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Dialogue: Paul Guyer and Henry Allison on Allison's Kant's theory of taste

In Rebecca Kukla (ed.), Aesthetics and Cognition in Kant's Critical Philosophy. Cambridge University Press (2006)

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  1. Kant and the Pleasure of “Mere Reflection”.Melissa Zinkin - 2012 - Inquiry: An Interdisciplinary Journal of Philosophy 55 (5):433-453.
    Abstract In the Critique of the Power of Judgment, Kant refers to the pleasure that we feel when judging that an object is beautiful as the pleasure of "mere reflection". Yet Kant never makes explicit what exactly is the relationship between the activity of "mere reflection" and the feeling of pleasure. I discuss several contemporary accounts of the pleasure of taste and argue that none of them is fully accurate, since, in each case, they leave open the possibility that one (...)
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  • 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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  • Kant's aesthetics: Overview and recent literature.Christian Helmut Wenzel - 2009 - Philosophy Compass 4 (3):380-406.
    In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique , the Critique of the Power of Judgment . The latter contains two parts, the 'Critique of the Aesthetic Power of Judgment' and the 'Critique of the Teleological Power of Judgment'. They reveal a new principle, namely the a priori principle of purposiveness ( Zweckmäßigkeit ) of our power of judgment, and thereby offer new a priori grounds for (...)
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  • Systematicity and Symbolisation in Kant's Deduction of Judgements of Taste.Alexander Rueger - 2011 - Hegel Bulletin 32 (1-2):232-251.
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  • Kant on Fine Art, Genius and the Threat of Private Meaning.Aviv Reiter - 2018 - Kantian Review 23 (2):307-323.
    Wittgenstein’s private language argument claims that language and meaning generally are public. It also contends with our appreciation of artworks and reveals the deep connection in our minds between originality and the temptation to think of original meaning as private. This problematic connection of ideas is found in Kant’s theory of fine art. For Kant conceives of the capacity of artistic genius for imaginatively envisioning original content as prior to and independent of finding the artistic means of communicating this content (...)
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  • Is a kantian Musical Formalism Possible?Thomas J. Mulherin - 2016 - Journal of Aesthetics and Art Criticism 74 (1):35-46.
    In this article, I consider whether a suitably stripped-down version of Kant's aesthetic theory could nevertheless provide philosophical foundations for musical formalism. I begin by distinguishing between formalism as a view about the nature of music and formalism as an approach to music criticism, arguing that Kant's aesthetics only rules out the former. Then, using an example from the work of musicologist and composer Edward T. Cone, I isolate the characteristics of formalist music criticism. With this characterization in mind, I (...)
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  • Kant and the Harmony of the Faculties: A Non-Cognitive Interpretation.Apaar Kumar - 2018 - Kantian Review 23 (1):1-26.
    Kant interpreters are divided on the question of whether determinate cognition plays a role in the harmony of the faculties in aesthetic judgement. I provide a ‘non-cognitive’ interpretation that allows Kant’s statements regarding judgements of natural beauty to cohere such that determinate cognition need not be taken to perform any role in such judgements. I argue that, in aesthetic harmony, judgement privileges the free activity of the imagination over the cognizing function of the understanding for the purpose of unifying the (...)
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  • Back to truth: Knowledge and pleasure in the aesthetics of Schopenhauer.Paul Guyer - 2008 - European Journal of Philosophy 16 (2):164-178.
  • Back to Truth: Knowledge and Pleasure in the Aesthetics of Schopenhauer.Guyer Paul - 2008 - European Journal of Philosophy 16 (2):164-178.
  • Concept-less Schemata: The Reciprocity of Imagination and Understanding in Kant’s Aesthetics.Luigi Filieri - 2021 - Kantian Review 26 (4):511-529.
    In this paper, I discuss Kant’s concept-less schematism (KU, 5: 287) in the thirdCritique1and make three claims: 1) concept-less schematism is entirely consistent with the schematism in the firstCritique; 2) concept-less schematism is schematism with noempiricalconcept as an outcome; and 3) in accordance with 1) and 2), the imagination is free to synthesize the given manifold and leads to judgements of taste without this meaning either that the categories play no role at all or that these judgements are full-fledged cognitive (...)
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