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dc.contributor.advisorTool, Andrus, juhendajaet
dc.contributor.authorPiir, Martinet
dc.contributor.otherTartu Ülikool. Humanitaarteaduste ja kunstide valdkondet
dc.contributor.otherTartu Ülikool. Filosoofia osakondet
dc.date.accessioned2022-06-21T09:12:57Z
dc.date.available2022-06-21T09:12:57Z
dc.date.issued2022
dc.identifier.other20.03.02 PII 01
dc.identifier.urihttp://hdl.handle.net/10062/82734
dc.descriptionThis bachelor’s thesis aims to give a brief overview of the aesthetic theories of Immanuel Kant and Hans-Georg Gadamer. Kant’s main goal with his Critique of Judgment was to complete his system of critical philosophy by finding a link between nature and morality in the faculty of reflective judgment. Kant’s descendants in the spirit of his critical philosophy disregarded everything which did not satisfy the criteria of natural sciences as subjective. Therefore, Gadamer blames Kant for the advent of what he calls “aesthetic consciousness”, a view which separates a work of art from its deeper meaning and place in history, only emphasizing its immediate, empirically perceived aesthetic qualities. Thus Gadamer claims that because of this, it is now significantly more difficult for people to experience the type of truth that is inherent in art, which leads people towards self-understanding. Kristin Gjesdal however claims that Gadamer has misconstrued Kant’s views. Her main criticism towards Gadamer is that he has not properly understood Kant’s views on the experience of natural beauty, which Kant views as intrinsically meaningful. Gadamer on the other hand finds nature to be hermeneutically empty, because one is able to assign any kind of meaning to nature according to their subjective mood.en
dc.description.abstractGadameri filosoofia peamiseks taotluseks on näidata, et kunstis leidub teatud sorti tõde, mis võimaldab avardada meie maailma- ja enesemõistmist ning suudab inimest muuta. Moodsa loodusteaduse arenedes ja Kanti filosoofia vaimus said aga hoopis loodusteadused tõe etaloniks. Kunsti hakati selle taustal vaatlema kui pelgalt esteetilist nähtust, mis pakub inimestele vaid esteetilisi elamusi. Taolist kunstikogemust nimetab Gadamer esteetiliseks teadvuseks. Esteetilise teadvuse juures taandatakse teose tähendus vaid selle esteetilistele omadustele, mis on lahutatud teose ajaloolisest kontekstist. Gadamer vastandub sellisele kunstikäsitlusele, sest Gadameri järgi on kunst ajalooliselt kujunenud mõistuse ja vaimu tulemus.et
dc.description.urihttps://www.ester.ee/record=b5507164et
dc.language.isoestet
dc.publisherTartu Ülikoolet
dc.rightsopenAccesset
dc.rightsAttribution-NonCommercial-NoDerivatives 4.0 International*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/*
dc.subjectphilosophyen
dc.subjectaestheticsen
dc.subjectKantianismen
dc.subject.otherbakalaureusetöödet
dc.subject.otherfilosoofiaet
dc.subject.otheresteetikaet
dc.subject.otherkantianismet
dc.titleHans-Georg Gadamer ja kantiaanlikud kunstikäsitlusedet
dc.title.alternativeHans-Georg Gadamer and Kantian approaches to arten
dc.typeThesiset


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