Kaplama, Erman (2016) The Cosmological Aesthetic Worldview in Van Gogh’s Late Landscape Paintings. Cosmos and History: The Journal of Natural and Social Philosophy, 12 (1). pp. 218-237. ISSN 1832-9101
Preview |
PDF
- Published Version
Download (239kB) | Preview |
Abstract
Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and phusis and present them in unity. Here, referring to Heraclitean, Kantian, Nietzschean and Heideggerian metaphysics and aesthetics, I propose that the principles of motion and transition be the new cosmologic-aesthetic categories for the judgment of sublime artworks as well as for the understanding of the world (Weltanschauung) they represent.
| Item Type: | Journal Article |
|---|---|
| Subjects: | B Philosophy. Psychology. Religion > B Philosophy (General) B Philosophy. Psychology. Religion > BH Aesthetics B Philosophy. Psychology. Religion > BJ Ethics N Fine Arts > ND Painting N Fine Arts > NX Arts in general |
| Divisions: | Faculty of Business and Economics (FBE) > School of Government, Development and International Affairs |
| Depositing User: | Erman Kaplama |
| Date Deposited: | 30 May 2016 01:09 |
| Last Modified: | 30 May 2016 01:09 |
| URI: | https://repository.usp.ac.fj/id/eprint/8952 |
Actions (login required)
 |
View Item |