Dans la troisièmeCritique, Kant prétend que la beauté est le symbole de la moralité et que la réflexion sur cette relation est un devoir. Cet article présente l’argument de Kant comme un double argument. Premièrement, l’expérience de la beauté renforce notre sentiment moral. Deuxièmement, à travers le jugement sur le beau, nous supposons que la nature poursuit des fins indéterminées, sur la base de quoi l’on pourrait concevoir que la nature coopère à nos fins pratiques. Ainsi, dans l’intérêt de la (...) culture morale et de la motivation morale, il est nécessaire de traiter la beauté comme le symbole spécial de la moralité. (shrink)

Is there tension in a view of the conditions of being in a proper position to make aesthetic evaluations that is committed to aesthetic autonomy and norms of exposure? I define ‘aesthetic autonomy’ in terms of the Kantian idea that in order to make a proper aesthetic evaluation, one must rely on oneself rather than on any outside source. I define ‘norms of exposure’ in terms of the Humean idea that practice and aesthetic education are conditions of proper aesthetic evaluation. (...) Prima facie, these two commitments point toward competing accounts of whether exposure is a condition of being in a position to make proper aesthetic evaluations. However, I argue that a closer look at the Kantian position reveals that aesthetic exposure is a condition of being able to make aesthetic evaluations in an autonomous way in the Kantian framework. (shrink)

This paper examines the iconic conception of aesthetic education in the work of Friedrich Schiller, with the aim of elucidating Schiller’s unique innovation of this notion in understanding i) the relationship between aesthetic and ethical value and ii) the transformative possibilities within a collective, social dimension of aesthetic experience. The paper provides an overview of the Kantian origins of Schiller’s aesthetic programme (Section 1). It then considers Schiller’s critique of the perceived failings of the Kantian and Enlightenment republican models of (...) ethical value and political emancipation (Section 2) before turning to his positive alternative aesthetic programme (Section 3). The paper concludes (Section 4) with some evaluation and reflection on Schiller’s original contributions. (shrink)

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, (...) puis je conteste les trois interprétations normatives importantes, qui nous obligent à attribuer à Kant une position qu'il n'acceptait pas. (shrink)

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)

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’ (...) sensations. In the end, the thirdCritiquesuggests that this alternative conception is more ‘appropriate’ to humankind (§60, 5: 355). (shrink)

Kant has traditionally been read as an excessively moralistic critic of lying in his ethics and politics. In response, recent scholars have noted that for Kant we have an ethical duty not to be com...

At the end of §40 of the Critique of Judgement, after a discussion of the sensus communis and its connection with taste, Kant writes:If we could assume that the mere universal communicability as such of our feeling must already carry with it an interest for us , then we could explain how it is that we require from everyone as a duty, as it were , the feeling in a judgment of taste.

Immanuel Kant (1724–1804) argued that moral requirements are based on a standard of rationality he dubbed the “Categorical Imperative” (CI). Immorality thus involves a violation of the CI and is thereby irrational. Other philosophers, such as Locke and Hobbes, had also argued that moral requirements are based on standards of rationality. However, these standards were either desirebased instrumental principles of rationality or based on sui generis rational intuitions. Kant agreed with many of his predecessors that an analysis of practical reason (...) will reveal only the requirement that rational agents must conform to instrumental principles. Yet he argued that conformity to the CI (a non-instrumental principle) and hence to moral requirements themselves, can nevertheless be shown to be essential to rational agency. This argument was based on his striking doctrine that a rational will must be regarded as autonomous, or free in the sense of being the author of the law that binds it. The fundamental principle of morality — the CI — is none other than the law of an autonomous will. Thus, at the heart of Kant's moral philosophy is a conception of reason whose reach in practical affairs goes well beyond that of a Humean ‘slave’ to the passions. Moreover, it is the presence of this self-governing reason in each person that Kant thought offered decisive grounds for viewing each as possessed of equal worth and deserving of equal respect. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

Kant maintains that the only thing that is good in itself, and therefore good without limitation or qualification, is a good will. This is an objectionable claim in support of a controversial position. The problem is not just that the good will is not the only thing that is good in itself, which indeed it is not, but more importantly, that the good will is not so much a thing that is good in itself as it is the good kind (...) of a thing that is otherwise neither good nor bad in itself. The goodness of a good will is no more intrinsic than the goodness of a good act, good outcome, good attitude, good character, or good person. Nor is it even any more so than something as commonplace as a good laugh or a good cup of coffee. A good will, whatever else it may be, is a will that is good, much like how a good act is an act that is good, a good outcome is an outcome that is good, and so on with the other examples, not one of which is good for any reason other than the goodness predicated of the corresponding subject. This paper thus challenges Kant’s position on ontological grounds. It questions the validity of claiming intrinsic goodness for a complex construct whose goodness is, in fact, extrinsic to its substance. The objection is not that the good will might not turn out to be good after all, which is impossible by definition, designation, or stipulation, but that its goodness is axiomatic and derivative rather than intrinsic or fundamental. (shrink)