Document Type : Research Paper
Author
Assistant professor, Art studies Department, Art Faculty, Semnan University
Abstract
In the Kantian symbolism, it seems that there is a different kind of rule or modes of presentations, which sheds new light on a variety of concepts of understanding with references to ideas of reason. In this way, the type of presentation is indicated by the description of the various types of concepts that are presented in intuition in the process of cognition in Kant's philosophy. The first step is the introduction and identification of all kinds of concepts and intuitions in Kant's philosophy so that we can clarify the role of mark and characteristics in his thought. Schematisation is explained through emphasis relation between concepts and pure intuition or spatiotemporal determination in the mechanism of cognition so that the distinction of the schema from the symbol is designated. In the next step, we clarify the role of symbol in the judgment of taste with an emphasis on free and adherent beauty. Consequently, we make bright the judgment like “beauty is the symbol of the morally good”. Finally, let's also clarify how the symbol evolves, with emphasis on two types of natural and artistic symbolism. To define the symbol in Kant's thought, two negative and positive ways have been used. Relying on aesthetics and art is to understand its implications. The result is that the symbol is a kind of reflective rule which will form in a different situation, in Kant's thought. over pure concepts of understanding, ideas of reason with a reflection on the form of new referent or special schema or new intuition and with reference to concepts of understanding lead to an extension in the meaning of the different concepts of understanding in the light of ideas of reason
Highlights
Unpacking and Explaining the Role of Symbol in Kant's Philosophy & Aesthetics
Farideh Afarin
Assistant professor, Art studies Department, Art Faculty, Semnan University.
E-mail: f.afarin@semnan.ac.ir
Abstract
In the Kantian symbolism, it seems that there is a different kind of rule or modes of presentations, which sheds new light on a variety of concepts of understanding with references to ideas of reason. In this way, the type of presentation is indicated by the description of the various types of concepts that are presented in intuition in the process of cognition in Kant's philosophy. The first step is the introduction and identification of all kinds of concepts and intuitions in Kant's philosophy so that we can clarify the role of mark and characteristics in his thought. Schematisation is explained through emphasis relation between concepts and pure intuition or spatiotemporal determination in the mechanism of cognition so that the distinction of the schema from the symbol is designated. In the next step, we clarify the role of symbol in the judgment of taste with an emphasis on free and adherent beauty. Consequently, we make bright the judgment like “beauty is the symbol of the morally good”. Finally, let's also clarify how the symbol evolves, with emphasis on two types of natural and artistic symbolism. To define the symbol in Kant's thought, two negative and positive ways have been used. Relying on aesthetics and art is to understand its implications. The result is that the symbol is a kind of reflective rule which will form in a different situation, in Kant's thought. over pure concepts of understanding, ideas of reason with a reflection on the form of new referent or special schema or new intuition and with reference to concepts of understanding lead to an extension in the meaning of the different concepts of understanding in the light of ideas of reason
Keywords: Kant, Schema, symbol, reflection, symbolism, aesthetics.
1- Introduction
Some researchers like Langer claimed that perception is fundamentally symbolic. In general, Symbolism is a common way of expressing mental images or connecting imaginary together. Due to this correspondence, Art has been defined as the symbolic expression of human affections.
According to the current researches, the literature review, shows that despite the variety of many studies related to Kant's philosophy and aesthetics, a thesis or an article in Persian have not been specifically addressed to the Kantian symbolism. The current research framework on the Kantian notion has been supported by the third or fourth Deleuze's courses on Kant, but in some cases, there is concentration on some commentators on the aesthetics of Kant, such as Paul Guyer, Hannah Ginsborg or Henri.E. Alison.
The paper is divided into three parts. In the first part, we discuss three types of concepts and intuitions and the definition of several types of Mark & Example in Kant which lead to two operations: the synthesis and schematism. In the second part, we define schema and Symbol, in other parts we consider Aesthetic idea and Natural Symbolisation.
2- Mark & Example: Three Types of concepts & Intuitions
In two ways, we can perceive objects: through intuition and concept. According to the types of intuition, there will be different concepts, pure or empirical of Understanding and pure ideas.So there are the ways in which concepts are presented in intuition.
3- Schema
In this section, we describe the formation of schema, through imagination. it is good to clarify the types of relationships that are likely to arise between spatiotemporal and conceptual determination because productive imagination produces schema under the Domination of the faculty of understanding.
3-1. Schema & Symbol
We will explain the difference between the symbol and the schema. Considering the types of relationship between spatiotemporal determination and intuition and the different types of concepts, like the concept of reason, the concept of understanding, pure & empirical, in direct or indirect ways, make the different modes of presentation in schematic & symbolic
4- Symbol
In the next step, we will consider the variety of ways of symbolism in Kant. In the symbolic relation, there is no intuitive content. The relation between the forms of intuition without the content (or without the matter of intuition) with the content of concepts results in symbolic modes of presentation. Also according to Kant, the only way in which intuitions can be related to ideas is the Symbolization.
4-1. the aesthetic idea and Natural Symbolization
According to Kant, the aesthetic ideas are an inexpensible presentation of concept whereby no concept is sufficient for it. Aesthetic judgment is through the constitutive principle with regard to the feeling of pleasure & displeasure.
In natural symbolism, rational ideas in nature are presented positively and indirectly. In this way, the reason does not know its border when faced with the modes of presentation that called the symbol that positively contemplates in nature and indirectly recognizes the symbol.
4-2. Beauty as Symbol of the Morally “Good”
Beauty is the expression of aesthetic ideas. Intuitions in the judgment of taste are related to an idea of nature as a system related to our cognitive purposes or moral interests.
So, there is an important parallel likeness between our judgment of aesthetic experience and the structure of morality.
Beyond the schematization of imagination without a determinate concept, there will be the process of symbolization. Also, in the case of indeterminate concept that is, ideas of the reason (rational idea), there will be indirect exhibitions.
4.-3 Artistic Symbolization
In artistic symbolism, the effect of the genius is projected to the exterior. In the secondary mode, in art, there is an endeavor to make an alternative to the symbol as an inner indirect presentation over schematization.
5.Conclusion
Kant focuses on the role of symbols with respect to the content of the concepts, so we can say that the mechanism of cognition doesn`t work through Symbols firstly. This idea is different from some thinkers that argued that symbolic expression is the basis of perception. The symbol happens to be in a place where recognition becomes impossible and interpretation will come out. So, beyond the schematization of imagination without concept, there will be the process of symbolization
Ultimately, the symbol is the rule of reflection and it expands the dimensions of thinking about the concepts, ideas of reason and aesthetic ideas.
- References
- Allison, Henry. E., (2001) Kant’s Theory of Taste: A Reading of the Critique of Aesthetic Judgment, Cambridge: University Press.
- Deleuze, Gilles, (1978/03/28) course of Kant, Trans: Melissa McMahon, www.webdeleuze.com/php/sommaire HTML.
- Deleuze, Gilles, (1978/04/04) course of Kant, Trans: Melissa McMahon, www.webdeleuze.com/php/sommaire HTML.
- Kant, Immanuel, (1998) Critique of Pure Reason, Trans & ed: Paul Guyer and Allen W Wood, United State: Cambridge University Press.
- Kant, Immanuel, (1992) Theoretical Philosophy-1755-1770, Trans. &ed. David Walford in collaboration with Ralf Meerbote ; New York: Cambridge University Press.
- Kearney, Richard, (2003) the Wake of Imagination, New York: Routledge.
- Rueger, Alexander & Evren, Sahan, (2005) “The Role of Symbolic Presentation In Kant`s Theory Of Taste”, British Journal of Aesthetics, 45(3): 229-247.
- Smit, Houston, (2000) “Kant on Marks and the Immediacy of Intuition.” The Philosophical Review, 109 (2): 235–66.
Keywords
)
Send comment about this article