فهرست مطالب roxana riahi

Art by making ideas sensuous brings our conscious ideas into harmony with what is given to us unconsciously by nature. For Schelling, aesthetic intuition is the real expression of reason; it objectively produces what philosophy can only address ideally through intellectual intuition, thus art is the eternal organ of philosophy. The production of the artwork, which comes about through the work of genius, begins by the free conscious act, brings the identity of freedom and necessity, and ends in objective unconsciousness act of artwork. In the work of art, there is an identity between freedom and the necessity and also between subject and object; what brings harmony in the artwork  between the free conscious act and the objective unconscious act is the absolute, which initiates philosophy. By showing the inadequacy of practical reason, which is based on the division between subject and object, Schelling deviates from Fichte’s transcendental idealism. So the philosophy of art must be considered as a subversion of Fichte’s focus on practical reason, where Fichte grounds his system in the self’ s free activity, Schelling now argues that the true realization of human activity is in the work of art, which is objectively produced. This essay examines the position of genius in art product, by explaining the relation between the conscious act and the unconscious act and demonstrating the identity of the two in the production that is called the highest expression of nature. Therefore, with a focus on demounting the subversion of practical philosophy, the aim is to show how the absolute is objectified in the work of art, which is achieved through genius and aesthetic intuition.

To achieve the common origin of "I" and nature, Schelling takes a new approach to the philosophy of nature; demonstrating the falsity of dualism between "I" and nature and showing how nature cannot be reduced to a mechanistic series of causes and effects. By integrating Leibniz's principle of inner purposiveness, Spinoza's monism, and the Kantian concept of teleology, he interprets an organic idea of nature as a totality and founds "I" on the ground of this organic nature. Schelling turns to Leibniz's vitalistic philosophy for presents a self-organizing scheme of nature, and he uses the intensive doctrine of substance to overcome the dualism of modern philosophy. In this view, the parts are to be deduced, in a purely analytic way from the whole, and each unit must include an infinite plurality, so the difference between subject and object is in degree, not in type; Nature is all alive, and no real object is entirely inorganic but is only in a lower degree of organic. In Schilling's point of view, the highest degree of organization of the infinite is the creativity of the artist, who is the culmination of all the organic forces of nature. The main question of this essay is about the fundamental role of Schelling's organic interpretation in his aesthetic essence. in this regard, while the impact of Leibniz's vitalistic approach is analyzed, the reinforcement of the activity of "I" in Schilling's system of thought is examined.