Kant's Works in Aesthetics

In this collection of essays Béatrice Longuenesse considers the three aspects of Kant's philosophy, his epistemology and metaphysics of nature, his moral philosophy and his aesthetic theory, under one unifying standpoint: Kant's conception of our capacity to form judgements. She argues that the elements which make up our cognitive access to the world - what Kant calls the 'human point of view' - have an equally important role to play in our moral evaluations and our aesthetic judgements. Her discussion ranges (...) over Kant's account of our representations of space and time, his conception of the logical forms of judgements, sufficient reason, causality, community, God, freedom, morality, and beauty in nature and art. Her book will appeal to all who are interested in Kant and his thought. (shrink)

A comprehensive and practical study tool, introducing Kant's thought and key works and exploring his continuing influence.

Kant's third Critique, the Critique of Judgement, is regarded as one of the most influential books in the history of aesthetics. This book is designed as a reader's guide for students trying to work their way, step-by-step, through Kant's text. It is also a guide to the text-in-context in that it sets Kant's concepts, language and aims in the context of Kant's philosophy in general and the late eighteenth century. This is one of the first comprehensive introductions to Kant's Critique (...) of Judgement. Not only does it include a detailed and full account of Kant's aesthetic theory (the beautiful, the sublime, genius and fine art), it incorporates an extended discussion of the 'Critique of Teleological Judgement', a treatment of Kant's overall conception of the text and its place in the wider critical system. Designed as an introduction, suitable for undergraduate and first-year postgraduate use, the book assumes no prior knowledge of Kant, or any other particular philosophy. As such, it could be used as an introduction to Kant in general from the point of view of the third Critique. Moreover, it stays with the historical Kant, avoiding 'updating' arguments that sound more like recent theories and including sections of the text that are sometimes neglected. In these ways, the book will be useful as a starting point for understanding Kant's relationship to the eighteenth century and his legacy throughout the nineteenth and twentieth centuries. The choice of text is the Pluhar translation in the Hackett edition. However, throughout, Douglas Burnham provides alternative translations of key terms and phrases, making the book independent of any particular translation of Kant's text. Key Features A comprehensive and introductory level text Useful for understanding Kant's critical system as a whole, and his historical influence Includes: translations of key words in brackets in the text; helpful summary boxes at the end of every section of every chapter; a glossary of key terms with definitions and alternative translations. (shrink)

a relação entre razão e natureza envolve um dos principais aspectos da crítica da teleologia de Kant. Visando destacar esta relação, investigarei o conceito de técnica da natureza, tal como introduzida na Crítica da faculdade de julgar. De acordo com Kant, a técnica da natureza permite as leis da razão a representarem o acordo dos princípios transcendentais da razão com a natureza. Deste modo, o conceito da técnica da natureza assume um papel prolífico ao expor, através de uma analogia com (...) as faculdades humanas, a atividade produtiva da natureza, como se sua atividade fosse orientada a fins.The relationship between reason and nature embodies one of the main aspects of Kant‟s critique of teleology. In order to highlight this relation, I shall investigate the concept of the technique of nature, as it has been introduced in Critique of the Power of Judgment. According to Kant, the technique of nature allows the laws of reason to represent the agreement of the transcendental principles of reason with nature. Thus, the concept of the technique of nature assumes a fruitful role by exposing, through an analogy with human faculties, the productive activity of nature, as if its activity were oriented towards ends. (shrink)

The article reports discussions at an international conference of leading Kant scholars held at the University of Marburg (Germany) in 1998. The conference was concerned with both the current state and the need for revisions of the Academy edition of Kant's Gesammelte Schriften as well. As became clear, a complete revision is necessary in the case of Vols. XX-XXIV and XXVII-XXIX, since these can hardly be used for research. Improvements of various extent and content should be attempted in other volumes (...) as well-even in Vols. I-IX, Kant's published works, the best edited part of the edition. (shrink)

Review of Manfred Kuehn's outstanding biography on Immanuel Kant. A critical point I raise concerns Kuehn's discussion of Kant's relation to Hume. Scholars are divided over the questions of (a) whether Hume was an actual inspiration for Kant’s Critical philosophy, (b) whether Kant’s defense really addresses Hume’s problem of causality, and, of course, (c) whether Kant’s arguments provide a satisfactory solution to the problem. Sometimes these questions are not clearly distinguished by interpreters, part of the reason Kant scholarship appears so (...) intractable to outsiders. While Kuehn’s answers to questions (a) and (b) appear to be ”Yes”, and while his reasons for the Yes to (a) are convincing, those for Yes to (b) are not; and (c) isn't addressed at all. (shrink)

There are two ways of dealing with Kant's derogatory position on music. Either it is claimed that Kant's opinion is a result of biographical factors, or Kant is regarded as a mere predecessor of a more successful music aesthetics. While the first way mistakes Kant's personal preferences for a philosophical argument about the nature of sound, the second approach underestimates the close connection between his music aesthetics and his whole philosophical system. Against these approaches the article defends the proposition that (...) Kant's (like any other) music aesthetics can only be understood with reference to the concepts of „time“ and „movement“ in order to elucidate the ontology of sound objects. (shrink)

Karl Ameriks has recently devoted an entire volume to defending what he calls "orthodox" Kantianism against what he judges to be the "errors" of such post-Kantian idealists as K. L. Reinhold and J. G. Fichte and to exposing what he claims is the frequently unnoticed but always deleterious influence of post-Kantianism upon certain prominent strands of contemporary philosophy. In response, this paper challenges Ameriks' interpretation of Kantianism itself and of the "post-Kantian project", as well as his construal of transcendental idealism. (...) This is followed by some remarks concerning Reinhold's and Fichte's actual "arguments" for transcendental idealism and a rejection of Ameriks' characterizations of the same. Ameriks' interpretation of "the primacy of the practical" within Fichte's philosophy is also analyzed and criticized, as are his unsubstantiated claims concerning the powerful "indirect" influence of the writings of Reinhold and Fichte upon contemporary philosophy. (shrink)

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of nature, (...) approaching the subject from a variety of angles. As well as developing Budd's own original ideas, the book provides a comprehensive treatment of Kant's classic aesthetics of nature, and an encyclopaedic critical survey of recent literature on the subject. (shrink)

With this, the first volume in the Oxford Philosophical Monographs series, Paul Crowther breaks new ground by providing what is probably the first study in any language to be devoted exclusively to Kant's theory of the sublime. It fills a gap in an area of scholarship where Kant makes crucial links between morality and aesthetics and will be particularly useful for Continental philosophers, among whom the Kantian sublime is currently receiving widespread discussion in debates about the nature of postmodernism. Crowther's (...) arguments center on the links which Kant makes between morality and aesthetics, and seek ultimately to modify Kant's approach in order to establish the sublime as a viable aesthetic concept with a broader cultural significance. (shrink)

God has been called many things, but perhaps nothing so strange as the name of “lobster” which he receives in A Thousand Plateaus.1 Is this simple profanation a pendant to the gleeful anti-clericalism of Deleuze2, for whom there is no insult so wretched as that of “priest”?3 Certainly, on one level. But it is also a clue to Deleuze’s ability to use a traditional concern of theology, the name of God, to intervene in the most basic questions of Western philosophy, (...) in this case, the interchange of theology, biology and politics inherent in the question of nature and the organism. (shrink)

I try to identify the characteristic and distinguishing features of a theory of natural beauty (as opposed to the sublime) that can be found in Kant's Critique of Judgement. Lest this may seem superfluous, I argue first that, contrary to a common view, Kant's theory does not take the experience of beauty in nature as theoretically basic and that he does not deal with beauty in art only as a derivative case of aesthetic experience. I then try to understand what (...) it means to require, as Kant famously does, that beautiful nature has to look as if it were art. Does this commit him to a projectionist view, according to which we appreciate nature aesthetically only for what it really is not (namely art) rather than for what it is? Pursuing this question we find that for Kant nature can be the object of pure judgements of taste only insofar as nature can be explained scientifically, which in Kant's framework means purely mechanically. This ‘blind mechanism’ of nature plays an important role in Kant's explication of the moral significance the experience of beautiful nature has for us. (shrink)

Nietzsche and Kant on Aesthetics and Anthropology is the third of a three-volume collection exploring Nietzsche’s relationship to the Kantian legacy in philosophy. This volume examines his relationship to Kant’s aesthetic and anthropological views, focusing on the traces of Kant’s third Critique and Anthropology from a Pragmatic Point of View that can be found in Nietzsche’s published and unpublished works. In this review, I offer a summary of each of its chapters, with some brief commentary, and underscore its major themes, (...) contributions, and omissions. In their introduction, Maria Branco and Katia Hay signal that the scope of this volume goes well beyond a strict understanding of aesthetics as the evaluation of... (shrink)

Passt der Mensch als moralischer Akteur in die Welt? Während in früheren Ansätzen Kants nur der aus den Bedürfnissen der Praxis gespeiste Glaube blieb, hofft er in der "Kritik der Urteilskraft" zeigen zu können, dass sich die Überzeugung von einer moralkompatiblen Welt unabhängig rechtfertigen lässt – aus Ästhetik und Biologie. Der Autor liefert zunächst eine systematische Analyse von Kants Problemstellung: Was motiviert die Suche nach einem solchen Übergang zwischen Theorie und Praxis und was kommt als Lösung infrage? Dann schlägt er (...) eine innovative Lesart der Rolle der Biologie im Übergangsargument vor: Sie ist nicht als positiver Beitrag, sondern als naheliegender Einwand gegen das angestrebte Argument zu verstehen. Das wirft neues Licht insbesondere auf die Antinomie der teleologischen Urteilskraft. -/- Does man fit into the world as a moral actor? In Kant's earlier approaches, only faith catering to the needs of human practice remained to supply an answer to this question. In the "Critique of Judgment", though, Kant attempts to show that the conviction concerning the existence of a morally compatible world can indeed be independently justified – namely from aesthetics and biology. The author first provides a systematic analysis of Kant's problem: What motivates the search for such a transition between theory and practice and what can be considered a satisfactory solution? He then proposes an innovative reading of the role of biology in the transition argument: It is not to be understood as a positive contribution, but as an obvious objection to the argument pursued in the first place. This sheds new light in particular on the antinomy of teleological judgement. (shrink)

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 (...) to the Critique of the Power of Judgement. Assessing which context takes priority will be important in making aesthetic judgements and for applying practical reason to comprehend human affairs. (shrink)

The Heythrop Journal, Volume 63, Issue 1, Page 5-18, January 2022.

This paper argues that Kant presents two different accounts of beauty, one that applies properly to art and one that applies properly to nature. The judgment of beauty that applies properly to nature can be free and thus judged without concepts. The work of art, however, is judged beautiful when it expresses aesthetic ideas. This distinction then enables me to explain several problematic passages in Kant's text: those that serve to distinguish these two conceptions of beauty from one another as (...) well as those passages in which Kant views them as overlapping. With respect to the latter, I argue that Kant lays especial significance on cases where we apply the conception of artistic beauty to natural objects, as in doing so we view nature as expressing ideas that step beyond nature. (shrink)

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, (...) I will attempt to show how Kant’s account of pure aesthetic judgment can be read as articulating an aesthetic non-conceptual condition of the search for the conceptual order of nature and so as constituting an essential part of the account of the transcendental conditions of empirical experience and knowledge. (shrink)

This introduction presents an overview of the special issue of Con-Textos Kantianos devoted to Kant’s aesthetic theory. The articles in this issue have been organized into two sections: those written by keynote-authors, and those written in response to the general call for papers. Within each of these two sections, articles have been organized thematically, although the philosophical traditions that they engage with, as well as points of contact between articles, have also been considered. In the first section, keynote-authors address questions (...) of aesthetic normativity; the role of aesthetics in the acquisition of empirical concepts; the emotional nature of aesthetics; subjectivity and disinterestedness; connections between aesthetics, anthropology, and politics; and aesthetic non-conceptualism. The second section begins with contributions dealing with matters of formalism and conceptualism in Kant’s aesthetics, as well as their relation and relevance to thinking about art, the arts, and contemporary art. It continues with papers that address key issues of Kant’s aesthetics, such as the free play and the role of imagination, as well as possible complementarities between the three Critiques. It closes with articles that focus on the reception of Kant’s aesthetic theory in the works of major philosophers of the 20 th century, namely within critical theory and the phenomenological-hermeneutical tradition. (shrink)

In this paper I offer a reading of the 1790 Introduction to the Critique of Judgement intended to show that the Critique of Judgement itself attempts to make good a serious deficit in the argumentation of the Critique of Pure Reason. In effect, the conditions outlined in the Critique of Pure Reason could be fulfilled without experience being constituted. There must therefore be additional conditions for the possibility of experience. And an account of these is to be found in the (...) Critique of Judgement, despite the repeated insistence in the text itself that its strictures operate on the level of a merely 'reflective' judgement, quite distinct from the 'determinant' judgements underwriting the time-determination of logical operations in the first Critique. The new transcendental elements for the condition of possibility of experience turn out, through an analysis of the concept of affinity, to table a novel, transcendental, conception of matter irreducible to the experiential understanding of matter and conditioning its possibility. In conclusion, I suggest that the structure of reflective judgement can itself be understood as a description of the operation of this transcendental matter in the special case of the transcendental spontaneity required by the Kantian subject to constitutive experience. (shrink)

This chapter examines Kant's account of the nature of nonhuman and human animals in the "Critique of the Power of Judgement". It discusses how Kant thought that a complete account of the forms of explanation commit one to belief in God. It concludes, firstly, that Kant's account implies an unhealthy anthropocentrism and an Enlightenment prejudice in the form of the overestimation of reason, and secondly, that the Kantian model of God lacks one of the main characteristics of the Christian conception (...) of God: the universal divine love, a power that unifies and embraces all beings, including nonhuman and human animals and their orders. (shrink)

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 (...) of an object, and the faculties that we are feeling to be at work are the cognitive faculties of the understanding and the imagination. This paper locates this interpretation in the text of the Critique of Aesthetic Judgment in the third Critique and uses it to make sense of many otherwise opaque features of Kant’s account of pure aesthetic judgment. (shrink)

The paper examines Kant’s self-criticism to the account of hypothetical imperatives given in the "Groundwork for the Metaphysics of Morals". Following his corrections in the introductions to the third "Critique", the paper traces the consequences of that change in his later writings, specifically with regard to the status of prudence. I argue that the revision of the account of hypothetical imperatives leads to differentiate, and ultimately separate, two functions in prudence: the setting of ends through maxims, and the pragmatic rules (...) establishing means to reach those ends. Accordingly, I furthermore argue, there is ultimately no genuine structural distinction between the rules of prudence and skill. The only difference lies in the domain in which prudence unfolds, that is, the field of human relations, and in the relevant cognitions. -/- . (shrink)

Virgil W. Brower writes that courses based on intense discussions of great works of literature need not be limited to elite institutions.

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 (...) of others. However, on Kant’s view, autonomy is a positive phenomenon, something that involves self-determination and self-legislation. My aim in this paper is to clarify this positive aspect of Kantian aesthetic autonomy. In order to defend my interpretation of aesthetic autonomy, I appeal to another key concept in Kant’s aesthetics, viz., ‘common sense’. I claim that, for Kant, aesthetic common sense, which we acquire through aesthetic education, is what makes aesthetic self-determination and self-legislation, hence aesthetic autonomy, possible. (shrink)