In Critique of Pure Reason （1996）, Immanuel Kant says that the term ＂aesthetic＂ means ＂the science of the laws of sensibility＂ and suggests giving up usage of it to indicate ＂the critique of taste＂ which execu...In Critique of Pure Reason （1996）, Immanuel Kant says that the term ＂aesthetic＂ means ＂the science of the laws of sensibility＂ and suggests giving up usage of it to indicate ＂the critique of taste＂ which executes the criticism of the beautiful. It is well known that Gilles Deleuze was inspired by all genres of the arts, namely movies, paintings, music, and so on. However, this paper argues that what is more essential for Deleuzian philosophy is aesthetics as a science of sensibility. What motivated Deleuze, especially from the 1950s to the 1960s, seems to have consisted in discovering the weaknesses of the Kantian aesthetic in order to take it apart. In fact, one of the main themes in Difference and Repetition （1994） was to free ＂sensibility＂ itself from Kant＇s philosophical system. This theme subsisted in his writing even after the 1970s, and led him to develop a ＂natural philosophy＂ of sorts. This is because the supposition that ＂the sensibility itself＂ is independent from any human faculties gave him an opportunity to carefully consider the multiplicity and productivity of Nature itself. Finally, Deleuze created his own ＂ethology＂ that would capture the increasingly interrelated movements within Nature produced by heterogeneous elements. This paper describes the process of Deleuzian thought as outlined above, surveying his view of Kantian philosophy and the development of his natural philosophy as ＂the aesthetics of Nature.＂展开更多
For a long time, there has been a practice that sets the phenomenalism of the middle aged Leibnitz against the monism of the old-aged Leibnitz in the international studies of Leibnitz. Contrary to this tendency, the p...For a long time, there has been a practice that sets the phenomenalism of the middle aged Leibnitz against the monism of the old-aged Leibnitz in the international studies of Leibnitz. Contrary to this tendency, the paper demonstrate that monadism is the metaphysical objective of the phenomenalism of Leibnitz in terms of substance, the force-ontology and the theory of perception of Leibnitz on the basis of examination of the theoretical background of the phenomenalism of the middle-aged Leibnitz. Then the author show and demonstrate that the fundamental mediums of inter-relatedness of phenomenalism and mondism of Leibnitz from the doctrines of two kinds of substance, of matter and of force of Leibnitz. At last the paper concludes that only by adopting a kind of position and horizon of macroscopic holism and poly-layer,can it reach an unitary understanding and explanation of the phenomenlism and monalism of Leibnitz.展开更多
文摘In Critique of Pure Reason （1996）, Immanuel Kant says that the term ＂aesthetic＂ means ＂the science of the laws of sensibility＂ and suggests giving up usage of it to indicate ＂the critique of taste＂ which executes the criticism of the beautiful. It is well known that Gilles Deleuze was inspired by all genres of the arts, namely movies, paintings, music, and so on. However, this paper argues that what is more essential for Deleuzian philosophy is aesthetics as a science of sensibility. What motivated Deleuze, especially from the 1950s to the 1960s, seems to have consisted in discovering the weaknesses of the Kantian aesthetic in order to take it apart. In fact, one of the main themes in Difference and Repetition （1994） was to free ＂sensibility＂ itself from Kant＇s philosophical system. This theme subsisted in his writing even after the 1970s, and led him to develop a ＂natural philosophy＂ of sorts. This is because the supposition that ＂the sensibility itself＂ is independent from any human faculties gave him an opportunity to carefully consider the multiplicity and productivity of Nature itself. Finally, Deleuze created his own ＂ethology＂ that would capture the increasingly interrelated movements within Nature produced by heterogeneous elements. This paper describes the process of Deleuzian thought as outlined above, surveying his view of Kantian philosophy and the development of his natural philosophy as ＂the aesthetics of Nature.＂
文摘For a long time, there has been a practice that sets the phenomenalism of the middle aged Leibnitz against the monism of the old-aged Leibnitz in the international studies of Leibnitz. Contrary to this tendency, the paper demonstrate that monadism is the metaphysical objective of the phenomenalism of Leibnitz in terms of substance, the force-ontology and the theory of perception of Leibnitz on the basis of examination of the theoretical background of the phenomenalism of the middle-aged Leibnitz. Then the author show and demonstrate that the fundamental mediums of inter-relatedness of phenomenalism and mondism of Leibnitz from the doctrines of two kinds of substance, of matter and of force of Leibnitz. At last the paper concludes that only by adopting a kind of position and horizon of macroscopic holism and poly-layer,can it reach an unitary understanding and explanation of the phenomenlism and monalism of Leibnitz.
