komplexen bildlichen Reflexionen über Malerei. Als zentrale Gemeinsamkeit der kunsttheoretischen Blätter, welche im Kontext der römischen Akademiebewegung entstanden sind, konnte das Bestreben, die Malerei im Sinne einer Metawissenschaft über das neuzeitliche Wissenschaftspanorama hinauszuheben, erschlossen werden. Anhand einer umfassenden Neubewertung der einzigartigen Ikonographien wird erstmals aufgezeigt, dass dem Vergleich zwischen Malerei und Philosophie als der Mutter aller Wissenschaften in der visuellen Kunsttheorie des 17. Jahrhunderts eine vollkommen neuartige Bedeutung zukommt. Dieser hat neue Spielräume für die bildliche Definition des künstlerischen Selbstverständnisses eröffnet, die der traditionelle, aus dem Horazschen Diktum „Ut pictura poesis“ hervorgegangene Vergleich zwischen Malerei und Dichtung nicht in ausreichender Form bereit hielt. Folglich thematisiert die vorliegende Untersuchung auch die Frage nach dem spezifischen reflexiven Potenzial des Bildes, seiner medialen Autonomie und seiner möglichen Vorrangstellung gegenüber dem Medium der Sprache. / The study deals with the pictorial examination of self-implicating topics relating to the genesis, the fundamentals and the aims of painting by Italian printmaking of the late 16th and 17th century. For the first time, a research is focussed on the pictorial examination of abstract contents of art theory as shown in the selected and compared examples which are extraordinary regarding their iconographical concentration – the Lamento della pittura by Federico Zuccari, the Liceo della pittura by Pierto Testa, the Genio di Salvator Rosa by Salvator Rosa and the Scuola del Disegno by Carlo Maratta. Besides the reconstruction of the history of origins the research is dealing with the relationship of image and text, problems of iconography, the coeval publishing situation as well as the target audience of these prints and finally the motivation for those very complex visual reflections on painting. As essential similarity of those arttheoretical prints, which all araised within the context of the Roman Art Accademy, has been determined the ambition to specify painting as a kind of Meta-science, which is somehow superior to all other modern age sciences. By means of an extensive reevaluation of the unique iconography of every single sheet it became feasible to illustrate that the comparison between painting and philosophy as the origin of the entire spectrum of sciences has attained a completely new dimension within the pictorial art theory of the 17th century. The novel comparison has opened a wider range and diversity for the visual definition of the artists` self-conception compared to the traditional comparison between painting and poetry, as it emerged from the dictum „Ut pictura poesis“ by Horaz. Accordingly the study deals with the question of the particular reflexive capability of images, their medial autonomy and their potential primacy over language.