We present here sections XV–XVI of A. Volynsky's article "Critical and Dogmatic Elements in Kant's Philosophy", which are devoted to an analysis of such categories of Kant's aesthetics as "the beautiful" and "the sublime." Volynsky emphasizes the special significance of the problem of the unity of Kant's transcendental aesthetics and transcendental logic, as well as the unity of the critical and dogmatic foundations of his philosophy. This article is included in full in Volynsky's A Book of Great Anger, which constructs on the basis of Kant's categories of "the beautiful" and "the sublime" a picture of the development of Russian literature at the turn of the century, as well as a theory of the Russian ballet of the 1920s.
The article describes the original aesthetic and philosophical concept – the motor aesthetics of Akim Volynsky. Volynsky uses the concept of «motor aesthetics» in the Kniga likovanii, describing the value of circular lines for the «all aesthetics, visual, sound and motor», and particularly pirouette for motor aesthetics. The term «motor aesthetics of Akim Volynsky» is used in this article for the first time and is studied by the author from an interdisciplinary perspective. Motor aesthetics is developed by Volynsky for plastic art as a language of description of classical ballet, he introduces the basic concepts, formulates the laws, defines the basic philosophical categories that underlie it. The importance of Volynsky's work on the formation of the language of classical ballet description is recognized in the professional environment and theater criticism. The study of the motor aesthetics of Akim Volynsky is relevant in connection with the study of the philosophical foundations of intermedial analysis. The article deals with the problem of time and space in the motor aesthetics of Akim Volynsky for the first time. The direct connection of Volynsky's later works on ballet with his early article on Kant is revealed, the conclusion about the originality of Volynsky's philosophical position in relation to the categories of time and space is made. Using the thesaurus of Kant's transcendental aesthetics, Volynsky defines the two-act structural relationship of time and space according to the «par coupe» (fr) principle, which he regards as universal. It was concluded of Volynsky's motorial aesthetics value not only in the history of classical ballet and theatre criticism, the history of of the Russian literature and philosophy of the late 19th - early 20th century, but also in the modern philosophical anthropology and ontology.
