The objective of this study is to identify inimitable examples of the introduction of aesthetic content into the Western European metaphysical tradition, as it was embodied in Kant's understanding of the world concept of philosophy, which has certain aesthetic connotations. In the article, the author analyzes new stages of the movement towards the world concept of philosophy, on which the aesthetic meaning of the basic structures of transcendentalism is explicitly or implicitly realized: the art of schematism as a world concept (...) of epistemology; the world concept of art as an organ of understanding artistic works. In addition, this discussion becomes particularly relevant when they seek to reveal how much the concept of schematism allows us to advance to the explanation of the world concept of philosophy. The work reveals how Kant reproduces the definition of the world concept of philosophy according to a certain model, while posing the problem of the typical embodiment of the idea, the ideal of the philosopher as a model. In this connection, a new complication of aesthetic analysis is being carried out in order to show how the world concept of philosophy was personified and presented as if in the ideal of the philosopher as a model. Therefore, the paradox of the world concept of philosophy lies in the fact that we have to talk about a sample of what does not yet exist. The author reproduces a transcendental language that will reveal the movement of aesthetic thought into the center of the world concept of philosophy, where the traditional artistic technique of personification of the philosopher's ideal as a model is performed, where the contemplation of meaning is transferred into the universality of the concept, into the contours of metaphysics. (shrink)

The aim of the study is to clarify the aesthetic concept of color perception from the phenomenological reasoning of Edmund Husserl. Today, the orientation diagram of the field of phenomenological research is formed in various zones: from theological to naturalistic. In which of these zones the structures of the phenomenological analysis of color are located is not an easy question. The coloristic region is constituted according to the degree of consciousness, including aesthetic consciousness. It is extremely difficult to meet with (...) the phenomenon of color, if only because its obviousness is fulfilled only by the fervor of the contemplative consciousness with its aesthetic pathos, a consciousness that distinguishes between, as it were, the reality of transcendent color and the aesthetic "continent of givens". We are talking, as Husserl would say, about the halo of consciousness, referring to the essence of perception performed in the mode of turning to the beauty of color. For the first time, approaches to the study of such a complex phenomenological topic as the description of a coloristic attitude, the eidetics of color experiences in Husserl's philosophy are outlined, the significance of its development for the comprehension of aesthetic and artistic consciousness is revealed. The main conclusions of the study are related to the philosophical interpretation of the idea of color as included in phenomenology in the experience of philosophical surprise, which turns into the acquisition of the essence of "phenomenological color" in general, and in aesthetics it is directly correlated with the appearance of its structures on the horizon of the harmonic synthesis of acts of perceptual performance in the imagination, "primordial giving visions" of color, with the creation of a picture coloristic impressions as cognitive emotions, reduced pure color perception, with an understanding of how art makes the very conditions of color visibility obvious, how its artistic synthesis is made, in the structure of which correlation analysis can see an analogue of a priori empiricism – this fundamental characteristic of purely Husserl synthesis and method revealed in domestic studies. (shrink)

The aim of the research is to determine the meaning of metaphor for identifying the metaphysical foundations of aesthetics, to analyze how the ways of this definition are drawn in the philosophy of Kant, Husserl, Heidegger, Derrida, Mamardashvili. Their works help to understand how a metaphysical metaphor is constructed, its aesthetic matrix. Since ancient times, aesthetic thought has considered the concept of the language of metaphor with its double ambiguity, various metaphorical figures as structures internally connected with categorical reflection on (...) the system of art, and the metaphor itself was conceived as a form of semantic perception and the creation of an artistic landscape. Revealing the place of aesthetics in the structure of metaphysics, the author examines the aesthetic role of the metaphorical within metaphysics, the complexity of the relationship between the concept of metaphor and the fundamental metaphysical category of being In the world scientific literature, there is an infinite number of works in which metaphor is considered as a rhetorical figure. But studies of metaphysical metaphor are rare. For the first time in the Russian-language literature, the article outlines approaches to the aesthetic understanding of metaphysical metaphor, as they developed mainly in the philosophy of Heidegger and Derrida. In their concepts, the intuition of the metaphor itself as metaphysics is revealed, the idea of the metaphysical metaphor of light is revealed, the understanding of the transcendental ego as a metaphor is revealed, and the concept of the substance of the metaphor itself is clarified. Special attention is paid to the aesthetic and metaphysical interpretations of metaphor in modern Russian philosophy.--. (shrink)