Abstract

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