This article constitutes a critical analysis of M. Scheler's understanding of freedom. Scheler demonstrates freedom as a "potency” or "power” (Können) of the will, which is the basis for the freedom of choice and action. Thus, freedom is a personal habitus (Gesamthabitus innerer Freisein); its essence is given in an internal (intentional) feeling, but not in a theoretical consideration. This signifies that the consciousness of freedom is a consciousness of independence of a higher (superior) sphere (centrum) of person from the lower one (spirit from psyche, psyche from vital sphere, vital sphere from the sensual). If freedom is realized in an order of acts of the will, then it is realized in acts of the will and it becomes a "motivated” will. An internal feeling of value (as the motive) is represented as subjective necessity of the will and it therefore makes the will not passive, but rational and free. The reasonable will is a will determined by the motive, given in an internal experience. Thus the freedom of the will is the will "motivated”, i. e., caused by the consciousness of necessity. In this context, freedom is a direct consciousness of indispensable reason; it gains a Neo-Platonian connotation.
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Artykuł stanowi krytyczną analizę M. Schelera rozumienia wolności. Scheler pokazuje wolność jako „możność” bądź „moc” (Können) woli, która jest podstawą wolności wyboru i działania. W ten sposób wolność stanowi osobowy habitus, zaś jej istota dana jest w wewnętrznym (intencjonalnym) przeżyciu, a nie w rozważaniu teoretycznym. Znaczy to, że świadomość wolności jest świadomością niezależności wyższej sfery („centrum”) osoby od sfery niższej (ducha od psychiki, psychiki od sfery witalnej, sfery witalnej od zmysłowej). Jeżeli wolność realizuje się w porządku aktów woli, to chcenie staje się „chceniem umotywowanym”. Wewnętrzne przeżycie wartości (jako motywu) przedstawia się jako subiektywna konieczność chcenia, sprawiająca, że chcenie nie jest już dowolne, lecz racjonalne (sensowne) i wolne. Sensowne chcenie to chcenie zdeterminowane przez motyw dany w wewnętrznym doświadczeniu. Wolna wola jest więc chceniem umotywowanym, podyktowanym świadomością konieczności. W tym kontekście wolność jest bezpośrednim uświadomieniem konieczności i uzyskuje konotację neoplatońską.
Theory of art as so called the theory of intuition-expression extremely and clearlydemonstrates the way of a mystic experience as a experience of the Absolute. Croce’sconcept of the Absolute is a sign of being spiritual, no diverse in itself, what is morefully given in an emotional (feeling)artistic expression (artwork). Imagination asan appropriate representational power expressively became, in this context, thesphere of the Absolute (indifferent intuition, totality of Being) in which the Absolute realizes – through creation of art – the material world. An artist, because ofhis creative imagination, appears for Croce as a complete, perfect man and fulfillsa creative and demiurge function for the world. According to Kandinsky, inspiredby Steiner’s antroposophy, art doesn’t present concrete thingsbut using a maximumsimplistic concrete form, expresses and shows things in itself, as an ideal, spiritual,absolute but compared to the world of concretes, the mentioned thingsare internal,substantial, essential and “abstractive”. Abstraction as a “true reality” demands ofgiving up the empirical world and looking continuously at the sphere of absolute“necessity”. Art is a specific, inspired knowledge of the Absolute and an abstractartist inspired by this knowledge and expressing it in his artworks must be understoodin a way characteristic of mysticism (an inspired visionary-prophet, perfect man).In Adorno’s aesthetic theory art actualizes the nature in aspect of beauty and thisactualization consists in changing towards the lack of identity. An individual (eachone ) artwork is the “epiphany” of “spirit” of art, that is an aesthetically Absolute.As a result an artwork presents itself as a kind of “mystic event”, but an artist expressing the sphere of the Absolute still be an inspired visionary going beyond thenatural (empirical) order.All of these theories of art are based on the old neoplato-arabian theory of “creativeimagination” which determinates their quasi- or pseudo-mystic aspiration. Theyare not go beyond tradition, that is “natural mysticism” (characteristic of pantheism). This kind of mysticism differs from revelation mysticism on the grounds ofTranscendence (aspect of a object) and classical moment ofcontemplatio (aspectof a subject).
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