Abstract
The subject of this research is the interrelation between aesthetics and metaphysics as it is reflected in the Kantian transcendentalism. In the “Critique of Judgment”, Kant assumes that the representation of perfection does not correlate with such on the sense of delight; thus, in the first introduction to the “Critique of Judgment”, he is far from considering the solutions to the problem of interrelation between perfection and aesthetic sense of delight persuasive. However, the attitude towards perfection transforms in Kant's later works, the analysis of which demonstrates that the idea of perfection, in essence, is conceived as the method for founding the entire aesthetics, its initial category of the beautiful that coincides with the meaning of the aesthetic perfection the beauty is genuine. The metaphysics of perfection, contained in considered Kant’s work, offers a new perspective on the categorical apparatus of Kantian aesthetics, formed in the “Critique of Judgment”, and broadens the representation on Kantian aesthetics as part of transcendental metaphysics. The concept of perfection implies various aspects of metaphysical research, retaining its immanent qualities in the aesthetics. In predication as an act of modern aesthetic expression, it is difficult to determine any stages and structures that can correlate specifically to perfectionism. The question concerning the field of such correlations remains controversial, inclusive of modern Russian philosophy.
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