چکیده:
Concept of sublime has a long record. The record refers usually to ancient Greece but in modern time emerged a challenge, That sublime debated under aesthetics. Kant debated the sublime in his philosophy under aesthetics too. Imagination has special importance in discussion of the sublime. This discussion has other aspects in Kant's philosophy that we must regard to them. In critique of pure reason, imagination participates with understanding and sense, consequently in current interpretations Kant's work is epistemology; it provides conditions of possibility of objectivity in first critique. But in Critique of the Power of Judgment, imagination has a free operation in test judgment, it is in a free harmony with understanding. In theory of the sublime, imagination has relation with reason here feeling of the sublime is similar to morel feeling. Thus it reveals the unity of total determination of man. Therefore we understand the nature as exhibition of supersensible.
خلاصه ماشینی:
Therefore, the method here will not deviate from the previous method, unless we consider it a difference that in cases where the aesthetic judgment deals with the form of the object, we begin by researching its quality, but here, due to 1 1 Prize Essay, Inquiry Concerning the Distinctness of the Principle of Natural Theology and Morality 1764 2 partially analyzable concepts 3 Observations on the feeling of the Beautiful and the Sublime 1764 4 pleasant 5 gemüt The Relation of Imagination and the Sublime in Kant's Aesthetics / Salari 197 lack of form, which can be a characteristic of what we call the sublime, we begin from quantity as the first minute of the aesthetic judgment regarding the sublime (Kant, 1388, 160).
3. Aspects of Similarity Kant presents aspects of this commonality and distinction at the beginning of the analysis of the sublime, including: that both judgments are pleasant and also both (as previously mentioned) presuppose reflective judgment, and another is that the satisfaction derived from the sublime, like the judgment of the beautiful, does not depend on sensory perception as is the case in the pleasant, nor is it dependent on a specific concept; however, at the same time, Kant emphasizes that "nevertheless, it has a relation to concepts, although indeterminate concepts, and therefore satisfaction is connected with mere representation [form] or with the faculty of representation, and therefore the faculty of representation, or the faculty of imagination, is perceived in a certain intuition in harmony with the faculty of concepts of understanding or reason and as an enhancer of them" (Kant, 1388, 156).
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