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Aesthetic Ecology considers the way that F.W.J. Schelling reconceived the relationship between human philosophical consciousness and the natural world by looking at the capacity of art to mediate and transform these terms. I propose Schelling’s aesthetic idealism as crucial to the project of bringing clarity to recent philosophical engagements with art and nature, as well as giving historical depth to our contemporary discourse around thinking ecologically in the current moment, in which the problem of the human relation to the environment is becoming exponentially urgent in the face of the climate crisis. I show that German aesthetic philosophies of the Goethezeit are indispensable resources for nurturing and rethinking our ecologically interconnected world, conceiving of the agency of the environment, and respecting the nonhuman. I begin by reconstructing Kant’s attempt to objectively ground knowledge in schematic and symbolic hypotyposes by creating a necessary link between concepts and language. I argue that Kant privileges an aesthetic notion of the symbol, and nature, viewed aesthetically, reflects a preconceptual unity of consciousness and sensible intuition. I then turn to Schelling’s transcendental philosophy and his early Naturphilosophie (1795-1800), where he demonstrates that the schematism and the idealism of the self cannot be completely disentangled from the aesthetic activities of nature; such creaturely organisms as corals, crabs, and spiders participate in the aesthetic ecological systems of sensing and perceiving otherness that form the conditions of possibility for the very transcendental perspective that aims to elucidate them. In Schelling’s view elaborated in the System of Transcendental Idealism (1800), it is in works of art that philosophical consciousness is put in touch with the strange otherness of these aesthetic ecologies. Finally, I turn to Schelling’s moral and political philosophy where he views history through an aesthetic lens as a tragic drama. I argue that Schelling invents an aesthetic ecological ethics in his analyses of the particular constructions of time, freedom, and nature in Attic and modern tragedy in the symbolic figures of Prometheus and Faust. I conclude that Schelling’s tragic ethics are capable of motivating environmental action with a necessity that eclipses individual interests. For tragedy requires that we reorient our understanding of moral praxis, and that we deliberate with deference to the unforeseeable consequences of our actions on a transforming environment while respecting a multiplicity of moral claims, including the moral claims of future unknown Others.

Рассматриваются вопросы эстетики, нормы и системности языка в лингвистике XX века. Проведен сопоставительный анализ лингвистических концепций К. Фосслера, Э. Косериу и Р.А. Будагова в контексте осмысления эстетической функции языка в XX в. Выявлены точки схождения и расхождения в концепциях троих лингвистов. Приведены основные положения открытой дискуссии Р.А. Будагова с Э. Косериу по вопросу взаимодействия языка и социальной реальности. Особое внимание уделено вопросу изменений языка в зависимости от различных условий. Установлено, что прогнозы по этим вопросам актуализируются особенно жестко в периоды серьезной перезагрузки коммуникативного пространства. Выявлено, что изменение нормативной основы является неизбежным процессом для любого национального языка и четко прослеживается на функциональном уровне. Сделан вывод о том, что механизмы изменения нормы не зависят от признания или непризнания системности языка и его уровней, но строго соотносятся с эстетической функцией., The issues of aesthetics, norms and systemic character of language in linguistics of the XX century are considered. A comparative analysis of the linguistic concepts of K. Vossler, E. Coseriu and R.A. Budagov in the context of comprehending the aesthetic function of language in the XX century. The points of convergence and divergence in the concepts of three linguists have been identified. The main provisions of the open discussion of R.A. Budagov with E. Coseriu on the interaction of language and social reality. Particular attention is paid to the issue of language changes depending on various conditions. Forecasts on these issues are updated especially hard during periods of a serious reboot of the communicative space. Changing the regulatory framework is an inevitable process of any national language and is clearly visible at the functional level. Therefore, the mechanisms for changing the norm do not depend on the recognition or non-recognition of the systemic nature of the language and its levels, but strictly correlate with the aesthetic function., Вестник Российского нового университета серия «Человек в современном мире», Выпуск 1 2021, Pages 10-18

Resumen La concepción estética de Schelling en el Sistema del idealismo trascendental puede ser vista como un intento de restauración no dogmática, sino más bien estética de las “estructuras fuertes” como Dios, verdad y ser, ya definitivamente “debilitadas” en la filosofía crítica de Kant. El fenómeno del arte atestigua que el Absoluto sea cognoscible y real. Y en esta restauración estética del Absoluto está precisamente fundada la noción romántica de la filosofía trascendental de Schelling. Se afirma que justamente el Romanticismo delegue en sus manos el instrumento (órganon) perfecto —el arte— para la ejecución de esta restauración. Schelling se inspira primeramente en el Romanticismo para superar los problemas del racionalismo subjetivo (el dualismo y el mecanicismo cartesiano, la unidimensionalidad del Yo fichteano y la separación kantiana del mundo en fenomenal y noumenal), y para dar el paso hacia una filosofía positiva, o una filosofía de la vida (Lebensphilosophie) en su obra tardía. Abstract Schelling's aesthetic conception in the System of transcendental idealism can be seen as an attempt to a non-dogmatic, aesthetics restoration of such “strong structures” as God, truth and being, weakened definitely in Kant's critical philosophy. The phenomenon of art attests that the Absolute is knowable and real. Following this, and precisely in this aesthetic restoration of the Absolute, the Romantic notion of Schelling's transcendental philosophy is founded. I affirm that Romanticism delegates to Schelling the perfect instrument (organon) —the art—, for this restoration. Schelling is inspired in Romanticism to overcome the problems of subjective rationalism (Cartesian dualism and mechanicism, the one-dimensionality of the Fichtean self, and Kant's separation of world to phenomenal and noumenal), and to make a step to positive philosophy or philosophy of life (Lebensphilosophie) in his later oeuvre.

Cilj je rada pokazati da Ibsenove drame Hedda Gabler i Kada se mi mrtvi probudimo općenito podržavaju modernističku ideologiju, kao što su to sumirali Lionel Trilling u eseju »On the Teaching of Modern Literature« te Toril moi u knjizi Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy. Trilling određuje temu modernističke literature kao »prepirku s kulturom«, koristeći kao referencu Nietzscheov nauk da je estetika, a ne etika, primarna čovjekova metafizička aktivnost, s fokusom na »primitivne« i umjetničke dionizijske strasti, koje to razdoblje priznaje kao ljudima urođene. Moijeva studija, s druge strane, razmatra »estetički idealizam« 18. i 19. stoljeća, za kojeg se čini da obezvređuje taj dio čovjeka. Imajući ovaj teorijski okvir u vidu, možemo tvrditi da Ibsen najavljuje modernističko doba koje raskida s idealističkom tradicijom 19. stoljeća., The aim of this paper is to show that Ibsen’s plays Hedda Gabler and When We Dead Awaken generally support modernist ideology as summed up in Lionel Trilling’s “On the Teaching of modern Literature” and Toril moi’s Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy. Trilling defines the theme of modernist literature as a “quarrel with culture”, using as reference Nietzsche’s teaching that aesthetics, not ethics, is the primary metaphysical activity of human beings. Trilling further focuses on “primitive” and artistic Dionysian passions this era affirms as inherently human. moi’s study, on the other hand, discusses “aesthetic idealism” of the 18th and 19th centuries, which seems to devaluate that portion of human beings. Having this theoretical background in mind, we can argue that Ibsen announces the modernist era, which dispenses with the idealistic tradition of the 19th century., Cet article a pour intention de montrer que les œuvres Hedda Gabler et Quand nous nous ré- veillerons d’entre les morts d’Ibsen soutiennent de manière générale l’idéologie moderniste dépeinte dans On the Teaching of Modern Literature de Lionel Trilling, mais également dans Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy de Toril moi. Trilling définit le thème de la littérature moderniste comme « querelle avec la culture » s’appuyant sur les enseignements de Nietzsche où l’esthétique, et non l’éthique, est la principale activité métaphysique de l’homme et se concentre sur les passions « primitives » et artistiques dionysiaques qui, à cette époque, été considérées comme inhérentes à l’homme. D’un autre côté, l’étude de moi traite de « l’idéalisme esthétique » du XVIIIe et XIXe siècle et semble dévaloriser cette partie de l’homme. Ayant à l’esprit ce contexte théorique, nous pouvons affirmer qu’Ibsen annonce l’ère moderniste rompant avec la tradition idéaliste du XIXe siècle., Das Ziel dieser Arbeit ist zu zeigen, dass Ibsens Dramen Hedda Gabler und Wenn wir Toten erwachen im Allgemeinen die modernistische Ideologie unterstützen, wie es in Lionel Trillings On the Teaching of Modern Literature und Toril mois Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy resümiert wird. Trilling definiert das Thema der modernistischen Literatur als „Streit mit Kultur“, indem er sich als Referenz der Lehre Nietzsches bedient, die Ästhetik, und nicht die Ethik, sei die primäre metaphysische Tätigkeit des menschen, mit dem Schwerpunkt auf den „primitiven“ und künstlerischen dionysischen Leidenschaften, die diese Ära als von Natur aus menschlich bestätigt. mois Studie hingegen erörtert den „ästhetischen Idealismus“ des 18. und 19. Jahrhunderts, welcher diesen Teil des menschen abzuwerten scheint. Indem wir diesen theoretischen Hintergrund im Sinn behalten, können wir die Ansicht vertreten, dass Ibsen die modernistische Ära ankündigt, die sich von der idealistischen Tradition des 19. Jahrhunderts trennt.