Cosmological Aesthetics Through the Kantian Sublime and Niet

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).

AcknowledgmentsIntroductionChapter One: On "Transition" as one of the Founding Principles of Cosmological Aesthetics and its Applications in the Kantian Sublime and Nietzschean DionysianPrelude: The Heraclitean Logos and the Principle of TransitionOn the Principle of Transition as the Foundation of Cosmological Aesthetics with Reference to Opus PostumumOn the Human Faculty of Sense-Intuition (Anschauung) through which the Transition Takes PlaceOn the Power of Judgment as the Faculty that Regulates and Determines the TransitionThe Principle of Transition and Cosmological TranscendentalismThe Kantian Sublime as a Theory of Cosmological Aesthetics Representing the TransitionThe Nietzschean Dionysian as a Theory of Cosmological Aesthetics Representing the TransitionOn the Principle of Transition as Genius in Kantian and Nietzschean AestheticsConclusionChapter Two: On "Motion" as one of the Founding Principles of Cosmological Aesthetics with Regards to the Heraclitean, Kantian and Nietzschean CosmologyPrelude: Heraclitean Phusis as the Principle of MotionKant's Principle of Motion and Metaphysics of NatureNietzsche's Principle of Motion and the Dionysian as aCosmological PrincipleConclusionExcursus: A Cosmological-Aesthetic Analysis Of Van Gogh's Starry NightConclusionBibliographyIndex