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Cosmological aesthetics through the Kantian sublime and Nietzschean dionysian

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  1. Tez No: 611571
  2. Yazar: ERMAN KABLAMA
  3. Danışmanlar: PROF. DR. DANIŞMAN YOK
  4. Tez Türü: Doktora
  5. Konular: Felsefe, Philosophy
  6. Anahtar Kelimeler: Belirtilmemiş.
  7. Yıl: 2011
  8. Dil: İngilizce
  9. Üniversite: University of London - Birkbeck
  10. Enstitü: Yurtdışı Enstitü
  11. Ana Bilim Dalı: Belirtilmemiş.
  12. Bilim Dalı: Belirtilmemiş.
  13. Sayfa Sayısı: 264

Özet

This thesis is founded on a close reading of Kant's Opus Postumum as the continuation of the third Critique in order both to explore the essential motivation which drove Kant to write a last comprehensive magnum opus (after having completed his critical philosophy) and, by doing so, to show the essential link between his aesthetics and the idea of Übergang (transition from the metaphysical principles to physics) which he chose to be the title of this last work. The Heraclitean logos is used to set the framework in interpreting the transition as an aesthetic 'principle' grounding both the sense-intution and sense-perception of phenomena and concepts of understanding through the regulation of the faculty of judgment. In so doing, referring to the actual fragments of Heraclitus, the thesis revises logos as a synthetic mediating principle which grounds both nature or phusis, as the unifying idea governing the totality of the moving forces and phenomena, and human conceptions that are necessarily based on the very same process of mediation. Similarly, also by drawing on the late Heideggerian metaphysics and Nietzsche's lectures on the pre-Platonics, the idea of 'nature' is also revised through the Heraclitean phusis construing it as the principle of motion. In order to substantiate the aesthetic and cosmological principles of motion and transition, a comparison is made between the Kantian sublime and Nietzschean Dionysian as the aesthetic theories representing the transition from nature to art. For they function both in conceptual – aesthetic and in dynamic – cosmological levels regarding their reference to nature and human nature in unison. The Kantian sublime is defined both cosmologically and aesthetically, both as an aesthetic representation of Nature as a whole, and as an idea generated within the faculty of Judgment, which“schematises the transition from the sensible to supersensible”. It is also shown that the Dionysian is both an aesthetic theory that links Nature (phusis) to Human Nature (ethos) as symbolized by the Chorus in Greek Tragedy, and a cosmological theory that represents the principle of motion or phusis through such notions as the eternal recurrence and will to power.

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