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Gadamer’e göre 19.yüzyılda estetiğin beşeri bir bilim olarak özerklik kazanması ancak ona has, arındırılmış estetik nesneler alanının üretilmesiyle mümkün olmuştur. Hakikat ve Yöntem isimli eserinde Gadamer bu üretimi soyutlayıcı estetik bilince yükler. Nesne estetik bir soyutlamayla pratik ve bilişsel bağlamlarından koparılarak estetik kılınır. Soyutlayıcı estetik bilinç aynı zamanda estetik pratiğin etkinliğini de oldukça daraltmıştır. Gadamer detaylıca incelediği ve eleştirdiği bu soyutlayıcı estetik bilincin kökenini Kant’ın estetik kuramında bulur, fakat aynı kuramın felsefi yorumbilgisi için vaat edici boyutlarının olduğunu da düşünür. Gadamer’e göre Kant’ın estetik kuramının yorumbilgisel boyutu doğal güzelin saf estetik yargısının çözümlendiği kısımda değil sanatsal güzelin açıklandığı, güzellik ideali kavramının öne sürüldüğü ve bu idealin yarattığı ilginin tartışıldığı kısımlarda aranmalıdır. Oysaki Kant’ın estetik kuramının felsefi yorumbilgisi için çok daha vaat edici bir okumasının yapılabileceğini savunmak mümkündür. Bu çalışmanın amacı Gadamer’in felsefi yorumbilgisi kuramını oluştururken Kant’ın estetik kuramıyla kurduğu sorunlu entelektüel ilişkiyi çözümlemek ve Kant’a yönelttiği eleştirileri yeniden değerlendirmektir. Bu amaçla, çalışmanın birinci bölümünde Gadamer’in hermeneutik deneyim anlayışına değinilecektir. Estetiği de içine alan beşeri bilimleri biçimlendiren soyutlayıcı ve indirgemeci estetik bilincin yerleşmesinin tarihi, hümanist ortak duyu kavramının yitirilmesinin tarihinde aranacaktır. Bu tarihsel okumada Kant’ın estetik kuramının rolü vurgulanacak, Gadamer’in kurama dair eleştirileri ve olumlamalarının ortaya çıkardığı tutarsızlıklar gösterilmeye çalışılacaktır. İkinci bölümde Kant’ın saf estetik yargı anlayışı detaylıca incelenerek birinci bölümde sunulan Gadamerci eleştirinin haklılığının izi aranacaktır. Gadamer’in yaptığı gibi Kant’ın doğal güzel ve sanatsal güzel ayrımı üzerine durmak yerine onun estetik kuramının eleştirel felsefesindeki rolünün ve öneminin vurgulandığı bir okuma yapıldığında, kuramın felsefi yorumbilgisi için değeri tartışılmaz bir açıklık kazanacaktır.
According to Gadamer, aesthetics, as a human science, became an autonomous discipline in the 19th century only by building a refined domain of aesthetics objects peculiar to it. In Turth and Method, Gadamer attributes this construction to abstract aesthetic consciousness. The object is made aesthetic by its detachment from its practical and cognitive context. Abstract aesthetic consciousness also limits activities of aesthetic practice considerably. Gadamer finds the source of this abstract aesthetic consciousness, which he examines in detail, in Kant's aesthetic theory but he also thinks that the very same theory has promising points for philosophical hermeneutics. According to Gadamer the hermeneutic aspect of Kant's aesthetic theory can be detected not in the part where the pure aesthetic judgment of natural beauty is analyzed, but in the parts where artistic beauty is explained, the concept of ideal beauty is proposed and the interest that this ideal produced is discussed. Yet, it can be argued that a much more promising reading of Kant's aesthetic theory for philosophical hermeneutics is possible. This study aims to reveal the problematic intellectual relationship of Gadamer to Kant's aesthetic theory and reevaluate Gadamer's criticisms directed to Kant. With this aim, in the first part of the study, Gadamer's conception of hermeneutic experience will be addressed. The history of the establishment of the abstract and reductive aesthetic consciousness, which forms human sciences including aesthetics too, will be given in terms of the loss of the humanist conception of common sense in history. In this historical reading the role of Kant's aesthetic theory will be stressed, the criticism of Gadamer relating to this theory and inconsistences caused by his positive evaluations will be shown. In the second part, the trace of the criticisms of Gadamer will be sought in Kant's aesthetic theory through a detailed analysis of his idea of pure aesthetic judgment. Instead of emphasizing the distinction of natural and artistic beauty as Gadamer does, the value of Kant's aesthetic theory for hermeneutics will gain an undoubtable clarity, if a reading of aesthetic theory which stresses its systematic role in Kant's critical philosophy will be presented.
According to Gadamer, aesthetics, as a human science, became an autonomous discipline in 19th century only by constructing a refined domain of aesthetics objects peculiar to it. In Turth and Method, Gadamer attributes this construction to abstractive aesthetic consciousness. Object is made aesthetic by its detachment from its practical and cognitive context. Abstractive aesthetic consciousness also limits activities of aesthetic practice considerably. Gadamer finds the source of this abstractive aesthetic consciousness, which he examines in detail, in Kant’s aesthetic theory but he also thinks that the very same theory has promising points for philosophical hermeneutics. According to Gadamer the hermeneutical aspect of Kant’s aesthetic theory can be detected not in the part where the pure aesthetic judgment of natural beauty is analyzed, but in the parts where artistic beauty is explained, the concept of ideal beauty is proposed and the interest that this ideal produced is discussed. Yet, it can be argued that a much more promising reading of Kant’s aesthetic theory for philosophical hermeneutics is possible. This study aims at revealing the problematic intellectual relation of Gadamer to Kant’s aesthetic theory and reevaluate Gadamer’s criticisms directed to Kant. With this aim, in the first part of the study, Gadamer’s conception of hermeneutic experience will be addressed. The history of the establishment of the abstractive and reductive aesthetic consciousness, which forms human sciences including aesthetics too, will be given in terms of the loss of the humanist conception of common sense in history. In this historical reading the role of Kant’s aesthetic theory will be stressed, the criticism of Gadamer relating to this theory and inconsistences caused by his positive evaluations will be showed. In the second part, the trace of the criticisms of Gadamer will be sought in Kant’s aesthetic theory through a detailed analysis of his idea of pure aesthetic judgment. Instead of emphasizing the distinction of natural and artistic beauty as Gadamer does, the value of Kant’s aesthetic theory for hermeneutics will gain an undoubtable clarity, if a reading of aesthetic theory which stresses its systematic role in Kant’s critical philosophy will be presented.
Field : Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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