By Immanuel Kant
Pourquoi disons-nous de cette rose qu'elle est belle, et non qu'elle nous est agréable, qu'elle est parfaite, ou qu'elle est vraie ? Et pourquoi, parlant d'une " belle rose ", entendons-nous précisément dire autre selected que lorsque nous évoquons une " rose agréable ", une " rose parfaite ", ou encore une " vraie rose " ? los angeles récurrence du terme beauté " dans nos discours se double d'une résistance envers toute substitution par un synonyme. Poser que ce fait têtu n'est pas infondé, c'est tenter de rendre justice à l. a. spécificité de los angeles beauté. Autonome beauté, que Kant entend précisément circonscrire, dans l'Analytique du beau, première partie de l. a. Critique de l. a. faculté de juger (1790).
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Additional resources for Critique de la faculté de juger : Analytique de la faculté de juger esthétique
Philosophical intuition is this contact, philosophy is this impetus. Brought back to the surface by an impulsion from the depth, we shall regain contact with science as our thought opens out and disperses. (Bergson 2007: 103)8 Furthermore, insofar as this impetus from the depths to the surface concerns a proper duration rather than an extensive image of static time, it concerns a movement from the past to the present – the ‘thickening’ of a present moment as it is stretched backwards. Thus the placing of ourselves into the intensive-depths is the placing of ourselves within the past as it moves towards the present, making a continuity or composite of the two (a whole duration).
The full sentence reads as follows: But I have to concede this much to myself as someone who by occupation is a classical philologist, for I have no idea what the significance of classical philology would be in our age, if not to have an unfashionable effect – that is, to work against the time and thereby have an effect upon it, hopefully for the benefit of a future time. indd 35 29/03/2012 11:15 history and becoming histories that are against life. 15 Nietzsche was aware that the form of history which came to ascendency in the nineteenth century was a force that stifled life.
Everything goes from high to low, and by that movement affirms the lowest: asymmetrical synthesis. High and low, moreover, are only a manner of speaking. It is a question of depth, and of the lower depth which essentially belongs to it. There is no depth which is not a ‘seeker’ of a lower depth: it is there that distance develops, but distance understood as the affirmation of that which it distances, or difference as the sublimation of the lower. (DR 234–5; see also LS 347n) As with the eagle, it is depth and descent that preoccupies Nietzsche’s studies.
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