title: About the Sublime (Great) in Chernyshevsky’s Aesthetics
metadata.name: dc.contributor.author
metadata.value: Morozov, Daniil A.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2024-05-30T19:56:57Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2024-05-30T19:56:57Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2024-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Morozov D. A. About the Sublime (Great) in Chernyshevsky’s Aesthetics. Vestnik of Saint Petersburg University. Philosophy and Conflict Studies, 2024, vol. 40, issue 1, pp. 56–67. https://doi.org/10.21638/spbu17.2024.105 (In Russian)
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu17.2024.105
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/45471
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: In the contemporary scholarly discourse, aesthetic views of Nickolay G. Chernyshevsky
  (1828–1889) usually are observed only in the framework of the analysis of his thesis “the
  beautiful is life”. According to the author’s view, this approach does not fully reconstruct the
  main senses of the aesthetic system of the thinker, that is why the arthor of the current article
  reconsiders them from the perspective of the sublime (great), the original understanding
  of which is given by the Russian thinker. Our key points of discrepancy with the previous
  aesthetic ‘prevailing’ׄ systems and the specific Chernyshevsky’s improvements are explicitly
  shown. The thesis about the levelling of the role of imagination ability is interpreted as a core
  characteristic of his aesthetics. The author resolves two historical and philosophical issues:
  which of the previous aesthetic systems were criticized by Chernyshevsky? On which tradition
  does the thinker based his theory? Giving answers to these particular questions, the author
  criticizes the Chernyshevsky’s argumentation, submitting a thesis that his original definition
  of the sublime (great) has only a formal similarity with the Kantian definition. By coming
  down the role of imagination to the reproduction Chernyshevsky necessarily comes to the notion
  of ‘great’, which is based on comparison with the nearby objects (phenomena) but not on
  the clash of the cognitive abilities of a human, the infinite with the finite.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Philosophy and Conflict Studies;Volume 40; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: Chernyshevsky
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Kant
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Vischer
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: sublime
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: great
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: aesthetics
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: imagination
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: About the Sublime (Great) in Chernyshevsky’s Aesthetics
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 2024,+(1)+5.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/45471/1/2024%2c%2b%281%29%2b5.pdf
resources.format: Adobe PDF
resources.size: 645,13 kB