The Unbearable Aesthetics of Violence That Comes From Another Dimension: Gotham City

Romanticism And Kant's Critique Of Judgment

The first representatives of the Romanticism movement are seen as literary figures. Adopting irregularity as a reaction to the prescriptive works of the classical movement and bringing subjectivity to the forefront instead of objectivity, the artists who are representatives of this movement breathed their artistic spirit into the period. In the classical period, the artist aims to reflect reality to the finest detail, almost like a camera, and literary works reveal almost perfect heroes. These heroes are ideal people who are extremely courageous, extremely strong, show no weakness under any circumstances, and do almost everything necessary to face the destiny that presented to them. “The authors, who were overwhelmed by the strict normality of classicism and had to produce works within the framework of dictated themes, gathered around this trend thanks to the characteristic of romantic understanding that cares about individuality and gives them the opportunity to observe, think and write freely” (Şahbaz, 2016: p.339). Together with the backgrounds such as the French Revolution, the July Revolution, and the Enlightenment thought, which the current is particularly nurtured, it has important contributions in revealing the revolutionary dynamics of the “subject” in the art world.

If we are going to talk about the Romanticism movement, it is necessary to deal with this subject in connection with Immanuel Kant's III. Critique, ” Critique of Judgment “. Art has always pursued the aesthetic, but the addressee of aesthetic judgment has changed with Kant and later with the romantics. Kant brings a different perspective to the mathematical, calculable, objective aesthetic judgments of the preceding period by putting the subject in the foreground.