Can Kant’s theory of fine art serve as a theory of modern art? It all depends on what ‘modern’ means. The word can mean current or contemporary, indexed to the time of use, and in that sense the answer is yes: Kant’s theory of genius implies that successful art is always to some extent novel, so there should always be something that counts as contemporary art on his theory. But ‘modern’ can also be used adjectively, (...) perhaps more properly as ‘modernist’, to refer to art of a particular moment, in some cases superseded by postmodern art. Kant’s theory is not a theory of modernist art in at least one prominent form, the formalism of Clement Greenberg. But other theories, such as those of George Dickie and Arthur Danto, although triggered by particular works of modernist art and meant to accommodate them, were meant to be theories of what art was always doing, and Kant’s is too. In that sense it can be considered a modern theory of art but not a theory of modern art. (shrink)

This book constitutes one of the most important contributions to recent Kant scholarship. In it, one of the pre-eminent interpreters of Kant, Henry Allison, offers a comprehensive, systematic, and philosophically astute account of all aspects of Kant's views on aesthetics. The first part of the book analyses Kant's conception of reflective judgment and its connections with both empirical knowledge and judgments of taste. The second and third parts treat two questions that Allison insists must be kept distinct: the (...) normativity of pure judgments of taste, and the moral and systematic significance of taste. The fourth part considers two important topics often neglected in the study of Kant's aesthetics: his conceptions of fine art, and the sublime. (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted (...) fantasy, and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

In hisCritique of the Power of Judgement, Kant explicates the creation of works of fine art (schöne Kunst) in terms of aesthetic ideas. His analysis of aesthetic ideas claims that they are not concepts (Begriffe) and are therefore not definable or describable in determinate language. Nevertheless, Kant claims that aesthetic ideas are communicable via spirit (Geist), a special mental ability he associates with artistic genius. This paper argues that Kant's notion ofGeistis central to his analysis of fine (...) art's expressive power. The notion ofGeistconstitutes a conceptual link between Kant's aesthetic theory and that of G. W. F. Hegel, for whose analysisGeistis the subject. (shrink)

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 for explaining the emotive significance of music, but that Kant does not further pursue this route because his interest in a “theory of music” is only peripheral to his systematic interest as a transcendental philosopher. For both philosophical and historical reasons, Kant does not have a “theory of music.” Nevertheless, if we free Kant’s conception of aesthetic idea and its restriction to Geist from the background of its 18th century humanism, then Kant’s aesthetics of free play becomes a good theory to account for the broad variety of emotions in absolute music as a fine art proper. (shrink)

s theory of cosmopolitan right is widely viewed as the philosophical origin of modern cosmopolitan thought. Hegel’s critique of Kant’s theory of cosmopolitan right, by contrast, is usually viewed as regressive and nationalistic in relation to both Kant and the cosmopolitan tradition. This paper reassesses the political and philosophical character of Hegel’s critique of Kant, Hegel’s own relation to cosmopolitan thinking, and more fleetingly some of the implications of his critique for contemporary social criticism. It is argued that (...) Hegel’s critique was neither regressive nor nationalistic, but rather that he advanced the theory of cosmopolitan right beyond the Kantian framework of formal natural law. The main proposition is that Hegel was not only the first to recognize cosmopolitanism as a definite social form of right, relative to other forms in the modern system of right, but that his ‘scientific and objective’ approach to the issue makes a substantial contribution to restoring the severed connections between the realism of war between nations and the normativism of perpetual peace. Key Words: cosmopolitanism • Habermas • Hegel • Kant • nationalism • peace • right • war. (shrink)

Available from UMI in association with The British Library. Requires signed TDF. ;Kant's extensive discussion of the sublime has received scant attention. This neglect, indeed, is a general characteristic of the reception of Kant's aesthetics in the Anglo-American, and German traditions of philosophy in the twentieth century. The reasons behind it have been usefully summarised by Paul Guyer. ;My approach will be as follows. In Part One of this study , I shall first outline the sublime as it (...) is understood in sources available to Kant--notably the theories of Addison, and Burke. I will then trace how Kant adapts these approaches in his pre-Critical aesthetics, and how he goes beyond them by, in effect, stipulatively defining the sublime as a moral concept in his Critical ethics. In Part Two I will first set the scene for a consideration of Kant's mature theory of the sublime, by discussing how moral factors shape the overall strategy in The Critique of Judgement, and also figure in his account of the judgement of taste. I shall then go on to elaborate and critically review Kant's structures and sources of argument in those sections of the third Critique that deal with judgements of sublimity. In particular, I will argue that whilst his theory of sublimity does fit in well with the overall strategy of the third Critique, the pressures exerted upon it by the Critical ethics are such that he does not succeed in establishing the credentials of sublimity as an aesthetic concept. In Part Three , however, by using some of Kant's basic insights, I will hope to establish these credentials and to apply the theory so derived, to the work of art. I will then proceed to some more general conclusions. ;Considering the wide ground to be covered by this study, and the necessary limitations on its length, it will not be possible to give Kant's concepts and arguments the kind of extensive and finely detailed analysis which has been provided by Paul Guyer. I will be concerned, rather, to provide working definitions of Kant's major concepts, and to trace the broad development of his arguments. (shrink)

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 to others. This raises the question of whether we can conceive of art as both original and meaningful without succumbing to privacy. (shrink)

Integrating Kant's ideas on aesthetics and morality, Dr. Kemal explains how Kant's theories emphasize that art is critical to the development of culture and community goals. He clarifies Kant's often obscure efforts to justify artistic judgements and demonstrates Kant's claim that they have their own necessity. Containing explanations of many difficult terms present in Kant's Critique of Judgment, this study is a valuable guide to understanding Kant's association of beauty and morality.

In this paper we explore the sustained and multifaceted attempt of Jürgen Habermas to reconstruct Kant's theory of cosmopolitan right for our own times. In a series of articles written in the post‐1989 period, Habermas has argued that the challenge posed both by the catastrophes of the twentieth century, and by social forces of globalization, has given new impetus to the idea of cosmopolitan justice that Kant first expressed. He recognizes that today we cannot simply repeat Kant's (...) eighteenth‐century vision: that if we are to grapple with the complexities of present‐day problems, it is necessary to iron out certain inconsistencies in Kant's thinking, radicalize it where its break from the old order of nation‐states is incomplete, socialize it so as to draw out the connections between perpetual peace and social justice, and modernize it so as to comprehend the “differences both in global situation and conceptual framework that now separate us from him.”1 His basic intuition, however, is that Kant's idea of cosmopolitan right is as relevant to our times as it was to Kant's own. If it was Kant's achievement to formulate the idea of cosmopolitanism in a modern philosophical form, Habermas takes up the challenge posed by Karl‐Otto Apel: to “think with Kant against Kant” in reconstructing this idea. What follows is a critical assessment of Habermas's response to this challenge. We focus here on the dilemmas he faces in grounding his normative commitment to cosmopolitan politics and in reconciling his cosmopolitanism with the national framework in which he developed his ideas of constitutional patriotism and deliberative democracy. (shrink)

In this paper we explore the sustained and multifaceted attempt of Jürgen Habermas to reconstruct Kant's theory of cosmopolitan right for our own times. In a series of articles written in the post‐1989 period, Habermas has argued that the challenge posed both by the catastrophes of the twentieth century, and by social forces of globalization, has given new impetus to the idea of cosmopolitan justice that Kant first expressed. He recognizes that today we cannot simply repeat Kant's (...) eighteenth‐century vision: that if we are to grapple with the complexities of present‐day problems, it is necessary to iron out certain inconsistencies in Kant's thinking, radicalize it where its break from the old order of nation‐states is incomplete, socialize it so as to draw out the connections between perpetual peace and social justice, and modernize it so as to comprehend the “differences both in global situation and conceptual framework that now separate us from him.”1 His basic intuition, however, is that Kant's idea of cosmopolitan right is as relevant to our times as it was to Kant's own. If it was Kant's achievement to formulate the idea of cosmopolitanism in a modern philosophical form, Habermas takes up the challenge posed by Karl‐Otto Apel: to “think with Kant against Kant” in reconstructing this idea. What follows is a critical assessment of Habermas's response to this challenge. We focus here on the dilemmas he faces in grounding his normative commitment to cosmopolitan politics and in reconciling his cosmopolitanism with the national framework in which he developed his ideas of constitutional patriotism and deliberative democracy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant’s Critique of the Power of Judgment: Critical EssaysTed KinnamanPaul Guyer, editor. Kant’s Critique of the Power of Judgment: Critical Essays. Lanham, MD: Rowman & Littlefield, 2003. Pp. xxiii + 253. Cloth, $75.95. Paper, $27.95.The volume under review is a collection of essays on a wide range of topics concerning Kant's Critique of the Power of Judgment. All the papers included here have been published previously, although (...) many of them in places where they might not be easily accessible to English-speaking philosophers. While some of the articles will be familiar to Kant scholars, this collection should be useful to specialists and valuable to students first delving into the third Critique.One essay in the volume, Guyer's own piece on "Kant's Principles of Reflecting Judgment," will be of particular interest to Kant scholars. Guyer's thesis here is that the account of reflecting judgment Kant offers in the Critique of the Power of Judgment is both continuous with the account of regulative principles of reason in the Critique of Pure Reason and the basis of the unity of the third Critique as a whole. He supports this by demonstrating how each of the sorts of judgment discussed in the work can be seen as an application of the broader account of reflecting judgment in general. Guyer identifies five such applications, and shows that each of them has three features central to regulative principles: they set a goal of constructing a system within a certain specific range of cognitions; they require the suitability of objects for attainment of the goal in question, and thus are transcendental [End Page 499] and not merely logical principles; and they supply heuristic advice for the investigation of nature. Thus every form of judgment can with justice be considered as an instance of the general activity of reflecting, that is, finding a universal for a given particular.Several of the essays included here concern the most prominent issues relating to the Analytic of the Beautiful. Nick Zangwill's piece deals with the disinterestedness of aesthetic judgment, while Christopher Janaway's "Kant's Aesthetics and the Empty Cognitive Stock" debunks what he sees as misguided readings of the role of concepts in judgments of taste. In "The Idealism of Purposiveness," an excerpt from his 1993 book Kantian Aesthetics Pursued (Edinburgh, 1993), Anthony Savile criticizes what he calls the "established reading" of Kant's claim that beautiful objects exhibit "purposiveness without purpose." On this reading, to say that a thing is purposive without purpose is to say that it appears to be designed, but to no particular purpose. Savile argues instead that we should take purposiveness without purpose to indicate that an object is suitable for a function, but not as a result of conscious design. Articles by Eva Schaper (from her well-known book on Kant's aesthetics) and Malcolm Budd discuss the distinction between free and dependent beauty and the account of the sublime, respectively.Some of the other selections in the volume are interesting for their focus on somewhat neglected aspects of the third Critique. One such aspect is the role of the imagination in Kant's account of aesthetic appreciation, and by extension in cognition more generally. In "Imaginative Freedom and the German Enlightenment," Jane Kneller argues that appreciation of the role of imaginative freedom in Kant's account of aesthetic judgment helps to connect Kant to the Enlightenment rationalist tradition that saw the value of art in its ability to educate and improve those who appreciate it. This education cannot, of course, be of the most straightforward nature, since Kant emphatically argues that to judge a thing beautiful is altogether different from judging it morally good. Instead, Kneller argues, our awareness of our own imaginative freedom provides us with evidence of our ability to realize the "highest good" on earth, evidence otherwise denied us in Kant's philosophy. Also addressing the theme of imagination is Donald Crawford's "Kant's Theory of Creative Imagination," in which he points out striking parallels between Kant's account of the imagination's role in mathematics and in the creation of fine art.Another aspect of Kant... (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

This essay critically examines the view recently set forth by Paul Guyer that Kant's theories of artistic beauty and artistic creativity exclusively coincide with this theory of natural beauty. I note that very great works of art, although they may indeed be beautiful, also tend to be sublime. To acknowledge the sense of awe which attends those great works of art which are also beautiful, I argue that Kant's theory of sublimity must also be included within (...) an accurate interpretation of Kant's account of artistic beauty, and maintain that Guyer's exclusive reference to Kant's theory of natural beauty will not suffice. (shrink)

This book departs from much of the scholarship on Kant by demonstrating the centrality of imagination to Kant's philosophy as a whole. In Kant's works, human experience is simultaneously passive and active, thought and sensed, free and unfree: these dualisms are often thought of as unfortunate byproducts of his system. Gibbons, however, shows that imagination performs a vital function in "bridging gaps" between the different elements of cognition and experience. Thus, the role imagination plays in Kant's works (...) expresses his fundamental insight into the complexity of cognition for finite rational beings such as ourselves. (shrink)

In the Critique of the Power of Judgment, philosopher Immanuel Kant explored whether art can be learned, as well as the nature of aesthetic ideas that underpin the creative process of making art. Much the same way, teachers and professors still question whether artistic talent and creativity can be learned and how to foster students’ creativity in schools and universities. For example, some professors believe that students come into their classroom either possessing creativity or not possessing creativity,1 which resonates with (...) the misconception that creativity is not related to intelligence and that intelligence is fixed and static as opposed to fluid.2 Students, too, sometimes reject the notion that they.. (shrink)

This is the second edition of an influential book that first appeared in 1982. No significant changes have been made in the text, but a substantial Preface and a briefer Postscript have been added. They contain close considerations of important work on Kant’s theory of mind that appeared after the first edition as well as a review, in the Preface, of the bearing that sets of Kant’s lecture notes, discovered too late to be absorbed into the original book, have (...) on its main thesis. The thesis is that Kant’s theory of mind is closer to traditional metaphysics than most interpreters have allowed, and in particular that he is, in a way to be very carefully circumscribed but not trivialized, an immaterialist. The lecture notes add additional weight to the claim that Kant was fully in command of and partly adapted a full complex of doctrines of rational psychology and that his criticism of these over the two editions of the Critique of Pure Reason cannot represent a total but only a partial and complicated reversal. The reader of the quotations from the lecture notes will be startled; it is as if one were reading the paralogisms positively signed. However, reflection shows that this cannot be and that Ameriks’s less abrupt transition, too “fine-grained” for ready summary, is more defensible. (shrink)

'beauty has purport and significance only for human beings, for beings at once animal and rational' In the Critique of Judgement Kant offers a penetrating analysis of our experience of the beautiful and the sublime, discussing the objectivity of taste, aesthetic disinterestedness, the relation of art and nature, the role of imagination, genius and originality, the limits of representation and the connection between morality and the aesthetic. He also investigates the validity of our judgements concerning the apparent purposiveness of nature (...) with respect to the highest interests of reason and enlightenment. The work profoundly influenced the artists and writers of the classical and romantic period and the philosophy of Hegel and Schelling. It has remained a central point of reference from Schopenhauer and Nietzsche through to phenomenology, hermeneutics, the Frankfurt School, analytical aesthetics and contemporary critical theory. J. C. Meredith's classic translation has been revised in accordance with standard modern renderings and provided with a bilingual glossary. This edition also includes the important 'First Introduction' that Kant originally composed for the work. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

Angelica Nuzzo offers a comprehensive reconstruction of Kant's theory of sensibility in his three Critiques. By introducing the notion of "transcendental embodiment," Nuzzo proposes a new understanding of Kant's views on science, nature, morality, and art. She shows that the issue of human embodiment is coherently addressed and key to comprehending vexing issues in Kant's work as a whole. In this penetrating book, Nuzzo enters new terrain and takes on questions Kant struggled with: How does a (...) body that feels pleasure and pain, desire, anger, and fear understand and experience reason and strive toward knowledge? What grounds the body's experience of art and beauty? What kind of feeling is the feeling of being alive? As she comes to grips with answers, Nuzzo goes beyond Kant to revise our view of embodiment and the essential conditions that make human experience possible. (shrink)

In this paper I explore the influence of Kant's theory of imagination on a specific aspect of Heidegger and Merleau-Ponty's thought, viz., their theories of understanding. 1 argue that the theories of Verstehen that Heidegger presents in Being and Time and of comprendre that Merleau-Ponty presents in Phenomenology of Perception can be helpfully read as elaborations of Kant's account of imagination.

I argue (contra Guyer et al.) that in the Critique of Judgment Kant espouses a formal, intentional theory of pleasure, and reconstruct Kant's arguments that this view can both identify what all pleasures have in common, and differentiate among kinds of pleasure. Through his investigation of aesthetic experience in the Critique of Judgment, I argue, Kant radically departs from his views about pleasure as mere sensation in the Groundwork and the Critique of Practical Reason, and provides a view (...) of pleasure whereby we can understand pleasure itself to be ruled by an a priori principle. (shrink)

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, his description of musical form as consisting of a play of aesthetic ideas that leave behind no thoughts appears to be incongruous with his formulation of aesthetic ideas as free imaginative representations that contain a wealth of thoughts and meanings. If what it means to express aesthetic ideas is precisely to stimulate much thinking, then how can an object exist that expresses aesthetic ideas, but without leaving any thoughts behind? I attempt to resolve these two perceived tensions by proposing a distinction between reflective and non-reflective aesthetic ideas communicated by form and mere sensations respectively. (shrink)

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, his description of musical form as consisting of a play of aesthetic ideas that leave behind no thoughts appears to be incongruous with his formulation of aesthetic ideas as free imaginative representations that contain a wealth of thoughts and meanings. If what it means to express aesthetic ideas is precisely to stimulate much thinking, then how can an object exist that expresses aesthetic ideas, but without leaving any thoughts behind? I attempt to resolve these two perceived tensions by proposing a distinction between reflective and non-reflective aesthetic ideas communicated by form and mere sensations respectively. (shrink)

We consider what genealogical links, kinship and sociality are promised through the marketing of assisted reproductive technologies (ARTs). Using a mixed method of formal analysis of Facebook's algorithmic architectures and textual analysis of twenty-eight adverts for egg donation drawn from the Facebook Ad Library, we analyse the ways in which the figure of the ‘fertile woman’ is constituted both within the text and at the level of Facebook's targeted advertising systems. We critically examine the ways in which ART clinics address (...) those women whose eggs they wish to harvest and exchange, in combination with the ways in which Facebook's architecture identifies, and sorts those women deemed of ‘relevance’ to the commercial ART industry. We find that women variously appear in these adverts as empowered consumers, generous girlfriends, potential mothers and essentialised bodies who provide free-floating eggs. The genealogical and fertility possibility offered through ART is represented with banal ambiguity wherein potentially disruptive forms of biogenetic relatedness and arrangements of kinship are derisked by an overarching narrative of simplicity and sameness which excludes men, messy genealogies and explicitly queer forms of kinship. This rationalisation is supported by the simplicity and certainty of the Facebook targeted advertising algorithm which produces a coherent audience and interpellates users as fertile subjects whose choices are both biologically determined and only available through clinical intervention. (shrink)

In this paper, I argue that Kant has a far more communitarian theory of aesthetic life than is usually acknowledged. I focus on two aspects of Kant’s theory that might otherwise be taken to support an individualist reading, namely, Kant’s emphasis on aesthetic autonomy and his characterization of judgments of taste as involving demands for agreement. I argue that the full expression of autonomy in fact requires being a member of an aesthetic community and that within such a (...) community, judgments of taste are issued as invitations to others to engage their faculties towards the goal of shared aesthetic appreciation. (shrink)

The institution of crimes against humanity at Nuremberg in 1945 was an event which marked the birth of cosmopolitan law as a social reality. Cosmopolitan law has existed as an abstract idea at least since the writings of Kant in the late eighteenth century, but Nuremberg turned the notion of humanity from a merely regulative idea into a substantial entity. Crimes against humanity differ significantly from the traditional categories of international law: war crimes and crimes against peace. While the latter (...) generally treats states as subjects of right and upholds the principle of national sovereignty, the former treats individuals as subjects of right and encroaches on national sovereignty. I focus here on the writings of Hannah Arendt on the Nuremberg trials, the Eichmann trial and the actuality of crimes against humanity perpetrated in totalitarian regimes. I explore her relation to the optimistic and naive cosmopolitanism of Karl Jaspers, as well as to the two prevailing forms of critical thought: the cynical realism towards the law adopted by many of the defendants, including Carl Schmitt, and the deconstructive attitude to humanism and technology adopted by Martin Heidegger. I maintain that Arendt's rugged cosmopolitanism, tested against its critics, remains exceptionally revealing on the issue of crimes against humanity now that this issue has re-emerged, after many years of silence, as arguably the most important question of our own day. (shrink)

An exact reprint of the fourth edition of Butcher's famous commentary on the Poetics, together with his Greek text and English translation. Includes a helpful introductory essay, written especially for this edition, on "Aristotelian Literary Criticism".--V. C. C.

The aim of my paper is to argue that Kant’s aesthetic ideas can help us to overcome cognitive limitations that we often experience in our attempts to articulate the meaning of abstract concepts. I claim that aesthetic ideas, as expressed in works of art, have a cognitive dimension in that they reveal the introspective, emotional, and affective aspects that appear to be central to the content of abstract phenomena.

This reissue of Kemal’s introduction to the first half of the Critique of Judgment, first published in 1992, adds a new five-page Preface to the otherwise unchanged text. The author discusses several works on Kant’s aesthetic theory that have been published since the first appearance of his book. The most extensive treatment is given to John H. Zammito’s “The Genesis of Kant’s Critique of Judgment” and Paul Guyer’s “Kant and the Experience of Freedom: Essays on Aesthetics and Morality”. In (...) Kemal’s view, Zammito is right in hypothesizing a cognitive turn that would have led Kant to explore the nature of reflective judgments and in interpreting Kant’s position on art as part of Kant’s concept of culture. On the other hand, Kemal reproaches Zammito for having fragmented the third Critique and for failing to resolve several philosophical issues such as the relation between the cognitive and ethical turns as hypothesized by Zammito, and the nature and promise of art, the close association between genius and the sublime, and the differences between Kant and Herder on genius and the sublime. Kemal’s conclusion is that Zammito has overemphasized the process of constructing the third Critique at the expense of the theory presented there. With respect to Guyer, Kemal argues that Guyer makes an unwarranted assumption, based on an overly narrow understanding of Kant’s use of the word “nature,” namely, that the “Analytic of the Beautiful” had to be cast in terms of natural beauty. Kemal’s view is that Kant’s explanations of the nature of beauty in the “Analytic of the Beautiful” cover the objects of our experience and therefore include both natural beauty and fine art. Kemal argues that this is the basis of a misconstrual on Guyer’s part of his explanation described in chapter 6 of the distinctive interests and values that should be ascribed to fine art and natural beauty. (shrink)

Organized around eight themes central to aesthetic theory today, this book examines the sources and development of Kant's aesthetics by mining his publications, correspondence, handwritten notes, and university lectures. Each chapter explores one of eight themes: aesthetic judgment and normativity, formal beauty, partly conceptual beauty, artistic creativity or genius, the fine arts, the sublime, ugliness and disgust, and humor. Robert R. Clewis considers how Kant's thought was shaped by authors such as Christian Wolff, Alexander Baumgarten, Georg (...) Meier, Moses Mendelssohn, Johann Sulzer, Johann Herder, Francis Hutcheson, David Hume, Edmund Burke, Henry Home, Charles Batteux, Jean-Jacques Rousseau, and Voltaire. His resulting study uncovers and illuminates the complex development of Kant's aesthetic theory and will be useful to advanced students and scholars in fields across the humanities and studies of the arts. (shrink)

The notion of form is "the most important notion within the Critique of Aesthetic Judgment". The sensible form involved in aesthetic judgment stands in no clear relation to the formal elements of the Transcendental Aesthetic and Logic—neither to the a priori forms of space and time, nor to the categories. It is held to be the same "kind of form" as the intuitable, "empirical form" mentioned infrequently in the Pure Reason. The author attempts to establish only "what Kant meant" as (...) distinct from its "truth." He lays a bold preparation for "the suggestion... that aesthetic experience is a window, so to speak, into the noumenal world". In Ch. I he accepts a widely-held view that Kant is the discoverer of "philosophical aesthetics" or "the autonomy of the aesthetic realm." His concern is not with this historical question. Nonetheless it may be said that he is not sufficiently aware that the autonomy found in Kant is not in understanding aesthetics as a realm of art, but only in understanding aesthetic judgment in its concern with both art and nature. Accordingly the aesthetic form of objects of art and objects of nature is treated without differentiation. The author is little concerned with form in its relation to natural purposiveness, or with the relation of form in the Aesthetic Judgment to form in the Teleological Judgment. Since nature, at least in certain contexts, supplies a kind of norm for art—a "traditional" element in Kant—the author’s exposition of the manner in which art imitates nature is not entirely satisfactory. In Ch. II, the central issue is whether "individual colors and tones are more than mere sensations". If however each may be understood as "a play of sensations" they can be said to possess a "form" and may enter into aesthetic judgments. The assumption here is that only if the parts of a beautiful thing, e.g., the individual colors of a painting, are beautiful, "can the painting as a whole be a beautiful thing". But this atomistic view of the aesthetic part is subsequently modified. In Ch. III, the imagination is said to "function without the categories" in the synthesis of aesthetic forms. The author must then oppose the view of Kemp Smith and others "that there can be no cognitive awareness or consciousness apart from the categories". He relies especially on the "judgments of perception" of the Prolegomena which "require no pure concept of the understanding". The possibility is not considered that although the imagination may indeed function "autonomously"—without the categories—in the synthesis of aesthetic form, that same synthesis may presuppose a synthesis employing the categories, especially in certain types of aesthetic experience. Some valuable clarifications are achieved of the difficult notions of "play," the harmony of form and cognitive faculties, and the universality of aesthetic judgments. The thesis of Ch. IV is that the object of experience, or the phenomenal object, is not a second object, distinct from the thing-in-itself, but an appearance of the thing-in-itself. Ch. V is devoted to Kant’s theory of art and especially to genius as the productive faculty of aesthetic ideas. The harmony of the faculties of imagination and understanding required of the artistic genius is held to be the same as the harmony which "the work of art itself... arouses in the perceiver of that work of art", but is spontaneous and original in the former case. What would be required of the productive agency in the case of natural objects of aesthetic experience lies outside the range of subject matter chosen. Kant’s view, although not entirely lucid, is that "the standard of fine art must be sought in the supersensible substrate of the artist’s faculties and that the production of the accord of the faculties of understanding and imagination ‘is the ultimate end set by the intelligible basis of our nature'". This prepares the conclusion that "the artist, as creative genius, is he who not only produces but expresses in sensible products, forms which are windows into the supersensible substrate of being". The monograph effectively raises this possibility as a central issue in the discussion of Kant’s aesthetics.—R. K. (shrink)

The notion of form is "the most important notion within the Critique of Aesthetic Judgment". The sensible form involved in aesthetic judgment stands in no clear relation to the formal elements of the Transcendental Aesthetic and Logic—neither to the a priori forms of space and time, nor to the categories. It is held to be the same "kind of form" as the intuitable, "empirical form" mentioned infrequently in the Pure Reason. The author attempts to establish only "what Kant meant" as (...) distinct from its "truth." He lays a bold preparation for "the suggestion... that aesthetic experience is a window, so to speak, into the noumenal world". In Ch. I he accepts a widely-held view that Kant is the discoverer of "philosophical aesthetics" or "the autonomy of the aesthetic realm." His concern is not with this historical question. Nonetheless it may be said that he is not sufficiently aware that the autonomy found in Kant is not in understanding aesthetics as a realm of art, but only in understanding aesthetic judgment in its concern with both art and nature. Accordingly the aesthetic form of objects of art and objects of nature is treated without differentiation. The author is little concerned with form in its relation to natural purposiveness, or with the relation of form in the Aesthetic Judgment to form in the Teleological Judgment. Since nature, at least in certain contexts, supplies a kind of norm for art—a "traditional" element in Kant—the author’s exposition of the manner in which art imitates nature is not entirely satisfactory. In Ch. II, the central issue is whether "individual colors and tones are more than mere sensations". If however each may be understood as "a play of sensations" they can be said to possess a "form" and may enter into aesthetic judgments. The assumption here is that only if the parts of a beautiful thing, e.g., the individual colors of a painting, are beautiful, "can the painting as a whole be a beautiful thing". But this atomistic view of the aesthetic part is subsequently modified. In Ch. III, the imagination is said to "function without the categories" in the synthesis of aesthetic forms. The author must then oppose the view of Kemp Smith and others "that there can be no cognitive awareness or consciousness apart from the categories". He relies especially on the "judgments of perception" of the Prolegomena which "require no pure concept of the understanding". The possibility is not considered that although the imagination may indeed function "autonomously"—without the categories—in the synthesis of aesthetic form, that same synthesis may presuppose a synthesis employing the categories, especially in certain types of aesthetic experience. Some valuable clarifications are achieved of the difficult notions of "play," the harmony of form and cognitive faculties, and the universality of aesthetic judgments. The thesis of Ch. IV is that the object of experience, or the phenomenal object, is not a second object, distinct from the thing-in-itself, but an appearance of the thing-in-itself. Ch. V is devoted to Kant’s theory of art and especially to genius as the productive faculty of aesthetic ideas. The harmony of the faculties of imagination and understanding required of the artistic genius is held to be the same as the harmony which "the work of art itself... arouses in the perceiver of that work of art", but is spontaneous and original in the former case. What would be required of the productive agency in the case of natural objects of aesthetic experience lies outside the range of subject matter chosen. Kant’s view, although not entirely lucid, is that "the standard of fine art must be sought in the supersensible substrate of the artist’s faculties and that the production of the accord of the faculties of understanding and imagination ‘is the ultimate end set by the intelligible basis of our nature'". This prepares the conclusion that "the artist, as creative genius, is he who not only produces but expresses in sensible products, forms which are windows into the supersensible substrate of being". The monograph effectively raises this possibility as a central issue in the discussion of Kant’s aesthetics.—R. K. (shrink)

Horgan believes that the truth of the statement “Beethoven’s fifth symphony has four movements” does not require that there be some “dedicated object” answering to the term “Beethoven’s fifth simphony”. To the contrary, the relevant language/world correspondence relation is less direct than this. Especially appropriate is the behavior by Beethoven that we would call “composing his fifth symphony”. Our objections go along two directions: (1) is the process ontology (a) really a right kind of ontology for artworks (symphonies, novels) and, (...) (b) more important, is this kind of ontology compatible with Parmenidian approach to ontology? The answer to (a) is negative. With reference to point (1b) we might say that Parmenides was a typical staunch advocate of substance metaphysics rather than process metaphysics. Traditionally, substances are individuated by their properties, namely, there are assumed two sorts of properties: primary and secondary. Primary properties describe the substance as it is in and by itself; secondary properties underlie the impact of substances upon others and the responses they elicit from them. (2) The claim that it is most unlikely to suppose that we can have some kind of cognitive contact “with an entity which has no spatio-temporal location and does not causally interact with anything” does not hold. We underpin the claim that there is some cognitive access to entity such as Beethoven’s fifth symphony with Bender’s theory of realization relation between musical work and performance. (shrink)

It is not intended as some sort of revelation on my part that Greenberg's cultural theory was originally Marxist in its stresses and, indeed in its attitude to what constituted explanation in such matters. I point out the Marxist and historical mode of proceeding as emphatically as I do partly because it may make my own procedure later in this paper seem a little less arbitrary. For I shall fall to arguing in the end with these essay's Marxism and (...) their history, and I want it understood that I think that to do so is to take issue with their strengths and their main drift.But I have to admit there are difficulties here. The essays in question ["Avant-Garde and Kitsch" and "Towards a Newer Lacoön"] are quite brief. They are, I think, extremely well written: it was not for nothing the Partisan Review described Clement Greenberg, when he first contributed to the journal early in 1939, as "a young writer who works in the New York customs house"—fine, redolent avant-garde pedigree, that! The language of these articles is forceful and easy, always straightforward, blessedly free from Marxist conundrums. Yet the price paid for such lucidity, here as so often, is a degree of inexplicitness—certain amount of elegant skirting round the difficult issues, where one might otherwise be obliged to call out the ponderous armory of Marx's concepts and somewhat spoil the low of the prose from one firm statement to another. The Marxism, in other words, is quite largely implicit; it is stated on occasion, with brittle and pugnacious finality, as the essay's frame of reference, but it remains to the reader to determine just how it works in the history and theory presented—what that history and theory depend on, in the way of Marxist assumptions about class and capital or even abase and superstructure. That is what I intend to do in this paper: to interpret and extrapolate from the texts, even at the risk of making their Marxism declare itself more stridently than the "young writer" seems to have wished. And I should admit straight away that there are several point in what follows where I am genuinely uncertain as to whether I am diverging from Greenberg's argument or explaining it more fully. This does not worry me overmuch, as long as we are alerted to the special danger in this case, dealing with such transparent yet guarded prose, and as long as we can agree that the project in general—pressing home a Marxist reading of texts which situate themselves within the Marxist tradition—is a reasonable one.22. This carelessness distinguishes the present paper from two recent studies of Greenberg's early writings, Serge Guilbaut's "The New Adventures of the Avant-Garde in America," October 15 , and Fred Orton and Griselda Pollock's "Avant-Gardes and Partisans Reviewed," Art History 3 I am indebted to both these essays and am sure that their strictures on the superficiality—not to say the opportunism–of Greenberg's Marxism are largely right. But I am nonetheless interested in the challenge offered to most Marxist, and non-Marxist, accounts of modern history by what I take to be a justified though extreme, pessimism as t the nature of established culture since 1870. That pessimism is characteristic, I suppose, of what Marxists call an ultraleftist point of view. I believe, as I say, that a version of some such view is correct and would therefore with to treat Greenberg's theory as if it were a decently elaborated Marxism of an ultraleftist kind, on which issues in certain mistaken views but which need not so issue and which might still provide, cleansed of those errors, a good vantage for a history of our culture.T. J. Clark, professor of fine arts at Harvard University, is the author of The Absolute Bourgeois: Artists and Politics in France, 1848-1851 and Image of the People: Gustave Courbet and the 1848 Revolution. His book on impressionist painting and Paris is forthcoming. (shrink)

Edmund Husserl has famously declared that “Without an image, there is no fine art.” The aim of the article is to find out whether conceptual art can be experienced as image as well. It will be shown that Joseph Kosuth’s conceptual artwork One and Three Chairs (1965) perfectly illustrates Husserl’s theory of image consciousness and the concept of “image.” Thus, Husserl’s theory makes a valuable contribution in understanding conceptual (and contemporary) art.

In this book, Lara Ostaric argues that Kant’s seminal Critique of Judgment is properly understood as completing his Critical system. The two seemingly disparate halves of the text are unified under this larger project insofar as both aesthetic and teleological judgment indirectly exhibit the final end of reason, the Ideas of the highest good and the postulates, as if obtaining in nature. She relates Kant’s discussion of aesthetic and teleological judgment to important yet under-explored concepts in his philosophy, and helps (...) the reader to recognize the relevance of his aesthetics and teleology for our understanding of fine arts and genius, the possibility of pure judgments of ugliness, Kant’s philosophy of history, his philosophy of religion, and his conception of autonomy. Ostaric’s novel and thoroughly integrative presentation of Kant’s system will be of interest not only to Kant scholars but also to those working in religious studies, art history, political theory, and intellectual history. (shrink)

Diarmuid Costello has recently argued that, contra received opinion, Kant’s aesthetics can accommodate conceptual art, as well as all other art. Costello offers an interpretation of Kant’s art theory that demands from all art a minimal structure involving three basic “players” and three basic “actions” corresponding to those “players.” The article takes issue with the “action” assigned by Costello’s Kant to the artwork’s recipient, namely that her imagination generates a multitude of playful thoughts deriving from or in any other (...) way relating to the concept or idea that the artist has instilled in the artwork and that the artwork transmits to the recipient. It is argued that the “proper” recipient of conceptual art may very well have a multitude of thoughts that are all irrelevant to the concept or idea the artist has instilled in the artwork, even if the artwork has transmitted that concept or idea to the recipient. This shows that Kant’s art theory, as presented by Costello, cannot accommodate conceptual art. I conclude by suggesting that either one of two amendments to the theory’s account of the recipient’s experience could enable it to accommodate conceptual art. (shrink)