Gadamer’in Kant Eleştirisi ve Oyun Olarak Sanat

Abstract

While developing his ideas on art, Gadamer puts forward a critique of Kant’s thoughts on aesthetics. Aesthetic pleasure and experience cannot be handled on a subjective or formalist ground, as Kant thought. It can only be understood if it can be based on a social or communicative basis. Aesthetics pleasure and experience can only occur and be analysed in plays and festivals. The dynamics of art is related to the dynamics of the play, and one can experience the truth when one is involved in a play’s dynamics, whether one is the audience or the creator. The Play transcends subjective experience and has an authentic and an original feature. The play has a mode of being itself. In this way, players have the opportunity to transcend their own subjectivity. The Play as an experience that opens people to others points out at the same time a Bildung (learning and training) process. Play as an interactive activity allows the players to present their capacities and selves. Players present themselves in the play and become free. But this depends only on the seriousness of the play and its regularity. Play has its own rules and risks. The possibilities in the play invite the player to take risk. Risk is the attraction that the play presents to the player and the player can play to the extent that he is attracted to it. According to Gadamer, the play has both a repetitive nature and no certain purpose [...]