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  1. Unity in Variety: Theoretical, Practical and Aesthetic Reason in Kant.Keren Gorodeisky - forthcoming - In Konstantin Pollok & Gerad Gentry (eds.), The Imagination in German Idealism and Romanticism.
    The main task of the paper is to explore Kant’s understanding of what unites the three kinds of judgment that he regards as the signature judgments of the three fundamental faculties of the mind--theoretical, practical and aesthetic judgments--in a way that preserves their fundamental differences. I argue that these are differences in kind not only in degree; or, in the terms I motivate in the paper, differences in form. Thus, I aim to show that (1) the Romantic unity of knowing, (...)
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  2. Revisiting Kant’s Deduction of Taste.Ryan S. Kemp - forthcoming - History of Philosophy Quarterly.
  3. Is there are a Possibility of an Ugly Aesthetic Idea in Kant's Aesthetics?Mojca Küplen - forthcoming - In Violetta L. Waibel and Margit Ruffing (ed.), Proceedings of the 12. International Kant Congress Nature and Freedom. De Gruyter.
    In Kant’s aesthetic theory, the association of ugliness with aesthetic ideas is not immediately apparent. Even more, it has been argued by most of Kant’s commentators that ugliness cannot express aesthetic ideas. In short, they claim that accordance with taste (i.e. free harmony between imagination and understanding) is a necessary condition for an aesthetic idea to be expressed in a way that makes sense to others. But if production of aesthetic ideas must be restrained by taste in order to have (...)
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  4. Kant's Fantasy.Francey Russell - forthcoming - Mind.
    Throughout his lectures and published writings on anthropology, Kant describes a form of unintentional, unstructured, obscure, and pleasurable imaginative mental activity, which he calls fantasy (Phantasie), where we ‘take pleasure in letting our mind wander about in obscurity.’ In the context of his pragmatic anthropology, Kant was concerned not only to describe this form of mental activity as a fact of human psychology, but more importantly, to criticize and discourage it. But must we share Kant’s negative evaluation? Could fantasy play (...)
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  5. Susan Meld Shell (2022) The Politics of Beauty: A Study of Kant’s Critique of Taste. Cambridge: Cambridge University Press. pp. 75. ISBN 9781009011808 (pbk) $22.00. [REVIEW]Kristi Sweet - forthcoming - Kantian Review.
  6. The Demands of Beauty: Kant on the Normative Force of Aesthetic Reasons.Jessica J. Williams - forthcoming - Estetika: The Central European Journal of Aestetics 61 (1):1-19.
    According to a number of contemporary theorists, aesthetic reasons can invite or entice us but never compel us. In this paper, I develop a Kantian account of the normative force of aesthetic reasons. While Kant would likely agree that aesthetic reasons do not give rise to obligations, his account nevertheless gives us the resources for explaining how aesthetic reasons can still have more force than merely enticing reasons. This account appeals to the distinct normativity of aesthetic judgments on Kant's theory (...)
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  7. The Historical-systematic Significance of Aesthetics for Social Theory. A Commentary on Sociology in a New Key.Alberto Luis Cordeiro de Farias - 2024 - The American Sociologist 1:01-20.
    Based on a passage from the book Sociology in a New Key, in which Helmut Staubmann outlines a semantic reconstruction of the concept of aesthetics in its theoretical-sociological relevance, this paper presents some developments intended to complement Staubmann. I explore fundamentally different meanings of aesthetics, in particular those cultivated within idealist aesthetics in the context of theoretical philosophy. By highlighting key elements in the shift from this aesthetic tradition to classical social theory, specifically the expansion of the sensible realm, the (...)
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  8. Kant on Judgment and Feeling.Nicholas Dunn - 2024 - Kant Studien 115 (1):46-70.
    It is well known that Kant connects judgment and feeling in the third Critique. However, the precise relationship between these two faculties remains virtually unexplored, in large part due to the unpopularity of Kant’s faculty psychology. This paper considers why, for Kant, judgment and feeling go together, arguing that he had good philosophical reasons for forging this connection. The discussion begins by situating these faculties within Kant’s mature faculty psychology. While the ‘power of judgment’ [Urteilskraft] is fundamentally reflective, feeling [Gefühl] (...)
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  9. Kant's Aesthetic Cognitivism: On the Value of Art.Mojca Kuplen - 2024 - London&New York: Bloomsbury Academic.
    Mojca Kuplen connects 18th-century German aesthetics to contemporary theories of self-knowledge in order to highlight the unique cognitive value of art. She does this through revisiting Kant's account of aesthetic ideas, and demonstrating how works of art can increase our understanding of abstract concepts whilst promoting self-knowledge. Addressing some of the most fundamental questions in contemporary aesthetics and philosophy of art, this study covers the value and importance of art, the relationship between art and beauty, the role of knowledge in (...)
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  10. Review of Katalin Makkai, Kant’s Critique of Taste: The Feeling of Life. [REVIEW]Melissa Merritt - 2023 - British Journal of Aesthetics 63 (2):283-286.
    The perennial challenge for any Kant scholar is to offer close reading of a dense and often exceedingly abstract text that is faithful both to its driving philo.
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  11. Kant’s Conceptions of the Feeling of Life and the Feeling of Promotion of Life in Light of Epicurus’ Theory of Pleasure and the Stoic Notion of Oikeiôsis.Saniye Vatansever - 2023 - Studia Kantiana 21 (2):113-132.
    This paper shows the ways in which Kant’s notions of the feeling of life and the feeling of the promotion of life may be influenced by Epicurus’ theory of pleasure and the Stoic notion of oikeiôsis, respectively. Accordingly, getting a clear picture of Epicurus’ theory of pleasure and the Stoic notion of oikeiôsis will help us (i) understand why Kant introduces these notions in the third Critique and (ii) why he identifies aesthetic pleasure with the feeling of the promotion of (...)
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  12. Culture and the Unity of Kant's Critique of Judgment.Sabina Vaccarino Bremner - 2022 - Archiv für Geschichte der Philosophie 104 (2):367-402.
    This paper claims that Kant’s conception of culture provides a new means of understanding how the two parts of the Critique of Judgment fit together. Kant claims that culture is both the ‘ultimate purpose’ of nature and to be defined in terms of ‘art in general’ (of which the fine arts are a subtype). In the Critique of Teleological Judgment, culture, as the last empirically cognizable telos of nature, serves as the mediating link between nature and freedom, while in the (...)
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  13. Emilio Garroni and the aesthetic Conceptualism in Kant’s Third Critique.Luca Forgione - 2022 - Aesthetica Preprint 119 (1):181-197.
    In recent years, nonconceptual content theories have seen Kant as a reference point for his notion of intuition (§§ 1-3). This work aims to dismiss the possibility that intuition is provided with an autonomous function of de re knowledge. To this end, it will explore certain epistemological points that emerge from Garroni’s reading of the Third Critique in the conviction that they provide a suitable context to verify the presence of autonomous, epistemically nonconceptual content in the transcendental system (§§ 4-5). (...)
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  14. Aesthetic Humility: A Kantian Model.Samantha Matherne - 2022 - Mind (fzac010):452-478.
    Unlike its moral and intellectual counterparts, the virtue of aesthetic humility has been widely neglected. In order to begin filling in this gap, I argue that Kant’s aesthetics is a promising resource for developing a model of aesthetic humility. Initially, however, this may seem like an unpromising starting point as Kant’s aesthetics might appear to promote aesthetic arrogance instead. In spite of this prima facie worry, I claim that Kant’s aesthetics provides an illuminating model of aesthetic humility that sheds light (...)
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  15. The Troubling Relationship between Pleasure and Universality in Kant’s Impure Aesthetic Judgements.James Phillips - 2022 - Kant Studien 113 (2):219-237.
    Kant calls judgements of adherent beauty impure aesthetic judgements because they presuppose the empirical concept of the object and are thus not determined exclusively by a feeling of pleasure. Glossed over in Kant’s account is what kind of universality these judgements have. This article argues that the subjective universality of pure aesthetic judgements and the objective universality of cognitive judgements do not merge in impure aesthetic judgements and that the tension between them reaches also into Kant’s pure aesthetic judgements with (...)
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  16. Kant's critique of taste: The feeling of life, by Katalin Makkai. Cambridge Cambridge University Press, 2021, ISBN : 9781108497794, pp. viii +209, £75.00, Hbk. [REVIEW]Fred Rush - 2022 - European Journal of Philosophy 30 (1):436-439.
    European Journal of Philosophy, EarlyView.
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  17. Attention and the Free Play of the Faculties.Jessica J. Williams - 2022 - Kantian Review 27 (1):43-59.
    The harmonious free play of the imagination and understanding is at the heart of Kant’s account of beauty in the Critique of the Power of Judgement, but interpreters have long struggled to determine what Kant means when he claims the faculties are in a state of free play. In this article, I develop an interpretation of the free play of the faculties in terms of the freedom of attention. By appealing to the different way that we attend to objects in (...)
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  18. Beauty Makes Humanity: The Application of Kant’s Aesthetic Power of Judgment in Value Choice.Zhengmi Zhouhuang - 2022 - Kant Studien 113 (4):689-724.
    In this paper, I use Kant’s theory of the aesthetic power of judgment to solve the problem of nonmoral value choice, which Kant himself did not deal with, and prove that my reconstruction can fit into Kant’s philosophy and function as a harmonization and unification of morality and happiness. First, I revisit Kant’s early view of intellectualized happiness to establish the feasibility of this project in Kant’s ethics. Second, by analogy with the contemplative judgment of taste and practical artistic creation, (...)
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  19. Intentionality Sui Generis of Pleasure in Mere Reflection.Igor Cvejic - 2021 - In Kant on Emotions Critical Essays in the Contemporary Context. Berlin, Boston: pp. 87-106.
    In the following chapter, I will attempt to argue that feelings, and, above all, pleasure in mere reflection, ought to be understood as intentional states, and moreover, as feeling-intentionality sui generis. In the first portion of the text, I present the fundamentals of the Kantian understanding of feelings, and attempt to demonstrate why we should reject some of the conclusions of interpretations offered by Paul Guyer and Rachel Zuckert. In part two, I outline some of the particulars of pleasure in (...)
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  20. Subsuming ‘determining’ under ‘reflecting’: Kant’s power of judgment, reconsidered.Nicholas Dunn - 2021 - Inquiry: An Interdisciplinary Journal of Philosophy.
    Kant’s distinction between the determining and reflecting power of judgment in the third Critique is not well understood in the literature. A mainstream view unifies these by making determination the telos of all acts of judgment (Longuenesse 1998). On this view, all reflection is primarily in the business of producing empirical concepts for cognition, and thus has what I call a determinative ideal. I argue that this view fails to take seriously the independence and autonomy of the ‘power of judgment’ (...)
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  21. Reflective and Non-reflective Aesthetic Ideas in Kant’s Theory of Art.Mojca Kuplen - 2021 - British Journal of Aesthetics 61 (1):1-16.
    The aim of this paper is to resolve some of the inconsistencies within Kant’s theory of aesthetic ideas that have been left unaddressed by previous interpretations. Specifically, Kant’s text appears to be imbued with the following two tensions. First, there appears to be a conflict between his commitment to the view that mere sensations cannot function as vehicles for the communication of aesthetic ideas and his claim that musical tones, on account of being mere sensations, can express aesthetic ideas. Second, (...)
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  22. Reflective and Non-reflective Aesthetic Ideas in Kant’s Theory of Art.Mojca Kuplen - 2021 - British Journal of Aesthetics 61 (1):1-16.
    The aim of this paper is to resolve some of the inconsistencies within Kant’s theory of aesthetic ideas that have been left unaddressed by previous interpretations. Specifically, Kant’s text appears to be imbued with the following two tensions. First, there appears to be a conflict between his commitment to the view that mere sensations cannot function as vehicles for the communication of aesthetic ideas and his claim that musical tones, on account of being mere sensations, can express aesthetic ideas. Second, (...)
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  23. Beyond the Pleasure Principle: A Kantian Aesthetics of Autonomy.Dominic McIver Lopes - 2021 - Estetika: The European Journal of Aesthetics 58 (1):1-18.
    Aesthetic hedonism is the view that to be aesthetically good is to please. For most aesthetic hedonists, aesthetic normativity is hedonic normativity. This paper argues that Kant's third critique contains resources for a non-hedonic account of aesthetic normativity as sourced in autonomy as self-legislation. A case is made that the account is also Kant's because it ties his aesthetics into a key theme of his larger philosophy.
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  24. Kant and the Need for Orientational and Contextual Thinking: Applying Reflective Judgement to Aesthetics and to the Comprehension of Human Life.Rudolf A. Makkreel - 2021 - Kantian Review 26 (1):53-78.
    This essay explores the relation between worldly orientation and rational comprehension in Kant. Both require subjective grounds of differentiation that were eventually developed into a contextualizing principle for reflective judgement. This kind of judgement can proceed either inductively to find new universals or by analogy to symbolically link different objective spheres. I will argue that the basic orientational function of reflective judgement is to modally differentiate the formal horizonal contexts of field, territory, domain and habitat laid out in the Introduction (...)
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  25. What Makes Kant an Aesthetic Cognitivist about Fine Art? A Response to Young.Aviv Reiter - 2021 - Journal of Aesthetics and Art Criticism 79 (1):108-111.
  26. Natural Beauty, Reflective Judgment and Kant’s Aesthetic Humanism.Anthony Savile - 2021 - British Journal of Aesthetics 61 (2):199-211.
    Kant’s concern for the universal validity of aesthetic judgment turns on its providing a needed bridge between our understanding of the world as governed by mechanical laws and our ability freely to realize our true humanity. That obliges us to find beauty in nature that is expressive of our ethical and moral values. It shapes the way we should understand aesthetic judgment itself.
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  27. Kant’s “Theory of Music”.Oliver Thorndike - 2021 - Con-Textos Kantianos 14:416-438.
    One thing to expect from a theory of absolute music is that it explains what makes it so significant to us. Kant rightly observes that the essence of absolute music is our affective response to it. Yet none of the standard 18 th century theories, arousal theory and aesthetic rationalism, can explain both the universality of a judgment of taste and its subjective emotional content. The paper argues that Kant’s own aesthetic theory of aesthetic ideas is on the right path (...)
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  28. Kant on Aesthetic Attention.Jessica J. Williams - 2021 - British Journal of Aesthetics 61 (4):421-435.
    In this paper, I examine the role of attention in Kant’s aesthetic theory in the Critique of the Power of Judgment. While broadly Kantian aestheticians have defended the claim that there is a distinct way that we attend to objects in aesthetic experience, Kant himself is not usually acknowledged as offering an account of aesthetic attention. On the basis of Kant’s more general account of attention in other texts and his remarks on attention in the Critique of the Power of (...)
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  29. Kant’s Antinomy of Taste and the Supersensible.Reed Winegar - 2021 - In Camilla Serck-Hanssen & Beatrix Himmelmann (eds.), The Court of Reason: Proceedings of the 13th International Kant Congress. De Gruyter. pp. 1095-1102.
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  30. Kant’s Aesthetics and the Problem of Happiness.Jennifer K. Dobe - 2020 - Kantian Review 25 (1):27-51.
    Kant’s anthropological lectures introduce scepticism about our psychological capacity to experience happiness conceived as gratification or contentment. Aesthetic experience is in a position to inform an alternative conception of happiness that not only is more adequate to the idea of happiness than either gratification or contentment but also may more easily conform to the moral law’s constraints than gratification. As an ‘ideal feeling’, pleasure in beauty serves as a model for how best to enjoy even sensual pleasures and otherwise ‘private’ (...)
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  31. Aesthetic Normativity in Kant’s Account: A Regulative Model.Serena Feloj - 2020 - Con-Textos Kantianos 1 (12):105-122.
    The notion of normativity has been key to an actualizing reading of the subjective universality that for Kant characterizes the aesthetic judgment. However, in the scholarly literature little discussion is made, somehow unsurprisingly, of what exactly we should understand by normativity when it comes to Kant’s aesthetics. Recent trends show indeed the tendency to take normativity very broadly to the point of nuancing most of its core meaning. Based on how we speak about normativity in aesthetics, we seem indeed to (...)
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  32. Immanuel Kant’s Aesthetics: Beginnings and Ends.David Fenner - 2020 - Con-Textos Kantianos 1 (12):123-142.
    Immanuel Kant and his work occupied a space at the crossroads of several important movements in philosophy. In this essay, I look at two important crossroads in aesthetics. First, the subjective turn in aesthetics, when the focus on aesthetic objects was rebalanced with the focus on the subject’s experience of such objects, the weight shifting from the objective to the subjective. Second, after many years and many theories advancing the view that universality of judgment could be achieved, at least in (...)
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  33. Kant's Feeling: Why a Judgment of Taste is De Dicto Necessary.José Luis Fernández - 2020 - Journal of Comparative Literature and Aesthetics 43 (3):141-48.
    Necessity can be ascribed not only to propositions, but also to feelings. In the Critique of Judgment (KdU), Immanuel Kant argues that a feeling of beauty is the necessary satisfaction instantiated by the ‘free play’ of the cognitive faculties, which provides the grounds for a judgment of taste (KdU 5:196, 217-19). In contradistinction to the theoretical necessity of the Critique of Pure Reason and the moral necessity of the Critique of Practical Reason, the necessity assigned to a judgment of taste (...)
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  34. Aesthetic Normativity and the Acquisition of Empirical Concepts.Ido Geiger - 2020 - Con-Textos Kantianos 1 (12):71-104.
    In the Introduction to the Critique of the Power of Judgment, Kant claims that the Critique of Pure Reason accounted for the necessary conditions of experience and knowledge in general, but that it was not a complete transcendental account of the possibility of a particular empirical experience of objects and knowledge of empirical laws of nature. To fill this gap the third Critique puts forward, as an additional transcendental condition, the regulative principle of the purposiveness of nature. In this paper, (...)
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  35. Universality Without Normativity: Interpreting the Demand of Kantian Judgements of Taste.R. Kathleen Harbin - 2020 - Dialogue 59 (4):589-612.
    RÉSUMÉKant affirme que nous exigeons l'accord des autres quand nous rendons des jugements de goût. Je soutiens que cette affirmation fait partie d'une explication de la façon dont la phénoménologie des jugements esthétiques familiers appuie son affirmation selon laquelle les jugements de goût sont universels. La théorie esthétique de Kant n'est plausible que si nous rejetons l'affirmation répandue selon laquelle cette exigence est normative. Je propose une lecture non normative des jugements de goût kantiens basée sur une étude des textes, (...)
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  36. Response to my critics: In defense of Kant’s aesthetic non- conceptualism.Dietmar H. Heidemann - 2020 - Con-Textos Kantianos 1 (12):173-190.
    In this article I respond to objections that Matías Oroño, Silvia del Luján di Saanza, Pedro Stepanenko and Luciana Martínez have raised against my non-conceptualist reading of Kant’s aesthetics. The objections are both, substantial and instructive. I first sketch my non-conceptualist reading of Kant’s doctrine of judgments of taste and then turn to what I take to be the most important criticisms that these authors have put forward. Two difficulties with a non-conceptualist reading of Kant’s aesthetics seem to be central: (...)
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  37. Schematism and Free Play: The Imagination’s Formal Power as a Unifying Feature in Kant’s Doctrine of the Faculties.Jackson Hoerth - 2020 - Con-Textos Kantianos 1 (12):314-337.
    The role of the imagination within Kant’s Critical framework remains an issue for any attempt to unify the three Critique s through the Doctrine of the Faculties. This work provides a reading of the imagination that serves to unify the imagination through its formal capacity, or ability to recognize harmony and produce the necessary lawfulness that grounds the possibility of judgment. The argument of this work exists in 2 parts. 1) The imagination’s formal ability is present, yet concealed, as early (...)
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  38. On Aesthetic Judgments and Contemplative Perception in the Critique of the Power of Judgment.Hemmo Laiho - 2020 - Con-Textos Kantianos 1 (12):191-208.
    The paper argues that much of Kant’s largely formalistic account of aesthetic appreciation stands on the idea that the judger is able to engage with the object of her judgment purely sensibly and hence non-conceptually or non-cognitively. This is to say that the judger must be able to ground her judgment on the immediate sensory affection by the object or on the object’s sensible form. The paper also argues that these two purely sensible grounds, accessible in the aesthetic examination of (...)
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  39. Thomas Hilgers, "Aesthetic Disinterestedness: Art, Experience, and the Self." Reviewed by. [REVIEW]Samantha Matherne - 2020 - Philosophy in Review 40 (2):53-55.
  40. Can everything be beautiful? Pan-aestheticism and the Kantian puzzle of the free play of the faculties.Elena Romano - 2020 - Con-Textos Kantianos 1 (12):292-313.
    My contribution deals directly with the problem of Kant’s apparent commitment to pan- aestheticism, which is in particular attached to the task of explaining the possibility of the free play of the faculties. The aim is to provide an overview of the ways in which this problem can be confronted and eventually solved. In this regard, one way to deal with this problem consists in revisiting the assumption that the free play of the faculties is to be understood as simply (...)
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  41. Kant’s Mathematical Sublime: The Absolutely Great in Aesthetic Estimation.Weijia Wang - 2020 - Kantian Review 25 (3):465-485.
    According to Kant’s Critique of the Power of Judgement, in the end all estimation of magnitude is sensible, or ‘aesthetic’, and the absolutely great in aesthetic estimation is called ‘the mathematical sublime’. This article identifies the relevant sensible element with an inner sensation of a temporal tension: in aesthetic comprehension, the imagination encounters an inevitable tension between the successive reproduction of a magnitude’s individual parts and the simultaneous unification of these parts. The sensation of this tension varies in degree and (...)
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  42. Hilna Af Klint at The Guggenheim: Metaphysics as it Patrols Mortality’s Borders.Ekin Erkan - 2019 - AEQAI 2019 (7/8):1-11.
    The Guggenheim’s spring retrospective of the seminal Swedish painter, Hilma Af Klint, has, naturally, evoked a multitude of art critics and visual culture scholars who laud her radical abstraction which, at the beginning of the 20th century, preceded Kandinsky, Malevich, Mondrian. Yet, where much attention has been given to the symbology and motifs riddling Klint’s work – bold, private, untethered and nonrepresentational as they are – there has been a modicum of nuanced thought on how, exactly, esotericism and theology fomented (...)
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  43. Aesthetic Judgment as Parasitic on Cognition.Aaron Halper - 2019 - Kant Yearbook 11 (1):41-59.
    When we judge something to be beautiful, do we identify an inherent feature of the object, or only our subjective response to it? This paper argues that, for Kant, pure aesthetic judgment occupies a middle ground. Such judgments are based upon affective responses to our own cognitive faculties. Thus, pure aesthetic judgment is subjective insofar as it concerns our feeling ourselves to be engaged in a certain task; it is objective insofar as the task we are engaged in is cognition (...)
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  44. The Passions and Disinterest: From Kantian Free Play to Creative Determination by Power, via Schiller and Nietzsche.Eli I. Lichtenstein - 2019 - Ergo: An Open Access Journal of Philosophy 6:249-279.
    I argue that Nietzsche’s criticism of the Kantian theory of disinterested pleasure in beauty reflects his own commitment to claims that closely resemble certain Kantian aesthetic principles, specifically as reinterpreted by Schiller. I show that Schiller takes the experience of beauty to be disinterested both (1) insofar as it involves impassioned ‘play’ rather than desire-driven ‘work’, and (2) insofar as it involves rational-sensuous (‘aesthetic’) play rather than mere physical play. In figures like Nietzsche, Schiller’s generic notion of play—which is itself (...)
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  45. Kant on Aesthetic Autonomy and Common Sense.Samantha Matherne - 2019 - Philosophers' Imprint 19.
    Recently, Kant’s account of aesthetic autonomy has received attention from those interested in a range of issues in aesthetics, including the subjectivity of aesthetic judgment, quasi-realism, aesthetic testimony, and aesthetic normativity. Although these discussions have shed much light on the implications of Kant’s account of aesthetic autonomy, the phenomenon of aesthetic autonomy itself tends to be under-described. Commentators often focus on the negative aspect of this phenomenon, i.e., the sense in which an aesthetic judgment cannot be grounded on the testimony (...)
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  46. Kant and Beauty.Claudia Meadows - 2019 - Dissertation, University of Houston-Downtown
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  47. Two Feelings in the Beautiful: Kant on the Structure of Judgments of Beauty.Janum Sethi - 2019 - Philosophers' Imprint 19 (34):1-17.
    In this paper, I propose a solution to a notorious puzzle that lies at the heart of Kant’s Critique of Judgment. The puzzle arises because Kant asserts two apparently conflicting claims: (1) F→J: A judgment of beauty is aesthetic, i.e., grounded in feeling. (2) J→F: A judgment of beauty could not be based on and must ground the feeling of pleasure in the beautiful. I argue that (1) and (2) are consistent. Kant’s text indicates that he distinguishes two feelings: the (...)
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  48. Symposium: Kant and the Reorientation of Aesthetics (book précis and replies to critics).Joseph Tinguely & Moran Godess-Riccitelli Joseph Tinguely, Samantha Matherne - 2019 - SGIR Review 2 (2):151-170.
    Précis of _Kant and the Reorientation of Aesthetics_ and replies to comments by Samantha Matherne and Moran Godess-Riccitelli.
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  49. Political Ramifications of Formal Ugliness in Kant’s Aesthetics.Christopher Buckman - 2018 - Idealistic Studies 48 (3):195-209.
    Kant’s theory of taste supports his political theory by providing the judgment of beauty as a symbol of the good and example of teleological experience, allowing us to imagine the otherwise obscure movement of nature and history toward the ideal human community. If interpreters are correct in believing that Kant should make room for pure judgments of ugliness in his theory of taste, we will have to consider the implications of such judgments for Kant’s political theory. It is here proposed (...)
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  50. Niebo gwiaździste nad Królewcem a prawo moralne. Dyskusja Gadamera z estetyką Kanta wokół kwestii doświadczenia piękna i jego odniesienia do etyki.Paweł Dybel - 2018 - Diametros 55:112-131.
    In the article, I engage with H.G.Gadamer’s reading of Kant’s aesthetic theory. Gadamer accused Kant of subjectivizing the aesthetic experience so that it would be reduced to the free play of the cognitive faculties of the subject. Consequently, the ethical dimension of aesthetic experience that played such an important role in the preceding tradition of European humanism has been lost. Yet, this charge of Gadamer is not quite right. The connection between the experience of beauty and ethics has been maintained (...)
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