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1	La razón y su mitología en, El siglo de las Luces, de Alejo Carpentier Lundvall, Christian January 2017 (has links) This essay analyses the imagined and possible connections that reason has in the novel “El siglo de las Luces” by Alejo Carpentier. This is investigated both as our capacity to make conclusions, and by the way myth is pictured in the novel. The analysis is made in the framework of the ideas of reason during the Age of Enlightenment, and from thirteen engravings by Francisco de Goya that are included in a larger series named “Los desastres de la Guerra Independencia española”. These thirteen engravings are represented in Carpentier’s novel through the same number of epigraphs that introduce chapters or sections. The purpose of this essay is to explore the images and words in the novel, and their connection to reason. This study also examines how the myth of reason functions in the novel. The results show that images and words are related, and that there is a link to reason. Further findings demonstrate that the myth of reason connects the reality and illusory (rationality and irrationality), which Carpentier uses in his novel to create contrasts. Reason Enlightenment Carpentier Myth Goya Epigraph Förnuftet Upplyssningstiden Carpentier Myt Goya Epigraf Humanities and the Arts Humaniora och konst
2	Bild och begrepp : Heideggers läsning av Kant ur ett fenomenologiskt perspektiv / Image and indication : Heidegger's reading of Kant from a phenomenological perspective Franzén, Nils January 2011 (has links) This thesis explores some key aspects of early Heidegger’s interpretations of Kant from a phenomenological perspective. In general terms, it analyzes Heidegger’s claim that Kant’s faculties share a common root in the transcendental imagination, as a critical development of motives found in Husserl’s phenomenology. More precisely, the thesis argues that the motive for deriving Kant’s first faculty, intuition, from the synthesis of imagination can be understood as an attempt to account for the receptivity of a finite subject, without yielding to a causal description of sensibility. Phenomenology shares this problem with Kant’s critical philosophy. Concerning the claim that the second faculty, understanding, originates from the transcendental imagination, Heidegger connects it to his ambition of liberating Kant from a Cartesian heritage, where understanding is conceived as an independent faculty, disconnected from time and sensibility. The thesis explores this motive in relation to Husserl’s claim that the independent use of understanding in the forming of judgments and concepts –is derived from its function in the service of intuition. The belonging together of intuition and understanding is a core aspect of phenomenology, present from its breakthrough in Husserl’s Logical Investigations to his last writings in The Crisis of the European Sciences and Transcendental Phenomenology. A general ambition of the thesis is, through a reading of Heidegger’s interpretations of Kant, to shed some light on this fact, and hopefully thereby – at least to some extent – to deepen our understanding of the phenomenological project as such. Although the thesis’ primary concern is not polemical, on some occasions it criticizes other interpreters of Heidegger’s relation to Kant for neglecting or wholly rejecting the phenomenological point of departure of Heidegger’s interpretations. Heidegger Husserl Kant phenomenology imagination understanding Critique of pure reason Heidegger Husserl Kant fenomenologi inbillningskraft förstånd Kritik av det rena förnuftet Philosophy subjects Filosofiämnen
3	Kant och papegojan : Om exemplen i Kritik av omdömeskraften Enström, Anna January 2011 (has links) This essay is an examination of the examples in Kant’s Critique of Judgement. The examples which I have focused on all converge in an idea of wildness. These examples of the beautiful are illuminated by a culture-historical perspective, where the literary and scientific travelogue genre is of great importance. Apart from being exegetic and culture historical, my method is also analytic. The general ambition is to answer the question; what is the parrot doing in the third Critique and what makes it a better example of a free beauty than a jackdaw? Taking as point of departure Jacques Derrida’s notion of parergonality, the example is primarily understood as formative for the thesis, not only as illustrative. By analysing Kant’s use of the wild, exotic and colourful objects as examples the essay intends to show how imagination and understanding operates in the beautiful. The parrot thus corresponds with the role of imagination in its relation to understanding in aesthetic judgement. The examples manifest the strength of the imagination and how it dominates understanding through its wildness. The aim is to present a way to approach the restful contemplation that Kant ascribes to the mind in the experience of the beautiful as bearer of a movement with considerable importance. Rodolphe Gasché’s emphasis on the wild examples as a precognitive minimum for understanding and Hannah Arendt’s view on imagination as an ability of intuition without the presence of the object, have also been essential for my argument. Physische Geographie Immanuel Kant Hannah Arendt J. M Bernstein Rodolphe Gasché Jean-François Lyotard Emmanuel Chukwudi Eze Robert Bernasconi Eva Schaper David Lloyd Howard Caygill Thomas Bernhard Kritik av omdömeskraften Kritik av det rena förnuftet estetik exempel parergonalitet det sköna inbillningskraft sensus communis exotisk djungel papegoja kolibri paradisfågel häst vildhet färg reseberättelser Königsberg Sumatra Claude-Étienne Savary William Marsden Georg Forster Aesthetics Estetik

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