Cosmological Aesthetics Through the Kantian Sublime and Nietzschean Dionysian

Table of Contents:
Acknowledgments Introduction Chapter One: On “Transition” as one of the Founding Principles of Cosmological Aesthetics and its Applications in the Kantian Sublime and Nietzschean Dionysian Prelude: The Heraclitean Logos and the Principle of Transition On the Principle of Transition as the Foundation of Cosmological Aesthetics with Reference to Opus Postumum On the Human Faculty of Sense-Intuition (Anschauung) through which the Transition Takes Place On the Power of Judgment as the Faculty that Regulates and Determines the Transition The Principle of Transition and Cosmological Transcendentalism The Kantian Sublime as a Theory of Cosmological Aesthetics Representing the Transition The Nietzschean Dionysian as a Theory of Cosmological Aesthetics Representing the Transition On the Principle of Transition as Genius in Kantian and Nietzschean Aesthetics Conclusion Chapter Two: On “Motion” as one of the Founding Principles of Cosmological Aesthetics with Regards to the Heraclitean, Kantian and Nietzschean Cosmology Prelude: Heraclitean Phusis as the Principle of Motion Kant’s Principle of Motion and Metaphysics of Nature Nietzsche’s Principle of Motion and the Dionysian as a Cosmological Principle Conclusion Excursus: A Cosmological-Aesthetic Analysis Of Van Gogh’s Starry Night Conclusion Bibliography Index

About the Author :
Erman Kaplama is currently lecturing in philosophy, ethics, and governance at the University of the South Pacific. He was previously the Head of School of Social Sciences and assistant professor at Fiji National University. He holds a PhD in humanities and cultural studies from the University of London’s Birkbeck College, an MSc in political theory from the London School of Economics and Political Science, and a BA in political science from Bilkent University in Ankara, Turkey.

Review :
This is a deeply impressive book. Well-researched and argued, it proposes nothing less than a principle of motion/transition that operates prior to the object/subject—or phenomena/noumena—split. . . . There are many highly original parts. . . . For myself, however, the excursus is the most exciting and compelling part of this work. I am very taken with the image of the spiral, and, indeed, with the reading of Van Gogh’s Starry Night. . . . Indeed, there are parts here that are beautifully written, poetic, and grand.