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  1. added 2020-08-13
    Review Of: Edward Eugene Kleist’s Judging Appearances: A Phenomenological Study of the Kantian Sensus Communis (Dordrecht: Kluwer Academci Publishers, 2000). [REVIEW]Stephen R. Palmquist - 2005 - Kant-Studien 96 (3):258-260.
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  2. added 2020-07-13
    Kant and Beauty.Claudia Meadows - manuscript
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  3. added 2020-06-12
    'Until Art Once More Becomes Nature': Culture and the Unity of Kant's Critique of Judgment.Sabina Vaccarino Bremner - forthcoming - Archiv für Geschichte der Philosophie.
    Commentators have turned increasing attention to the question of how the two halves of the Critique of Judgment fit together. Yet Kant’s account of culture has so far gone overlooked, despite the role it plays in both parts of the work in answering what Kant situates in the Introduction as the work's guiding concern: how the power of judgment thinks the transition between nature and freedom. Teleological judgment posits culture as the last empirically cognizable telos of nature prior to human (...)
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  4. added 2020-03-05
    On Beauty: All Roads Disgorge to Black Decay.Francisco Valdez - manuscript
    When Kant begins his judgements of beauty in several step eventually, we reach a nexus to which taste and a certain subjectivity is taken into account. But at the end of the day we ask ourselves why is it beautiful? There are certain objects such as tragic poems and video games that are beautiful deemed beautiful. In this essay I will explore the tension created by Kant’s judgements of beauty and the beauty of tragedy through the medium of poetry and (...)
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  5. added 2020-02-14
    Two Feelings in the Beautiful: Kant on the Structure of Judgments of Beauty.Janum Sethi - 2019 - Philosophers' Imprint 19 (34):1-17.
    In this paper, I propose a solution to a notorious puzzle that lies at the heart of Kant’s Critique of Judgment. The puzzle arises because Kant asserts two apparently conflicting claims: (1) F→J: A judgment of beauty is aesthetic, i.e., grounded in feeling. (2) J→F: A judgment of beauty could not be based on and must ground the feeling of pleasure in the beautiful. I argue that (1) and (2) are consistent. Kant’s text indicates that he distinguishes two feelings: the (...)
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  6. added 2019-11-23
    The Passions and Disinterest: From Kantian Free Play to Creative Determination by Power, Via Schiller and Nietzsche.Eli I. Lichtenstein - 2019 - Ergo: An Open Access Journal of Philosophy 6:249-279.
    I argue that Nietzsche’s criticism of the Kantian theory of disinterested pleasure in beauty reflects his own commitment to claims that closely resemble certain Kantian aesthetic principles, specifically as reinterpreted by Schiller. I show that Schiller takes the experience of beauty to be disinterested both (1) insofar as it involves impassioned ‘play’ rather than desire-driven ‘work’, and (2) insofar as it involves rational-sensuous (‘aesthetic’) play rather than mere physical play. In figures like Nietzsche, Schiller’s generic notion of play—which is itself (...)
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  7. added 2019-08-23
    Hilna Af Klint at The Guggenheim: Metaphysics as It Patrols Mortality’s Borders.Ekin Erkan - 2019 - AEQAI 2019 (7/8):1-11.
    The Guggenheim’s spring retrospective of the seminal Swedish painter, Hilma Af Klint, has, naturally, evoked a multitude of art critics and visual culture scholars who laud her radical abstraction which, at the beginning of the 20th century, preceded Kandinsky, Malevich, Mondrian. Yet, where much attention has been given to the symbology and motifs riddling Klint’s work – bold, private, untethered and nonrepresentational as they are – there has been a modicum of nuanced thought on how, exactly, esotericism and theology fomented (...)
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  8. added 2019-08-16
    Kiesewetter, Kant, and the Problem of Poetic Beauty.C. E. Emmer - 2018 - In Violetta L. Waibel, Margit Ruffing & David Wagner (eds.), Natur und Freiheit: Akten des XII. Internationalen Kant-Kongresses. Berlin, Germany: pp. 2979–2986.
    My observations here are meant to address a current lacuna in discussions of Kant's aesthetics, namely the beauty of poetry. There are, I admit, numerous treatments of poetry considered in the light of Kant's aesthetic theory, but what may not be noticed is that in discussions of poetry and Kant's aesthetics, the topic of poetic beauty only rarely comes up. This virtual silence on the beauty of poetry is surprising, given that the beautiful is obviously one of the two foundational (...)
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  9. added 2019-05-23
    Beautiful and Sublime: The Aesthetics of Running in a Commodified World.Tim Gorichanaz - 2016 - Journal of the Philosophy of Sport 43 (3):365-379.
    In the United States, running as a leisure activity continues to grow in popularity. Healthism can explain some of this popularity, but it does not explain ultradistance running. Motivations for running can be seen through the framework of the Kantian beautiful and the sublime. Beauty arises through extrinsic motivation and relates to an economy of form, while the sublime arises through intrinsic motivation and relates to confronting the challenge of infinity. The commercial, casual, and competitive aspects of distance running correspond (...)
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  10. added 2018-10-29
    A Kantian Analytic of the Ugly.Christopher Buckman - 2017 - International Philosophical Quarterly 57 (4):365-380.
    Kant’s theory of taste, as expounded in the Critique of Judgment, deals exhaustively with judgments of beauty. Rarely does Kant mention ugliness. This omission has led to a debate among commentators about how judgments of ugliness should be explained in a Kantian framework. I argue that the judgment of ugliness originates in the disharmonious play between the faculties of imagination and understanding. Such disharmony occurs when the understanding finds that it cannot in principle form any concept suitable to a representation (...)
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  11. added 2018-09-20
    Unity in Variety: Theoretical, Practical and Aesthetic Reason in Kant.Keren Gorodeisky - forthcoming - In Konstantin Pollok & Gerad Gentry (eds.), The Imagination in German Idealism and Romanticism.
    The main task of the paper is to explore Kant’s understanding of what unites the three kinds of judgment that he regards as the signature judgments of the three fundamental faculties of the mind--theoretical, practical and aesthetic judgments--in a way that preserves their fundamental differences. I argue that these are differences in kind not only in degree; or, in the terms I motivate in the paper, differences in form. Thus, I aim to show that (1) the Romantic unity of knowing, (...)
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  12. added 2018-08-16
    Revisiting Kant’s Deduction of Taste.Ryan S. Kemp - forthcoming - History of Philosophy Quarterly.
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  13. added 2018-05-26
    Why Didn’T Kant Think Highly of Music?Emine Hande Tuna - 2018 - In Violetta Waibel & Margit Ruffing (eds.), Natur und Freiheit: Akten des XII. Internationalen Kant-Kongresses. Berlin, Germany: De Gruyter. pp. 3141-3148.
    In this paper, in answering the question why Kant didn’t think very highly of music, I argue that for Kant (i) music unlike other art forms, lends itself more easily to combination judgments involving judgments of sense, which increases the propensity to make aesthetic mistakes and is ill-suited as an activity for improving one’s taste; (ii) music expresses aesthetic ideas and presents rational ideas only by taking advantage of existing associations while other art forms do so by breaking with the (...)
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  14. added 2018-04-22
    The Sublime.Melissa McBay Merritt - 2018 - New York: Cambridge University Press.
    This Element considers Kant's account of the sublime in the context of his predecessors both in the Anglophone and German rationalist traditions. Since Kant says with evident endorsement that 'we call sublime that which is absolutely great' and nothing in nature can in fact be absolutely great, Kant concludes that strictly speaking what is sublime can only be the human calling to perfect our rational capacity according to the standard of virtue that is thought through the moral law. The Element (...)
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  15. added 2016-10-18
    Aesthetic Representation of Purposiveness and the Concept of Beauty in Kant’s Aesthetics. The Solution of the ‘Everything is Beautiful’ Problem.Mojca Küplen - 2016 - Philosophical Inquiries 4 (2):69-88.
    In the Critique of the Power of Judgment, Kant introduces the notion of the reflective judgment and the a priori principle of purposiveness or systematicity of nature. He claims that the ability to judge objects by means of this principle underlies empirical concept acquisition and it is therefore necessary for cognition in general. In addition, he suggests that there is a connection between this principle and judgments of taste. Kant’s account of this connection has been criticized by several commentators for (...)
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  16. added 2016-04-22
    Kann aus dem Urteil über das Angenehme ein Geschmacksurteil ähnlich wie aus dem Wahrnehmungsurteil ein Erfahrungsurteil werden? (Can a Judgment About the Agreeable Become a Judgment of Taste, As a Judgment of Perception Can Become a Judgment of Experience?).Christian Helmut Wenzel - 2001 - In Volker Gerhardt, Rolf-Peter Horstmann & Ralph Schumacher (eds.), Kant und die Berliner Aufklärung. Akten des IX. Internationalen Kant-Kongresses, vol. 3. Walter de Gruyter. pp. 468-476.
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  17. added 2016-04-12
    Introduction to Cosmological Aesthetics: The Kantian Sublime and Nietzschean Dionysian.Erman Kaplama - 2010 - International Journal of the Humanities 8 (2):69-84.
    This paper is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...)
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  18. added 2016-04-09
    Cosmological Aesthetics Through the Kantian Sublime and Nietzschean Dionysian.Erman Kaplama - 2013 - UPA, Rowman & Littlefield.
    This book is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...)
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  19. added 2016-02-29
    The Art of Willing: The Impact of Kant’s Aesthetics on Schopenhauer’s Conception of the Will.Alistair Welchman - 2013 - In Margit Ruffing, Claudio La Rocca, Alfredo Ferrarin & Stefano Bacin (eds.), Kant Und Die Philosophie in Weltbürgerlicher Absicht: Akten des Xi. Kant-Kongresses 2010. De Gruyter. pp. 627-638.
    Much has been written about Schopenhauer’s use of Kant’s aesthetics as well as Schopenhauer’s adherence to and departures from Kant’s theoretical philosophy, not least by Schopenhauer himself. The hypothesis I propose in this paper combines these two research trajectories in a novel way: I wish to argue that Schopenhauer’s main theoretical innovation, the doctrine of the will, can be regarded as the development of an aspect of Kant’s aesthetic theory, specifically that the intransitive, goalless striving of the will in Schopenhauer (...)
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  20. added 2015-03-23
    Kant and the Problem of Pure Judgments of Ugliness.Mojca Kuplen - 2013 - Kant Studies Online (1):102-143.
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  21. added 2015-03-23
    Aesthetic Reflection and the Very Possibility of Art.Jennifer A. McMahon - 2007 - In Ian North (ed.), Visual Animals: Cross Overs, Evolution and New Aesthetics. Contemporary Art Centre of South Australia. pp. 73-83.
    If we conceive of ourselves as animals, it might be accurate to call us visual animals. The visual cortex is much larger in us relative to the size of our brains than in other animals, and large relative to the parts of the cortex responsible for the transmission of signals emanating from the other perceptual transducers. Our ability to recall visual images, recombine them in imagination and enter imaginatively into narratives is linked to this evolved piece of brain architecture. However, (...)
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  22. added 2014-03-27
    What is Claimed in a Kantian Judgment of Taste?Miles Rind - 2000 - Journal of the History of Philosophy 38 (1):63-85.
    Against interpretations of Kant that would assimilate the universality claim in judgments of taste either to moral demands or to theoretical assertions, I argue that it is for Kant a normative requirement shared with ordinary empirical judgments. This raises the question of why the universal agreement required by a judgment of taste should consist in the sharing of a feeling, rather than simply in the sharing of a thought. Kant’s answer is that in a judgment of taste, a feeling assumes (...)
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  23. added 2014-03-22
    Kant's Beautiful Roses: A Response to Cohen's ‘Second Problem’.Miles Rind - 2003 - British Journal of Aesthetics 43 (1):65-74.
    According to Kant, the singular judgement ‘This rose is beautiful’ is, or may be, aesthetic, while the general judgement ‘Roses in general are beautiful’ is not. What, then, is the logical relation between the two judgements? I argue that there is none, and that one cannot allow there to be any if one agrees with Kant that the judgement ‘This rose is beautiful’ cannot be made on the basis of testimony. The appearance of a logical relation between the two judgements (...)
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  24. added 2014-03-18
    Beauty as a Symbol of Natural Systematicity.Andrew Chignell - 2006 - British Journal of Aesthetics 46 (4):406-415.
    I examine Kant's claim that a relation of symbolization links judgments of beauty and judgments of ‘systematicity’ in nature (that is, judgments concerning the ordering of natural forms under hierarchies of laws). My aim is to show that the symbolic relation between the two is, for Kant, much closer than many commentators think: it is not only the form but also the objects of some of our judgments of taste that symbolize the systematicity of nature. -/- .
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  25. added 2013-05-16
    Ogilby, Milton, Canary Wine, and the Red Scorpion: Another Look at Kant's Deduction of Taste.Andrew Chignell - 2013 - In Dina Emundts (ed.), Self, World, and Art. De Gruyter. pp. 261-282.
    An effort to expand and defend aspects of my earlier reading of the Deduction of Taste. The Red Scorpion is just for fun. -/- .
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  26. added 2011-05-17
    Kant on the Normativity of Taste: The Role of Aesthetic Ideas.Andrew Chignell - 2007 - Australasian Journal of Philosophy 85 (3):415 – 433.
    For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal to (...)
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  27. added 2011-05-17
    Can Kants Deduction of Judgments of Taste Be Saved?Miles Rind - 2002 - Archiv für Geschichte der Philosophie 84 (1):20-45.
    Kant’s argument in § 38 of the *Critique of Judgment* is subject to a dilemma: if the subjective condition of cognition is the sufficient condition of the pleasure of taste, then every object of experience must produce that pleasure; if not, then the universal communicability of cognition does not entail the universal communicability of the pleasure. Kant’s use of an additional premise in § 21 may get him out of this difficulty, but the premises themselves hang in the air and (...)
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