Abstract

The standard of pleasing art creates a notion that is axiological in the nature of the art itself. Given this claim Schopenhauer asserts that disturbing art does not provide relief for the spectator, therefore it may not be viewed as a temporary escape from life’s suffering. This opus claims otherwise using the very same principle of Arthur Schopenhauer on aesthetics and the Will to Life. The introduction provides the philosophical inquests of Arthur Schopenhauer that are associated with the metaphysical position of the very banal action of appreciation. This opens the threshold for a review of written positions on the variables that would ascertain this principle of the Will to Life, the material of disturbing art, and the framework of the transcendence argument. These are crucial to establish the argument that this paper asserts in accordance to the research questions provided in the introduction, which focuses primarily on the transcendental analysis of the value of a qualified disturbing art. Following this review, the methodological means and the framework of transcendence is given premium. Deriving these contents from the hermeneutical processes, the opus provides a graphic representation on employing the transcendental method through hermeneutical procedures. Thus, creates a framework for the apparent philosophical investigation. Given these, the explications and discussions allow a better view on justifying and qualifying disturbing art according to its metaphysical and phenomenological connection with the Being as a natural spectator. Thus, leads to a possible novel argument utilized under the principles of Arthur Schopenhauer.