Kant's attempt to establish the principles behind the faculty of judgment remains one of the most important works on human reason.

This edition contains the Critique of Aesthetic Judgement and Critique of Teleological Judgement. The introductions and notes that accompanied the translations in the original two volumes have now been dropped in order to make the translations available in a single volume.

This is Werner S. Pluhar's translation of Immanuel Kant's Critique of Judgment (Kritik der Urtheilskraft) for Hackett Publications (Indianapolis, Indiana). ISBN 9780872200258 (paperback).

In the Critique of Judgement, Kant offers a penetrating analysis of our experience of the beautiful and the sublime. He discusses 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 degree in which nature has a purpose, with respect to the highest interests of reason and enlightenment. (...) The work profoundly influenced the artists, writers, and philosophers of the classical and romantic period, including Hegel, Schelling, Schopenhauer, and Nietzsche. In addition, it has remained a landmark work in fields such as phenomenology, hermeneutics, the Frankfurt School, analytical aesthetics, and contemporary critical theory. Today it remains an essential work of philosophy, and required reading for all with an interest in aesthetics. (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)

Kant's Critique of Judgement analyses our experience of the beautiful and the sublime in relation to nature, morality, and theology. Meredith's classic translation is here lightly revised and supplemented with a bilingual glossary. The edition also includes the important First Introduction.

This edition contains the Critique of Aesthetic Judgement and Critique of Teleological Judgement. The introductions and notes that accompanied the translations in the original two volumes have now been dropped in order to make the translations available in a single volume.

This edition contains the Critique of Aesthetic Judgement and Critique of Teleological Judgement. The introductions and notes that accompanied the translations in the original two volumes have now been dropped in order to make the translations available in a single volume.

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)

Kant's Critique of Judgement analyses our experience of the beautiful and the sublime in relation to nature, morality, and theology. Meredith's classic translation is here lightly revised and supplemented with a bilingual glossary. The edition also includes the important First Introduction.

This edition contains the Critique of Aesthetic Judgement and Critique of Teleological Judgement. The introductions and notes that accompanied the translations in the original two volumes have now been dropped in order to make the translations available in a single volume.

I argue that Marcuse follows Kant’s critical distinction in mapping three basic forms of judgment: cognitive, moral, and aesthetic, all united by the underlying structure of purposiveness. Marcuse argues in Eros and Civilization that psychoanalysis has falsely identified repression as moral judgment with material need. With the gradual disappearance of material need, however, the authority of repression disappears, creating the possibility for freedom. However, the vacuum left by moral authority is replaced by cognitive and aesthetic judgments seeking to take morality’s (...) place. (shrink)

In response to the significant increase of judgment and judgmentalism in contemporary film and television, 'A Critique of Judgment in Film and Television' investigates the evolving connections between the aesthetics and ethics of judgment. The volume ultimately contemplates whether we should, and can, do without judgment, questions that are just the beginning of a much-needed re-examination. The individual contributions of the collection all work towards a very specific focus on judgment that is unprecedented in its transdisciplinary composition and contemporary (...) relevance. By exploring examples of entertainment that aim to instigate judgment, 'A Critique of Judgment in Film and Television' advances the as yet underdeveloped area of research into television and philosophy. (shrink)

This collection brings together many of the most influential criticisms of Kantian philosophy, from his own time to the present day. Volume I is historical, including Kant criticism from Schiller to Buchdahl. It contains some previously untranslated material. Volumes II, III and IV include recent essays on Kant, covering the major aspects of his work. Volume II looks at the Critique of Pure Reason, Volume III at Kant's moral and political philosophy, and Volume IV at the Critique of (...) Judgement and the relation of the third Critique to the other two. The volumes will be of great value to anyone with a serious interest in Kant's philosophy. (shrink)

Michel Chaouli invites novice and expert alike to set out on the path of thinking, with help from Kant’s Critique of Judgment, about the force of aesthetic experience, the essence of art, and the relationship of beauty and meaning. Each chapter unfolds the significance of a key concept for Kant’s thought and our own ideas.

This paper claims that Kant’s conception of culture provides a new means of understanding how the two parts of the Critique of Judgment fit together. Kant claims that culture is both the ‘ultimate purpose’ of nature and to be defined in terms of ‘art in general’ (of which the fine arts are a subtype). In the Critique of Teleological Judgment, culture, as the last empirically cognizable telos of nature, serves as the mediating link between nature and freedom, while (...) in the Critique of Aesthetic Judgment, the connection between art and morality passes through culture. In either case, Kant offers distinct, yet interdependent, arguments for how culture demonstrates the amenability of nature to its supersensible ground: the central question Kant claims in the Introduction that the work seeks to answer. Thus, not only does this account advance a concept essential to both parts of the work; it also demonstrates how the two parts can be conceived as complementary, with each supplementing the other to solve Kant’s central question. As such, understanding the Critique of Judgment in terms of culture enables us to see how the two parts of the work do not merely share points of similarity or common themes, but presuppose one another in order to understand how nature is amenable to freedom. (shrink)

A new translation of a classic work of philosophy promises not only to refresh its long-familiar language, but also to stimulate and to enrich our understanding of the author and his achievement. Werner S. Pluhar's recent translation of Kant's epochal Critique of Judgment succeeds in both respects. The appearance of this translation is well-timed: as Mary Gregor points out in her foreword to the book, there is at present a revival of interest in Kant-studies of unprecedented magnitude. We may (...) also add that interest in aesthetics has similarly reached a new pitch. It is indeed auspicious then to have in modern English that text which has been justly said to be the crowning phase of the critical philosophy, and which also represents the watershed of modern aesthetics. (shrink)

The relevance of Kant to Plessner’s work was long all but ignored and there is hardly any mention of Plessner in the Kant literature. The Plessner renaissance beginning in the 1990s, however, has brought with it a stronger focus on the methodological construction of his theory, so that the Kant connection has at least been acknowledged, but the particular relevance of Kant’s Critique of Judgement has not been systematically explicated. In this essay, I investigate the connection between Kant’s (...) notion of reflective—specifically teleological—judgment and Plessner’s theory. I begin by setting out the characteristics of teleological judgment, with two points being of particular importance: the temporal structure of the final cause and Kant’s reference to an understanding other than the human, that is, to an ordering power other than the human. In a second step, I work out Plessner’s conceptualization of the spatiotemporal appearance of organisms and the way he understands the other of human understanding as nature’s—or history’s—historically evolved and mutable capacity for self-order. He arrives at these conclusions by way of a methodologically controlled process of questioning derived from Kant, which he calls the “principle of the open question.”. (shrink)

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable (...) first draft of Kant's introduction to the work; the only English edition notes to the many differences between the first (1790) and second (1793) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this new edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)

Kant's Critique of Judgment has often been interpreted by scholars as comprising separate treatments of three uneasily connected topics: beauty, biology, and empirical knowledge. Rachel Zuckert's book interprets the Critique as a unified argument concerning all three domains. She argues that on Kant's view, human beings demonstrate a distinctive cognitive ability in appreciating beauty and understanding organic life: an ability to anticipate a whole that we do not completely understand according to preconceived categories. This ability is necessary, moreover, (...) for human beings to gain knowledge of nature in its empirical character as it is, not as we might assume it to be. Her wide-ranging and original study will be valuable for readers in all areas of Kant's philosophy. (shrink)

Kant's theory of judgment establishes the conceptual framework for understanding the subtle relationships between the experimental scientist, the modern instrument, and nature's atomic particles. The principle of purposiveness which governs judgment has also a role in implicitly guiding modern experimental science. In Part 1 we explore Kant's philosophy of science as he shows how knowledge of material nature and unobservable entities is possible. In Part 2 we examine the way in which Kant's treatment of judgment, with its operating principle of (...) purposiveness, enters into his critical project and underlies the possibility of rational science. In Part 3 we show that the centrality given to judgment in Kant's conception of science provides philosophical insight into the investigation of atomic substances in modern chemistry. (shrink)

In this paper I discuss two questions. What does Kant understand by mechanical explanation in the Critique of judgment? And why does he think that mechanical explanation is the only type of the explanation of nature available to us? According to the interpretation proposed, mechanical explanations in the Critique of judgment refer to a particular species of empirical causal laws. Mechanical laws aim to explain nature by reference to the causal interaction between the forces of the parts of (...) matter and the way in which they form into complex material wholes. Just like any other empirical causal law, however, mechanical laws can never be known with full certainty. The conception according to which we can explain all of nature by means of mechanical laws, it turns out, is based on what Kant calls ‘regulative’ or ‘reflective’ considerations about nature. Nothing in Kant’s Critique of judgment suggests that these considerations can ever be justified by reference to how the natural world really is. I suggest that what, upon first consideration, appears to be a thoroughly mechanistic conception of nature in Kant is much more limited than one might have expected. (shrink)

In the literature on Hannah Arendt’s Lectures on Kant’s Political Philosophy, two sorts of claim have been made by different interpreters. First, there is Beiner’s observation that there is a shift in Arendt’s thoughts on judgment, which has led to the idea that Arendt develops two distinct theories of judgment. The second sort of claim concerns Arendt’s use of Kant’s transcendental principles. At its core, it has led to the critique that Arendt detranscendentalizes — or empiricalizes — Kant, by (...) linking Kant’s judgments of taste to an empirical sociability. In this article, I argue against both of these claims. Early fragments of Arendt’s on judgment make clear that she develops only one theory of judgment. It is only that it is not until later in her life that she fully elaborates it. Nor does Arendt confuse Kant’s idea of enlarged thinking with an actual dialogue with others. In fact, Arendt introduces an interesting interdependence between judgment and speech, or communication. I develop my argument by first outlining the problems Arendt hoped to resolve via judgment. Through my reading of the Lectures on Kant’s Political Philosophy, I show how Arendt interprets Kant’s Critique of Judgment not as his theory of aesthetic judgments, but as an answer to the more general question ‘How do I judge?’ I also clarify the difference Arendt draws between common sense and community sense. With community sense, Arendt uncovers a foundation not only for men as political beings but also for the idea of humanity. This finding is often overlooked in the literature. I conclude with another Arendtian distinction that is often overlooked, that between spectators and the solitary philosopher. (shrink)

A philosophically and historically influential section of the Critique of Judgement presents an ‘intuitive intellect’ as a mind whose representation is limited to what actually exists, and does not extend to mere possibilities. Kant’s paradigmatic instance of such an intellect is however also the divine mind. This combination threatens to rule out the reality of the mere possibilities presupposed by Kant’s theory of human freedom. Through an analysis of the relevant issues in metaphysical cosmology, modal metaphysics and philosophical (...) theology, I show that Kant in fact possesses the resources to reconcile the philosophical claims of §76 of the Critique of Judgement with his keystone commitment to the reality of human freedom. (shrink)

In this philosophically sophisticated and historically significant work, John H. Zammito reconstructs Kant's composition of The Critique of Judgment and reveals that it underwent three major transformations before publication. He shows that Kant not only made his "cognitive" turn, expanding the project from a "Critique of Taste" to a Critique of Judgment but he also made an "ethical" turn. This "ethical" turn was provoked by controversies in German philosophical and religious culture, in particular the writings of Johann (...) Herder and the Sturm und Drang movement in art and science, as well as the related pantheism controversy. Such topicality made the Third Critique pivotal in creating a "Kantian" movement in the 1790s, leading directly to German Idealism and Romanticism. The austerity and grandeur of Kant's philosophical writings sometimes make it hard to recognize them as the products of a historical individual situated in the particular constellation of his time and society. Here Kant emerges as a concrete historical figure struggling to preserve the achievements of cosmopolitan Aufkl-rung against challenges in natural science, religion, and politics in the late 1780s. More specifically Zammito suggests that Kant's Third Critique was animated throughout by a fierce personal rivalry with Herder and by a strong commitment to traditional Christian ideas of God and human moral freedom. "A work of extraordinary erudition. Zammito's study is both comprehensive and novel, connecting Kant's work with the aesthetic and religious controversies of the late eighteenth century. He seems to have read everything. I know of no comparable historical study of Kant's Third Critique."-Arnulf Zweig, translator and editor of Kant's ;IPhilosophical Correspondence, 1759-1799;X "An intricate, subtle, and exciting explanation of how Kant's thinking developed and adjusted to new challenges over the decade from the first edition of the Critique of Pure Reason to the appearance of the Critique of Judgment. "--John W. Burbidge, Review of Metaphysics "There has been for a long time a serious gap in English commentary on Kant's Critique of Judgment Zammito's book finally fills it. All students and scholars of Kant will want to consult it."--Frederick Beiser, Times Literary Supplement. (shrink)

A new translation of a classic work of philosophy promises not only to refresh its long-familiar language, but also to stimulate and to enrich our understanding of the author and his achievement. Werner S. Pluhar's recent translation of Kant's epochal Critique of Judgment succeeds in both respects. The appearance of this translation is well-timed: as Mary Gregor points out in her foreword to the book, there is at present a revival of interest in Kant-studies of unprecedented magnitude. We may (...) also add that interest in aesthetics has similarly reached a new pitch. It is indeed auspicious then to have in modern English that text which has been justly said to be the crowning phase of the critical philosophy, and which also represents the watershed of modern aesthetics. (shrink)

Rousseau’s influence on Kant in the realm of ethical theory is well established. Just as Kant credits Hume with inspiring his critique of metaphysics, Kant admits a debt to Rousseau as an inspiration for his egalitarian approach to ethics. There is reason to suspect, however, that Rousseau’s influence extends beyond the realm of ethics, and into Kant’s Critique of Judgment. While ostensibly a work about aesthetic and teleological judgment stemming from the line of aesthetic thought that includes the (...) Earl of Shaftsbury, some commentators, most notably Hannah Arendt, have read the third Critique as a political treatise. In doing so, she attributes to Kant the first truly democratic political theory by heralding the egalitarianism within his theory of judgment as a true revolution in the realm of political philosophy. Unfortunately, such politically minded commentators have failed to spot the Rousseauian heritage of the concepts that permeate the book. This heritage is especially problematic for Arendt who understands Rousseau’s philosophy as justifying the kind of tyranny found in modern day despotism. In neglecting to explore the link between Rousseau and Kant’s theory of judgment, Arendt’s analysis of Kant overreaches. This paper seeks to temper her championing of Kant by demonstrating the extent of Rousseauian influence on the third Critique in order to better understand Kant’s place in the history of political theory. (shrink)

In this Critique of Pure Reason and elsewhere Kant argues for a sharp distinction between nature and pratical reason. According to Kant, it is not possible to deduce or derive in any way moral imperatives from our empirical knowledge about the world. Some of his readers have argued that Kant's conception of pratical reason is misleading just because of his claim that nature itself is meaningless because of his mere Newtonian outlook. In my paper I will discuss the relation (...) between practical reason and nature in Kant's Critique of Judgement. I will argue that in the second part of this work, Kant introduces a concept of nature that is much richer than critiques are willing to concede to him.Na Crítica da Razão Pura e em outros lugares, Kant apresenta uma aguda distinção entre natureza e razão prática. De acordo com Kant, não é possível deduzir ou derivar todos os sentidos dos imperativos morais dos conhecimentos empíricos sobre o mundo. Alguns intérpretes argumentam que a concepção de razão prática em Kant pode ser ilusória se baseada em uma visão da natureza indefinida, decorrente de um ponto de vista newtoniano. Nesse texto discutirei a relação entre razão prática e natureza na Crítica da faculdade de julgar de Kant. Argumentarei que na segunda parte da obra, Kant introduz um conceito de natureza muito mais rico que as críticas lhe têm atribuído. (shrink)

First published in 1938. The aim of this book is to expound Kant’s _Critique of Judgement _by interpreting all the details in the light of what Kant himself declares to be his fundamental problem. _A Commentary on Kant’s Critique of Judgement _provides an excellent introduction to Kant’s third critique, and will be of interest to students of philosophy.

First published in 1938. The aim of this book is to expound Kant’s _Critique of Judgement _by interpreting all the details in the light of what Kant himself declares to be his fundamental problem. _A Commentary on Kant’s Critique of Judgement _provides an excellent introduction to Kant’s third critique, and will be of interest to students of philosophy.

Hannah Ginsborg presents fourteen essays which establish Kant's Critique of Judgment as a central contribution to the understanding of human cognition. The papers bring out the significance of Kant's philosophical notion of judgment, and use it to address interpretive issues in Kant's aesthetics, theory of knowledge, and philosophy of biology.

This paper proposes an interpretative framework for some developments of the philosophy of nature after Kant. I emphasize the critique of the economy of nature in the Critique of judgement. I argue that it resulted in a split of a previous structure of knowledge; such a structure articulated natural theology and natural philosophy on the basis of the consideration of the order displayed by living beings, both in their internal organisation and their ecological distribution. The possibility of (...) a philosophical discourse on nature that is neither mathematical nor theological stemmed from this shift. I call “hermeneutics of nature” such a program, since it aims at unpacking an immanent meaning in nature that is not explicated by the sciences of nature, which are dealing with the laws of nature. The Naturphilosophie, undertaken by Schelling, as well as the philosophies of nature of Hegel and Schopenhauer, are several realizations of this program. I highlight the structural traits that they share, such as a pregnant sense of conflicts in nature, an emphasis on the riddles of gender, and above all a prominent status given to organisms as a clue to the meaning of nature. Finally, I try to sketch the ramifications of this hermeneutics of nature in contemporary philosophy, especially phenomenology, and argue that the coming philosophy of nature, as shown by the attempts of syntheses between phenomenology and ecology, seems to depart from this hermeneutical program. (shrink)

Reframes philosophical understanding of, and engagement with, tragedy. In The Tragedy of Philosophy Andrew Cooper challenges the prevailing idea of the death of tragedy, arguing that this assumption reflects a problematic view of both tragedy and philosophy—one that stifles the profound contribution that tragedy could provide to philosophy today. To build this case, Cooper presents a novel reading of Immanuel Kant’s Critique of Judgment. Although this text is normally understood as the final attempt to seal philosophy from the threat (...) of tragedy, Cooper argues that Kant’s project is rather a creative engagement with a tragedy that is specific to philosophy, namely, the inevitable failure of attempts to master nature through knowledge. Kant’s encounter with the tragedy of philosophy turns philosophy’s gaze from an exclusive focus on knowledge to matters of living well in a world that does not bend itself to our desires. Tracing the impact of Kant’s Critique of Judgment on some of the most famous theories of tragedy, including those of G. W. F. Hegel, Friedrich Nietzsche, Martin Heidegger, and Cornelius Castoriadis, Cooper demonstrates how these philosophers extend the project found in both Kant and the Greek tragedies: the attempt to grasp nature as a domain hospitable to human life. (shrink)

In this close analysis of Immanuel Kant’s aesthetics in his Critique of Judgment, Dr. Julie N. Books, explains why Kant fails to provide a convincing basis for his desired necessity and universality of our aesthetic judgments about beauty. Drawing upon her extensive background in the visual arts, art history, and philosophy, Dr. Books provides a unique discussion of Kant’s supersensible, illuminating how it cannot justify his a priori nature of our aesthetic judgments about beauty. She uses examples from the (...) history of art, including paintings by Michelangelo, Caravaggio, Rubens, and Constable, to support her views. This book will make a significant addition to courses on the philosophy of Kant, aesthetics, philosophy of art, metaphysics, the history of Western philosophy, ethics, psychology, and art history. (shrink)

Context -- Overview of themes -- Reading the text -- Reception and influence.

In Kant's Critique of Judgment (CJ), the actual mechanism of the construction of aesthetic ideas is only briefly sketched. I suggest that there may be a connection between certain aspects of Sections 49 and 59, such that the creation of aesthetic ideas can be related to the process of "symbolic hypotyposis" (¤59.2). I will argue that the process of symbolic hypotyposis relates to the formation of aesthetic attributes, as symbols, through an analogical process; that a symbol acts, in effect, (...) as one part of the four parts of an analogy, and that the aesthetic idea may result from the application of the process of analogy. I will suggest that aesthetic attributes may, in some cases, function as symbols, and induce what I will term "conceptual overflow," in which the normal contents of the symbol are supplemented through the analogical process. (shrink)