(redirected from Ding an sich)
Also found in: Dictionary, Thesaurus.
Related to Ding an sich: noumenon, Das ding an sich


(no͞o`mənŏn'), in the philosophical system of Immanuel KantKant, Immanuel
, 1724–1804, German metaphysician, one of the greatest figures in philosophy, b. Königsberg (now Kaliningrad, Russia). Early Life and Works
..... Click the link for more information.
, a "thing-in-itself"; it is opposed to phenomenonphenomenon,
an observable fact or event; in philosophy the definitions and uses of the term have varied. In the philosophy of Aristotle phenomena were the objects of the senses (e.g., sights and sounds), as opposed to the real objects understood by the mind.
..... Click the link for more information.
, the thing that appears to us. Noumena are the basic realities behind all sensory experience. According to Kant, they are not knowable because they cannot be perceived, but they must be thinkable because moral decision making and scientific investigation cannot proceed without the assumption that they exist.



a term widely used in medieval and modern philosophy to signify something that can be perceived by the mind, unlike the phenomenon, which is given in experience and is perceived through the senses.

References in periodicals archive ?
Kant's Ding an sich, can be neither subjugated nor perceived (recognised), we only recognise a posteriori (empirical) objectifications of it.
In order to overcome Kant, Adorno radicalises the notion of the Ding an sich into its negative, as he derived it from Fichte.
The non-identical is "the own identity of the thing against every act of its identification" (Adorno, 1966:164; translation--SM) (31) and only refers to the subjective reality of the Scotist's or Kant's Ding an sich.
Das Kunstwerk, durch und durch [TEXT NOT REPRODUCIBLE IN ASCII], ein Menschliches, vertritt, was [TEXT NOT REPRODUCIBLE IN ASCII], kein blosses furs Subjekt, was, kantisch gesprochen, Ding an sich ware.
One might argue that with the concept of the apparition of the nonidentical in art, Adorno achieves a modally and dialectically relativised synthesis of the Ding an sich (in Scotist terms, objectivity) and a subjective experience of it.
Both conceptions are intended to rescue the actual (wirkliche) truth of the Ding an sich, in its beauty, from the objectivisations of modernity's utilitarian rationality.