Hegel'in romantik ironi eleştirisi çerçevesinde olumsuzlama kavramı üzerine bir inceleme

The concept of irony as interiorization of the contradiction by the self-consciousness and consideration of it in relation with the double negation of Hegel's own philosophy constitute the main themes around which Hegel lead his criticism about romantic philosophy. In this study, our aim is to envisage ironic consciences as a moment of alienation in the development of the double negation. To explain our interpretation in this study precisely, we will primarily follow the approach of Hegel in The Phenomenology of the spirit. We will make a comparison between the negation of negation belonging to self consciousness (Selbsbewusst) and irony and contradiction of romantic beautiful soul (schöne Seele) In this regard, our priority is to consider the transition from naturel conflict and contradiction to the absolute negation, namely, becoming process of the Idea. Thus, as Hegel admitted in the Science of logic, we will have considered the abstract notion of romantic negation and the level of interiority of romantic ambivalence and duplication in the context of contradictory movements of hegelian conception of spirit. The concept of irony which Hegel considered, in his book entitled as Concept of Irony, in an ethical and esthetical context, realize the transformation and becomings of the spirit and the suppression of contradictions. While we are considering Hegel's thoughts about romantic irony, we will claim that we should clarify the relation between romantic esthetic and Hegelian conception of absolute negativity (Negativität). When Hegel elaborate the concept of irony in Lectures on Fine Art, and Phenomenology of the Spirit, he has chosen to envisage romantic ambiguity in a dialectical approach that he constituted in an ethic and aesthetic frame. In the Science of Logic of Hegel, romantics conceive infinity as unlimited, as an act of restless negation. Irony as ambiguity of consciousness is understood as a passage to absolute negativity through which alienation, becomings and cleavage of the Idea is realized. If we remember the definition of romantic irony of Hegel, we will envisage it as "the negation of vitality of the reason and truth". According to this approach, the self-consciousness and the world correlative of it, would be a just a moment of the world of appearance and alienation in the history of the spirit. If we follow Hegel's approach concerning romantic moods, we should distinguish joyful tonalities of the spirit from the melancholics. We will realize that this distinction is the same distinction concerning the polarity of the climates between occident and orient in the Lectures on Fine Art and Phenomenology of Spirit, in which Hegel envisage absolute negativity within the framework of the art history. This interpretation leads us to reconsider the distinctions between the Hellenic, occidental and oriental art, which have emerged within the conflict of orient and occident. Firstly, we will attempt to conceive the different spheres of consciousness in the Phenomenology of Spirit, by linking the ironic consciousness to the idea of beauty in this book. Concerning this subject, Hegel have admitted that the negation of negation leads consciousness to a perpetual restlessness instead of giving identity the being for itself. Afterwards, we will focus on the idea of reversal of the idea, and we will elaborate the concept of negative infinity in Lectures on Fine Art. Romantics conceive infinity as boundless and as an act of perpetual negation. According to Hegel's conception in the phenomenology of Spirit, this approach creates, in the romantic consciousness, the ambiguous frontiers and absence of certainty, which causes the intertwining of the truth and deceptive appearances. This is why, Hegel define this infinity as bad infinity. For him, negation in the development of self-consciousness and spirit considered and takes shape at every level of exteriorization of Absolute Idea, other than preceding levels since negation as a form of relation reflect the abstract bond between thinking I and non-I as being-there, the other of self-conscious subject as living-being. In Hegelian sense, contradiction necessitates to be interiorized by the dialectical synthesis of theses and antithesis in an affirmative way. What is more, for Hegel, if we mention about signification of contradiction, as emergence of difference, we should not envisage it anymore as a relation between two extreme poles separated from one another. We find ourselves at a moment, the thesis and antithesis recover their equilibrium in a Hegelian sense, although, excluding each other. Thus, extreme limits persist in any case for romantic conception of individuality, that is being for itself and so we define it as beautiful soul (schöne Seele) and noble soul (Gemüt). The romantic connection between two concepts will be also targeted by Hegel in a critical manner and I will focus on his approach anew by having recourse to romantic conception of genius (Genius). In romantic current, thesis and antithesis as extreme poles relates each other without a mediation of a real alterity, Hegel hold these ideas in his elaboration of romantic thinking, and He admit also that such a transition between thesis and antithesis exist, nevertheless, this is as if crossing over a limit leaping from one pole to another. And every time we liquidate a boundary, we find ourselves still between two blocs. Because this passage, for Hegel do not worth to be considered as a change, the romantic conception of becoming envisaged not be able to create a real moment of synthesis between thesis and antithesis. They eliminate an obstacle between extremes, as if they go through a broken wave which lost gradually its effect. This means that the romantic trajectory does not consist necessary conflict and combat, in other words, action as an essential conflict for affirmation, interiorization of the contradiction. We would like to harbor another aspect in relation with affirmation of contradiction more closely in the frame of infinite negativity. Apart from this, there exist another subject concerning the desire which is at the foundation of the problematic momentum for Hegel; indeed, in a romantic perspective, all transformation should be realized by an immediate way and spontaneously, following orientation of desire as ironic consciousness and residing at this level of consciousness without relying on the mediation of another consciousness. This is because, while emerging of the romantic current, romantic self-consciousness regarded as being inclusive not sufficiently and welcoming towards society. Lack of recognition concerning the other self-consciousness is the fundamental reason behind this problem. That such a romantic recognition had been realizable, we would still need a conception of authentic difference, to put it in another way, an affirmed, thus realized contradiction. According to Hegel, we must draw a line between difference and diversity by relying on the concept of contradiction. Hegel claims that romantics understand very well importance of idea of contradiction, however, they regard the contradiction, as we mentioned before, as an inessential polarity which creates extreme contrasts on a surface level. For Hegel, this means that the relation between I and the other rests inessential and not well-rooted, even if the I and the other would have been well distinguished, the I as thesis would not be defined by the other as antithesis. I would like to clarify this subject in detail in following chapters of this study. Regarding romantic irony as negative infinity, we should precise thoughts of Hegel, by setting them into an ethic an esthetic frame, thus concretization of the Idea and truth could be articulated by the contradiction principal. However, romantic irony links the realization of idea to the process of becoming, to put in another way, they envisage becoming perpetually other of the I as a revealment of reality. Such a conception poses a huge problem for Hegel, even if he considers it as a critical moment in the trajectory of spirit. This is transformation, which bridges between the self-consciousness and the concrete subjectivity. In this regard, we might define romantic subject as a split self-consciousness (in sich entzweite), since this split, namely negation as interiorized opposition, loom up in the connection between reflecting subject and other differencing itself. This relation corresponds to the one which exists between being for self and its other. Ine this respect, differentiation considered to be consisting of the separation between interior and exterior. This turning point is where we reach a moment through which the concretization of the Idea could be attested. This is why this subject give direction to my thoughts through this study and in my attempt to clarify Hegelian interpretation of romantic philosophy. The fundamental reason behind Hegel's approach is that the concretization of the difference in romantics, namely, difference, accompany the concretization process of idea, this means that, the emergence of living of the concept. This conception of difference subjected to a severe critic as such a conception revealed as deprived of an essential opposition and mediation. Nevertheless, such an interpretation of negation occupies a place during emergence of the figures (Gestaltung) of the self consciousness and spirit. In this regard, our aim is to explain the relation between romantic irony and show the place of the concept of contradiction in the hegelian philosophy, in my opinion, the most proper way for comprehend the movement of living idea. According to romantic philosophers, the gap stands between the absolute and sensible, more precisely, the conflict the life and dead. The gap might be just surmounted through a new conception of absolute, the one based on the manifestation of the absolute in the nature. This is why, the idea, namely unconditioned, essential concepts, do not recognize any frontier, and phenomena, as conditioned, would be grasped in the frame of immediate relation. Firstly, we should explain how we reach a moment of the spirit in which the nature could be organized by ideas as an organic totality. Here, we come across the divergence of views between the Hegelian thinking and the one belonging to romantics. According to Hegel's point of view, the manifestation of the idea realized as alienation of the Idea to itself. Although romantics accepts that the idea reveal itself in the nature, they distinguish in the nature still a contingent chain of cause and effect, and especially regarding the level the development in the organization of living being. For Hegel, such a revelation of Idea, would not have been considered as a spiritual moment in which idea creates an organic nature by elevating nature from mechanical sphere (inorganic) to a level of autonomic creativity. Thus, idea remains at the momentum of alienation and discontinuity. The interior and exterior necessity have not been established in a way that we reach a conception a concrete autonomy of romantic subject. In the following parts of our study, these distinctions will allow us to understand the difference between the natural and absolute negation. In this regard, we should remember that the appearance of the Idea (Erscheinung), the movement of which might be formed in accordance with the causal necessity, do correspond just to a moment of deployment of the spiritual idea. Every exteriorization and every return of the Idea, which surpass previous moments, corresponds to a more concrete reality, this means that, an understanding of reality in accordance with concept. We remain at the level of representation and through this study our priority will be levels of representation as our focus will be on the level of subjectivity and esthetic reflections. These should be realized and take new forms in the movement of idea that extend beyond its limits in its blossoming processes. Indeed, when Idea (Geist) reveals itself as living being, unfolding process realized in the level of immediacy. Thus, the moment of revelation in nature anticipates another mediation for reaching a ground of more developed correlation with the objective field and its concepts. If we return to, here, the conception of relation between the idea and sensibility in romantics, we realize a point of view totally different as the multiplicity of the nature and besides that, organization of this one is perceived in another manner. The multiplicity of nature is organized equally as a totality through the emergence of the absolute in the last one, therefore this emergence realized as a collapse or immersion of the absolute in the nature. Hence the romantic subject find itself in the middle of multiplicity of discordant relations and try hardly to attain a harmonical flux of nature, namely, reunification with absolute, on the other hand, they encounter the harmony which dissolve permanently in the movement of the nature. Hegel admit that such an apprehension of multiplicity which affirm to the extremity the existence of the dissonance and do not see nature anything other than diversity, would create obstacles to real conceptualization between one and other them, this comes from that we do not have a conception of difference. For Hegel, the multiplicity and functioning of the nature do not allow to be conceived as the source of dissonance and diversity. The unveiling of the idea as life (spirit) opens to our comprehension thanks to the principle of contradiction. Moreover, this is not the dissonance which have consisted of the multiplicity of the nature, this is rather the contradiction which constitutes the difference within it. These two points of view rooted in the conception of organic nature firstly in Kant, that is why in different chapters, we will try to elaborate the conception of the ideas in Kant. Before undertaking an elaboration of the Kantians' thinking in frame of esthetic, we will focus on the concept of contradiction for distinguish from it the difference transcendental between the intelligible and sensible spheres. In esthetics, Kant puts the idea of reason, as intelligible and affects as negative pleasures, as sensible sphere, in a relation by relying on the concept of sublime(Erhabenheit). Our wish is to pursue the point of view, which supported that, the romantic irony acquires its finale form by appropriating Kantian approach. Romantic irony is related to ideas while we find in neo-platonian approach a delimitation of irony within the frontiers of self-consciousness. We shall attempt to mention different façades of this subject, in such manner that we might establish a relation between the idea of contradiction which first appear in sensible sphere and irony revealing an abstraction of the difference between singularity and multiplicity as desire. This means that in this chapter the romantic irony assumes a new form and leads us to consider entirely the relation between identity and alterity. Thus, we might establish a passage from Kantian esthetic to the romantic by focalizing on the concept of sublime. As my preoccupation regarding this subject is the negation of actuality by romantic consciousness. According to me, we should explain in detail why the romantic subjectivity takes it characteristic form through negativity. The existence interior of this subjectivity, which takes form by intermediary of the affections as melancholy and enthusiasm will be at first plan. Romantic ambiguity finds its expression not within the frontiers of bright Hellenic horizons but in a gloomy atmosphere, and their conception of irony considered in this frame, even if they are fascinated by an idea of returning to ancient times. Albeit ambiguous becoming of the idea, they believe in the constructive (idealizing) role of movement of ideas, thus they defend they reach a level of certainty of consciousness, which have been considered as inconstant by following philosophers. Every mediation of beautiful soul, from antiquity by passing classicism to romantic consciousness, reach more elevated levels and even if these levels anticipate the spitted consciousness being intermediated by its other, we do not achieve a reconciliation which may replace equilibrium of consciousness with a real unity. Regarding romantic thought, we might say that it's about the trajectory of the movement of spirit, and thus our noble consciousness takes different shapes by experiencing estrangement and then facing a severe alienation. This means that, when the romantic irony takes on new forms, leads us to reconsider the relation between identity and alterity altogether. We will suggest that, by following Hegel's course of thought, we might constitute a passage to the romantic esthetic consisting of the esthetic Kantian and Fichtean ethic, by mainly focusing on the concept of sublime. As my priority in the context of this subject is the romantic negation of actuality, as we have mentioned before, I endeavor to explain in detail why irony obtain a characterized form in romantic thinking. In my view, we might admit that for romanticism as a nostalgic movement, returning to classical age, especially to Hellenism, is of great importance. Thus, we have a comprehension about the adequacy between form and content in romantic art. Nostalgic esthetic approach requires references to Hellen and Romain history and esthetics. Because of this, we should mention the platonic desire briefly by making certain allusions to the immanent negativity in romantics, which means that, 'the subjectification of love'. This sort of negativity evokes the aspect of privation and misery that we cannot satisfy forever, an unlimited eagerness associated rather to 'cupid race 'or "eros" which could be considered as an appearance of pure individuality in Greek thinking, this means that in certain respects, for Hegel, this form individuality reveal itself without any proper cultural and familial relations. Indeed, this unsaturated desire may lead us to take into consideration the aspect of collapsing of the self-consciousness, the one which concerns the construction of identity by way of recognition. On the other hand, in my opinion, as experience of extremities, this form of desire as ironic orientation a would likely to be attached to the subject of beautiful soul and the law of the heart in terms of transgression of norms concerning different figures of consciousness. To explain it otherwise, we encounter in this context, two sorts of immediacy which create crisis from a Hegelian perspective. A part form all of this, this aspect concerns artistic enthusiasm we take as an object in the chapter of esthetic of sublime. Such a negativity is important for comprehend the differences between the negation of actuality and the negation of vitality from platonic to romantic thinking and thus, we perceive how irony acquire a historical aspect by protecting its platonic significations. In the second chapter, there are subdivisions since the organic nature in romantics and the romantic conception of genius implies an elaboration in different respects. We have just touched one of them and dedicate a whole part of this study to the clarification of influence of Kant and other crucial thinkers on the philosophical trajectory of romantic philosophers. Even if their ideas structured in different directions, ideas which determine the content of transcendental dialectic of Kant determine their cardinal discussions which Hegel will ponder more by reinterpreting. Thus, I undertake to establish associations the thoughts of Kant and the others', particularly the ones which are found in the critic of reason and critic of faculty of judgement and so to frame the essential arguments among them. In first place, we will direct our attention to the ideas taken from the critic of judgement to the ideas which organizes nature, creating cultural momentums, briefly, to the idea of organic nature and to the relation of genius to the organic nature. As this allows us to understand the difference between mimetic creation, which mostly relies on the teleological production of nature and creativity of beautiful soul which surpass given limits of understanding. Thus, we will have a better conception of suprasensible activities of imagination, which leads to cultural and creative momentums of romantic soul. By the concrete difference what we should understand a conception of idea in relation with life, to put it differently, emergence of the living idea as a moment of the deployment of the absolute idea. Romantic self-consciousness is realized by way of the interiorization for the contradiction of becoming and thus ironic self-consciousness, liberating itself from the immediacy of sensibility to reach a supersensible level. In this regard, romantic irony offers us a new meaning concerning the conception relation between idea and life as absolute fluidity. We shall pass afterwards to the concept of autonomy for adding another dimension to approaches concerning ideas creativity in romantic philosophy. In this regard, we should keep in our mind that intertwining the concept of autonomy of Kant and interpretation Fichtean of the concept of intellectual intuition, takes its origin from elaboration of Kantian of the ideas of reason. This let us to reconsider the possibility of comprehending the distinction between what is immanent contradiction and what is transcendental contradiction. Since romantic irony, as desire, is articulated to a conception of autonomy developed by Fichte, and indeed Hegel signifies a recuperation of the negation of Fichte in romantic philosophy. Fichte invalidates the Kantian distinction between regulative and constructive ideas. Thus, the concretization and objectification of the I, have relied on this development. Thus, this subject worths a precision for we see better the articulation of the vitality of idea on the sphere of the ethic and the independence. Here where we see clearly a radical divergence concerning the relation between I and non-I. We distinguish the split idea of Hegel from the one of romantics. While Hegel endeavor to juxtapose the contradiction immanent and the transcendental one by relation them each other, he developpes another conception of them, which is not limited to the concept of praxis. According to us, all these thinkers consider human existence as a derived concept, as in a process of becoming, this means that the reflexing I and living being are not related immediately to each other. Although they have such common conception, they distinguish from each other according to the subject of the relation between the I and the non-I, which is formed around a discussion concerning ideas of reason, especially Idea of beauty. According to me, in the relation of romantic ethic and esthetic, the aspect of the idea as regulative and normative rests in shadow. Thus, I would like to interpret differently the romantic concept of 'the law of the heart', which is suggesting transgression of established norms. This is course of thought, according to which the conception of will, to say it differently, the romantic conception of morality, is identified and criticized by Hegel. What we should understand by praxis is that the way of the creation of reality by romantic noble soul and the values they create because of a reversal of the established values. We will focus on the antinomies only when we take into consideration different forms of oppositions which defines romantic relations with reality. Romantic autonomy should be read as a closure to exterior natural phenomena and the emergence of infinity, which is related to this sort of interiority, should be considered as negation of finitude forms. Principal reason of this, that romantic praxis owes its constitutive quality to intertwining of the conception of praxis Fichtean and imagination Kantian. The idea of beauty is considered as a comprehension of the idea as a split Idea, to put it differently, as this reversed Idea compromises the immanent contradiction and excludes transcendental contradiction. In this context, intellectual intuition does not function anymore as a relation which necessities a natural enchainment. This means that it does not function according to a finality subordinated to natural teleology. Intellectual intuition creativity has ties with objectivity however that does not depend on concepts. Romantic genius and its supernatural capacities should be considered in this context. This is why romantic thinking does not attaint to a concrete comprehension of vitality and the sense of privation. For Hegel it is deprived of a well constituted elaboration of difference. The romantic speculative thinking hinders a deep grasp of the contradiction from different angles. We might say that rift in the romantic subjectivity owes its unceasing patience and nostalgia to this lack. For Hegel, the interiorized contradiction could be only a moment that must be surpassed. About that which concerns the will, we will try to demonstrate these aspects these aspect in detail by touching to their correlations. Through the idea of beautiful, we are related to living beings by releasing our immediate bonds with sensibility. The organic comprehension of nature thus translated to a form of liberty in this frame, however this perspective limits the conception of the idea from a practical dimension et moreover we break the connections with alterity. According to Hegel, the reconciliation of romantic individualities with societies was established by the sway of noble souls, as they only achieve to reach an equilibrium between conflicting sides, not to a true unity of the singularities and multiplicities. Their conception of autonomy and their way of realization of values, namely praxis, does not consist of recognition of others and thus they cannot thoroughly surpass their alienation. The main problem about this is that the romantic irony only presents us an abstract vitality, and this provides a partial conception of the idea and together with this, the contradiction. The best way that we pursue would be determining the divergence of views concerning living idea, so, we could understand the difference between the production of the slave and the one of romantic artist while they undertake to transform and appropriate nature. We might analyze the revelation of idea through art and craft, and this subject leads to the discussion about the gradual disappearance of the originality in romantic epoch. At first sight, the comparisons that we have just mentioned may seem irrelevant as it is based on social cleavage between nobles and slaves, however we may admit that depiction of dialectical development of the consciousness is also founded on such deep conflict in Hegelian thought. We will attempt to bring certain clarifications concerning anxiety of slave and the affects proper to romantic genius for bringing out the difference between their attitude regarding assimilation and idealization of nature. We might add that the romantic conception of nature allows to be interpreted differently because of their glance esthetic towards all theoretical and practical aspects. Whereas romantics acquire an invasive experience, namely, an experience of sublime in their contemplation of nature, slave undergoes another violent affect, namely, anxiety, which drags him to the level of thinghood. However, exteriorization of the slave set him over a level of the artist, from the point of view of Hegel, slave attains to establish a relation with the truth in contrast with the artist. My wish is to develop my ideas, by touching to certain passages concerning the esthetic subjectivity in romantics that Hegel describe in landscape full of invasive flames, which this landscape surrounded by a grey horizon a unity. The vanishing unity of the landscape is rooted in the romantic genius, and this depiction reflects the transgression of the rules by romantic consciousness. I will discuss this subject in the last parts of this study. In certain respects, Hegel and other thinkers like Kierkegaard that we have referred to during this study, have a similar approach about romantic sublime, however, I have referred to certain differences under the title of esthetic and ethic romantic, concerning the romantic conception of infinity while for Hegel, the ties romantic with Christianism have been accentuated, for Kierkegaard, romantic esthetic is characterized by an oriental and rather polytheist tendence. Relying on divergent views, I would like to associate infinite negative of romantics to the aspect of becoming in the frame of esthetic romantic. Even if our priority during this study will not be interpretation of Kierkegaard and Deleuze, as their ideas supported the Hegelian ones, these comparisons will allow me to constitute a continuity between different remarks of Hegel. Rather than images in relation with objectivity, according to Hegel, the images created by the romantic artists should be considered as esthetic images. His approach based on the ideas regarding evaluation of images. We question which images we could consider as beautiful or abstract. The importance of the revelation of the romantic idea impose itself just here because this one is related to the absolute spontaneity and the level of the abstraction of the genius, rather than faculty of imagination. The romantic contemplation characterized by an unlimited production of imagination; however, this does not mean that romantic images concern the world of phantasy in romantics, this requires an accession to the absolute infinity. The conception negativity in the romantic esthetic have been particularly accentuated as through this conception, they have developed a conception of esthetic which does not based on only the Idea of beauty. According to me, the main characteristic of their philosophy, Hegel also emphasizes this aspect, would be the relation between Idea of beauty and the sublimity of the revelation of the Idea in the nature. Only through this relation we have a conception of negative infinity in the frame of romantic philosophy. Moreover, the conception of idea constitutes an abstract individuality with abstract multiplicity. By analyzing the critic of Hegel about the romantic contemplation, we could say that an ideal romantic considers contemplative gaze as a form of interiority and thus orientation of the gaze is determined by the stirrings and sways of romantic soul . We anticipate that this level of interiority would correspond to a level of self-certainty however, romantic self consciousness is determined by excitations and oscillations of the soul. This is why the romantic sublime could not be expression of vigorous and living affections of the sublime. The alienation continues to exist as a form of melancholy and thus Hegel admits that the romantic conception of idea cannot create a reconciling harmony as they distance themselves from the concrete and real differences. The romantic alienation reveals itself in the productions of art. Because of this, we could interpret that the passage from the classic art to the romantic art, as a passage from realism to the idealism. Having conceived this, we could define the qualities proper to them by distinguishing one from the other. In this context, the romantic fascination, and their own conception of experience of the sublime creates an obstacle before a more profound contemplation for Hegel, moreover, he highlights in different respects that the romantic sublime (Ungeheuer) is gloomy rather than being an ectasis translucid. Hence their contemplation does not lead them to a lucid and serene moment of consciousness. His interpretation, as we pinpoint before, based on the phases from the enthusiasm to the sublime which the consciousness goes through and these phases is also related to the revelation levels of the Idea. We expect that we reach to the level of self-consciousness, whereas for Hegel, the passages between the obscure romantic consciousness and unconsciousness does not allow such a progression. To bring this study to the conclusion, we will undertake to relate one more time, ironic consciousness to the different forms of negativity in romantic philosophy. In my opinion, all these critics are based on the lack of conception of the negativity in romantic thinking, as Hegel have claimed, and on the absence of the mediation as the concrete negation. We would define, in this regard, romantic negativity as an infinite alienation which occurs through itssway between extremities. The romantic geniusrevealsitself through surpassing of the ambiguities and alienation in the development of the consciousness. However, the alienation and melancholy of romantic consciousness recognize any ultimate limit and objectivity, even if they exteriorize and objectivize their own creative consciousness through the works of art. The absence of objectivity leads romantic subject to a perpetual becoming, as romantic consciousness should reconstruct repetitively a vanishing reality.