Abstract: Kant declares the judgment of beauty to be neither ‘objective’ nor ‘merely subjective’. This essay takes up the question of what this might mean and whether it can be taken seriously. It is often supposed that Kant's denials of ‘objectivity’ to the judgment of beauty express a rejection of realism about beauty. I suggest that Kant's thought is not to be understood in these terms—that it does not properly belong in the arena of debates about the constituents of ‘reality’—motivating (...) the suggestion by first considering a pair of opposing views on the question of whether Kant can be understood to develop a real alternative to realism about beauty at all. (shrink)

A listing is given of the published writings of the logician and philosopher Hao Wang , which includes all items known to the authors, including writings in Chinese and translations into other languages.

A listing is given of the published writings of the logician and philosopher Hao Wang (1921—1995), which includes all items known to the authors, including writings in Chinese and translations into other languages.

Immanuel Kant's Critique of Judgment is widely recognized as a founding document of modern aesthetics, but its legacy has fallen into disrepute. In this book Katalin Makkai calls for the rediscovery of Kant's aesthetics, showing that its centerpiece, his investigation of the judgment of taste, paints a compelling portrait of our relationships with works of art that we love. At its heart is a scene of aesthetic encounter in which one feels oneself to be 'animated' - brought to life - (...) by an object, finding there to be something in one's experience of it, beyond what there is to know about it, that one wants to explore and articulate. Tracing Kant's insight that to judge is to reveal one's sense of what bears judging, and hence of what matters, Makkai situates Kant's aesthetics within his larger study, begun in the first Critique, of judgment's fundamental role in the life of the mind. (shrink)

The dissertation offers a study of Kant's aesthetic theory as it is developed in the "Critique of Aesthetic Judgment", the first half of his Critique of Judgment, which is widely acknowledged to be the founding text of modern philosophical aesthetics. I aim to show that this work elaborates an important and deeply interesting study of the nature and conditions of aesthetic judgment which---despite the recent resurgence of commentary and of secondary literature---has not yet been inherited. I give an account focused (...) on understanding Kant's idea that aesthetic judgment makes a claim to "subjective universality" and "exemplary necessity", the "twofold peculiarity" of aesthetic judgment that Kant himself presents as the main thematic guiding the course of the Critique. I argue for an interpretation of Kant's notion of aesthetic judgment which takes seriously his idea that its demand for the agreement of others takes the form of a presumption, in which the judge offers her judgment as exemplary of a "universal voice", apart from any independently or transcendentally assured authorization. (shrink)

Released in 1958, Vertigo is widely regarded as Alfred Hitchcock’s masterpiece and one of the greatest films of all time. This is the first book devoted to exploring the philosophical aspects of Vertigo . Following an introduction by the editor that places the film in context, each chapter reflects upon Hitchcock’s film from a philosophical perspective. Topics discussed include: memory, loss, memorialisation, and creativity mimetic or representational art and art as magic the nature of romantic love gender, sexual objectification, and (...) identity looking, "the gaze", and voyeurism film and psychoanalysis fantasy, illusion, and reality the phenomenology of colour. Including annotated further reading at the end of each chapter, this collection is essential reading for anyone interested in Vertigo , and an ideal resource for students of film and philosophy. (shrink)