Kant’s aesthetic theory in the light of H. G. Gadamer’s hermeneutic project
... distinguishes between aesthetic judgment and cognition, whereas Gadamer defines art as a method of cognition, an event that can become genuine under the condition of maximum of understanding. The author analyses the key categories of aesthetics — taste, play, and the beautiful. It is concluded that Kant understands the category of play from the perspective of the subject, whereas Gadamer interprets it as an instance of movement, independent from the observer. The correlation between Kant’s aesthetic ...
Playing with spectres
... heterogeneous structure in the realm of interactions between the ‘semiotic’ understood as a pre-linguistic condition of instinctive drives and the ‘symbolic’ manifested in socially oriented identification and discursive practices. The problem of play at the interface of its interactions is examined in the context of a danger of an ‘offensive of spectres’ against the reality, which can turn the latter in a ‘simulated hyperreality’. The author stresses Kant’s moral rigour in the context ...
The thematic field of black humour
... as cultural phenomenon thematically is organized as a semantic field and focuses on six major components: death and associated with it, destruction of human physiology, fear of danger, threats to beloved ones, social catastrophes, necrophilia. A “play principle” is actively being implemented in all these cases.
1. Борисов С. Б. Эстетика «черного юмора» в российской традиции // Из истории русской эстетической мысли....
