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Ernst Haeckel’s ‘Kant Problem’: metaphysics, science, and art
Biology & Philosophy ( IF 2.5 ) Pub Date : 2020-03-05 , DOI: 10.1007/s10539-020-09744-4
Stefan Forrester

Ernst Haeckel (1834–1919) has become famous, and perhaps infamous, for many reasons. Presently, he is probably most widely-known for his paintings of plants and animals in his very popular book, Art Forms in Nature, originally collected and published in 1904. However, in addition to Haeckel’s art, he is also well-known for his advocacy of Darwinism and Social Darwinism, for first coining the term ‘ecology,’ for having his work utilized by Nazi pseudo-scientists (Dombrowksi in Tech Commun Q 12:303–319, 2003), and for famously (perhaps fraudulently) producing drawings of animal and human embryos so as to confirm his biogenetic law (Gould in Nat Hist 109:44–45, 2000). Something Haeckel is not as well-known for today is the fact that he seemed to be both a strenuous critic of the metaphysical and moral philosophies of Immanuel Kant and yet also something of an adherent to Kant’s aesthetic views. In terms of metaphysics and morality, Haeckel sought to exorcise Kant’s ideas as much as possible from twentieth century views on science, humanity, and nature; however, in terms of aesthetic theory, Haeckel seemed to embrace a distinctly Kantian approach to art and artworks. This essay proposes to: (1) carefully examine Haeckel’s refutations of some of Kant’s central metaphysical concepts, (2) explore some of the, arguably Kantian, assumptions underlying Haeckel’s approach to aesthetics and his artistic practice, and (3) combine these two lines of inquiry into a portrait of Haeckel’s mind as one that is conflicted about the role Kantian philosophy, and more specifically Kantian noumena, should play in twentieth century science and art. This unresolved tension in Haeckel’s mind regarding Kant’s noumenal realm is what I propose to call his ‘Kant Problem’.

中文翻译:

恩斯特·海克尔的“康德问题”:形而上学、科学和艺术

恩斯特·海克尔(Ernst Haeckel,1834-1919 年)因多种原因而出名,甚至声名狼藉。目前,他最广为人知的可能是他在 1904 年出版的非常受欢迎的书《自然中的艺术形式》中的植物和动物画作。然而,除了海克尔的艺术之外,他的作品也广为人知。达尔文主义和社会达尔文主义的倡导者,首次创造了“生态学”一词,因为他的工作被纳粹伪科学家利用(Dombrowksi in Tech Commun Q 12:303–319, 2003),以及著名的(可能是欺诈性的)绘制图纸动物和人类胚胎,以确认他的生物遗传规律(Gould in Nat Hist 109:44-45, 2000)。海克尔在今天不那么出名的是,他似乎既是伊曼纽尔康德形而上学和道德哲学的激烈批评者,又是康德美学观点的拥护者。在形而上学和道德方面,海克尔试图从二十世纪的科学、人性和自然观中尽可能地驱除康德的思想;然而,就美学理论而言,海克尔似乎对艺术和艺术品采用了明显的康德式方法。本文旨在:(1)仔细研究海克尔对康德一些核心形而上学概念的反驳,(2)探索海克尔的美学方法和他的艺术实践背后的一些可以说是康德式的假设,(3) 将这两条探究线结合成一幅海克尔思想的画像,认为它与康德哲学,更具体地说是康德本体在 20 世纪科学和艺术中应该扮演的角色相矛盾。海克尔关于康德本体领域的这种未解决的紧张情绪,就是我提议称之为他的“康德问题”的原因。
更新日期:2020-03-05
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