Abstract In contrast to the current tendencies in secondary literature to interpret the notion of the Absolute of the Early Romantics and Schelling from either an epistemological or an ontological perspective, I argue that these philosophers found in Kant’s notion of genius in the third Critique a model for the Absolute that combines both perspectives in the act of the artist’s free creation. However, I contend that Schlegel and Novalis followed more closely the modesty of Kant’s Critical philosophy, both epistemologically and ontologically: epistemologically as a lack of our capacity to know and ontologically as a lack of our capacity to fully realize the Absolute. With their conceptions of the Absolute as an infinite becoming and an endless oscillation, they defied philosophical systems with an absolutely certain principle as its basis and embraced Kant’s doctrine of the ignorance of things as they are in themselves. In contrast, Schelling’s philosophy from its early beginnings was marked by ambition to extend Kant’s notion of the Unconditioned from both epistemological and ontological perspectives. For him, an act of genial creation was equivalent to a full realization of the Absolute, which presupposed and afforded its theoretical transparency.

中文翻译：

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创造绝对：康德在斯莱格尔，诺瓦利斯和谢灵的亲和创造概念

摘要与第二种文学目前从认识论或本体论的角度解释“早期浪漫主义者和谢林的绝对”概念的趋势形成鲜明对比的是，我认为这些哲学家在康德的天才概念中发现了第三批批评的模型。结合了两种观点的艺术家的自由创作行为。但是，我认为，Schlegel和Novalis在认识论和本体论上都更紧密地遵循了康德的批判哲学的谦虚：在认识论上，我们缺乏认识和本体论上的能力，即我们缺乏充分实现“绝对”的能力。他们将“绝对”定义为无限的变成和无穷的振荡，他们以绝对确定的原则为基础来反抗哲学体系，并接受了康德关于事物本身无知的学说。相比之下，谢林的哲学从一开始就以雄心勃勃为标志，希望从认识论和本体论的角度扩展康德的“无条件”概念。对他而言，和creation的创作相当于完全实现了绝对，而绝对是其预设，并为其提供了理论透明性。