Comparing the Kantian sublime and Nietzschean Dionysian, Erman Kaplama introduces two new principles to philosophy of art: transition and motion. Drawing on the Heraclitean logos and phusis, he explores the notion of transition (Übergang) in Kant's Opus Postumum and revises the idea of nature as the principle of motion (phusis).
Comparing the Kantian sublime and Nietzschean Dionysian, Erman Kaplama introduces two new principles to philosophy of art: transition and motion. Drawing on the Heraclitean logos and phusis, he explores the notion of transition (Übergang) in Kant's Opus Postumum and revises the idea of nature as the principle of motion (phusis).Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Acknowledgments Introduction Chapter One: On "Transition" as one of the Founding Principles of Cosmological Aesthetics and its Applications in the Kantian Sublime and Nietzschean Dionysian Prelude: The Heraclitean Logos and the Principle of Transition On the Principle of Transition as the Foundation of Cosmological Aesthetics with Reference to Opus Postumum On the Human Faculty of Sense-Intuition (Anschauung) through which the Transition Takes Place On the Power of Judgment as the Faculty that Regulates and Determines the Transition The Principle of Transition and Cosmological Transcendentalism The Kantian Sublime as a Theory of Cosmological Aesthetics Representing the Transition The Nietzschean Dionysian as a Theory of Cosmological Aesthetics Representing the Transition On the Principle of Transition as Genius in Kantian and Nietzschean Aesthetics Conclusion Chapter Two: On "Motion" as one of the Founding Principles of Cosmological Aesthetics with Regards to the Heraclitean, Kantian and Nietzschean Cosmology Prelude: Heraclitean Phusis as the Principle of Motion Kant's Principle of Motion and Metaphysics of Nature Nietzsche's Principle of Motion and the Dionysian as a Cosmological Principle Conclusion Excursus: A Cosmological-Aesthetic Analysis Of Van Gogh's Starry Night Conclusion Bibliography Index
Acknowledgments Introduction Chapter One: On "Transition" as one of the Founding Principles of Cosmological Aesthetics and its Applications in the Kantian Sublime and Nietzschean Dionysian Prelude: The Heraclitean Logos and the Principle of Transition On the Principle of Transition as the Foundation of Cosmological Aesthetics with Reference to Opus Postumum On the Human Faculty of Sense-Intuition (Anschauung) through which the Transition Takes Place On the Power of Judgment as the Faculty that Regulates and Determines the Transition The Principle of Transition and Cosmological Transcendentalism The Kantian Sublime as a Theory of Cosmological Aesthetics Representing the Transition The Nietzschean Dionysian as a Theory of Cosmological Aesthetics Representing the Transition On the Principle of Transition as Genius in Kantian and Nietzschean Aesthetics Conclusion Chapter Two: On "Motion" as one of the Founding Principles of Cosmological Aesthetics with Regards to the Heraclitean, Kantian and Nietzschean Cosmology Prelude: Heraclitean Phusis as the Principle of Motion Kant's Principle of Motion and Metaphysics of Nature Nietzsche's Principle of Motion and the Dionysian as a Cosmological Principle Conclusion Excursus: A Cosmological-Aesthetic Analysis Of Van Gogh's Starry Night Conclusion Bibliography Index
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