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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).
List of contents
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
About the author
Erman Kaplama is currently lecturing in philosophy, ethics, and governance at the University of the South Pacific. He was previously the Head of School of Social Sciences and assistant professor at Fiji National University. He holds a PhD in humanities and cultural studies from the University of London's Birkbeck College, an MSc in political theory from the London School of Economics and Political Science, and a BA in political science from Bilkent University in Ankara, Turkey.
Summary
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).
