MODERN FELSEFEDE ESTETİK ÇIKARSIZLIK KAVRAMININ GELİŞİMİ

Bu makalede estetik çıkarsızlık kavramının modern sanat felsefesindeki gelişimi incelenmektedir. Bu amaç doğrultusunda, ilk olarak, bu kavramın Kant’ta nasıl ele alındığı ve özgün anlamını kazandığı açıklanmaya çalışılacaktır. Ardından, Schopenhauer’ın estetik çıkarsızlık tartışmasına en önemli katkısı olan ve metafiziği ile birlikte ele alınacak olan beden temasına odaklanılacak ve beden ile estetik çıkarsızlık arasındaki ilişki görünür kılınmaya çalışılacaktır. Sonrasında ise, estetik çıkarsızlık kavramına dair, Nietzsche’nin düşüncesinde bu kavramın kısmi onaylanmasından, estetik deneyimde fizyolojinin vurgulanması ile bu kavramın eleştirisine doğru olan değişimi incelenecektir. Bu noktada, Schopenhauer’un estetik deneyimde bedenin rolüne dair yaptığı vurgu da göz önünde bulundurularak, estetik deneyimde bedenin işlevinin tam olarak Nietzsche’de geliştiği tartışılacaktır. Nietzsche’nin estetik çıkarsızlık hususunda değişen görüşlerini detaylandırmak için Apolloncu ve Diyonisosçu sanat dürtüleri, esrime Rausch ve son olarak yaşamın olumlanması ve yadsınması kavramları tartışılacaktır

Anahtar Kelimeler:

Sanat Felsefesi, Estetik Çıkarsızlık, Beden, Kant, Schopenhauer, Nietzsche

The Development of the Concept of Aesthetic Disinterestedness in Modern Philosophy

This article aims to investigate the development of the concept of aesthetic disinterestedness in modern philosophy of art. To this end, I firstly attempt to elucidate how this concept is described and gained its specific meaning in Kant’s philosophy. Then, by paying attention to his metaphysics, I lay stress on Schopenhauer’s pivotal contribution to the discussion of aesthetic disinterestedness, namely the body, and his attempt to bring into view the relation between the body and aesthetic disinterestedness. In the following, regarding the concept of disinterestedness, I enquire into how Nietzsche’s thought undergoes a shift from the partial approval of the concept to its criticism by emphasising the physiological aspect of aesthetic experience. Bearing in mind Schopenhauer’s emphasis on the role of the body, I argue that its function in aesthetic experience is fully developed in Nietzsche. To flesh out Nietzsche’s shift on the concept of disinterestedness, I examine the concepts of Apollinian and Dionysian art drives, Rausch, and lastly the affirmation and denial of life

Keywords:

Philosophy of Art, Aesthetic Disinterestedness, the Body, Kant, Schopenhauer, Nietzsche,

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