Abstract

The article reconstructs Pareyson’s itinerary from the original aesthetic interests of the 40’s, already marked by profound religious implications to the later philosophy that Pareyson wanted to call “tragic Thought”. Decisive in this itinerary is what he called “forma formante” that tracks the presence of an ontological transcendence in art. It’s also the tension created by this transcendent presence that constitutes the tragic nature of human condition.