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  1. Art, Authenticity, and Understanding.David Suarez - forthcoming - In Jens Pier & Aron Schwertner (eds.), Limits of Intelligibility: Issues from Kant and Wittgenstein. Routledge.
    Early 20th century debates over the possibility of ‘metaphysics’ are grounded in a set of questions and answers whose central themes are already delineated in Kant’s critical philosophy. Wittgenstein and Carnap are sympathetic to Kant’s dismissal of transcendent metaphysics, but skeptical that there could be any substantive account of the fundamental conditions of our meaning-making. By contrast, Heidegger follows Fichte and the early German Romantics in seeing answers to the problems raised by metacritique not in science, but in the non-discursive (...)
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  2. KANT'IN MÜZİK ANLAYIŞI, SINIR VE İMKANLARI.Selda Salman - 2021 - FLSF (Felsefe Ve Sosyal Bilimler Dergisi) 16 (31):513-530.
    Kant’ın müziğe ilişkin görüşleri tartışmalıdır. Müzikle ilişkisi oldukça sınırlı olduğu bilinen Kant sanatlar hiyerarşisinde düşünceyle ilişkisi içinde müziği en alta yerleştirerek olumsuz bir tablo çizer. Ne var ki Kant’ın incelemesinde işaret ettiği güzel ve açıkça hoş olan arasındaki gerilim ve karar verilemezlik aynı zamanda verimli bir değerlendirmenin yapılabilmesine olanak da verir. Bu çalışmada, tartışmalara neden olan yaklaşımın aslında nüveler halinde de olsa müziği felsefi olarak ele almada bir imkana işaret ettiği ve bu imkân üzerinden Affektenlehre olarak değerlendirilebilir olduğu ve özgünlükler (...)
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  3. Can Kant’s Aesthetics Accommodate Conceptual Art? A Reply to Costello.Ioannis Trisokkas - 2020 - Con-Textos Kantianos 12:226-247.
    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 (...)
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  4. Cognitive Interpretation of Kant’s Theory of Aesthetic Ideas.Mojca Kuplen - 2019 - Estetika 56 (12):48-64.
    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.
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  5. 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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  6. 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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  7. 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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  8. 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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  9. Conflit et dialectique des sentiments dans la fiancée de Messine de Schiller.Giovanna Pinna - 2006 - Les Etudes Philosophiques 77 (2):237.
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  10. Analytic Aesthetics and the Dilemma of Timelessness.Derek Allan - manuscript
    The paper highlights analytic aesthetics’ unacknowledged assumption that art is timeless, a view it inherited from Enlightenment thinkers such as Hume and Kant, who in turn inherited it from the Renaissance. This view, I contend, is no longer tenable because it is at odds with our experience of the art of the past. Analytic aesthetics bypasses this dilemma because it confines its attention to topics such as the nature of aesthetic pleasure, whether the appreciation of art should be disinterested and (...)
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  11. "Where Ruin Greenly Dwells:" Sublimity and Romanticism in Kant's "Critique of Judgement".P. Winston Fettner - manuscript
    This paper examines the relationships between Romantic painting, poetry, and philosophy, historically tracing the circulation of images used to communicate sublimity (for example, images of ruins, storms, volcanoes, and so on). Kant's "Critique of Judgment" deployed the same vocabulary of images that appear in Coleridge and Shelly, in Church and in Turner. The discussion thereby places Kant's 3rd Critique within its cultural context. But it also reveals the massive shift from Enlightenment rationalism to 19th century historicism that Romanticism enacted, and (...)
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