Abstract

The paper is meant to show the deep continuity between Luigi Pareyson’s “aesthetis of “formativity” and the late religious developments of his philosophy. From the very beginning, Pareyson’s aesthetics involved a theory of interpretation in which the expression of the personal creativity of the artist and the presence of a transcendent “legality” coincided completely, making understandable the non-arbitrariness of both the creation and the critical approach to the work. It is on this basis that Pareyson developed later his “ontology of freedom”.