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  1. Kant on Aesthetic Ideas, Rational Ideas and the Subject-Matter of Art.Ido Geiger - forthcoming - Journal of Aesthetics and Art Criticism.
    The notion of aesthetic ideas is of great importance to Kant's thinking about art. Despite its importance, he says little about it. He characterizes aesthetic ideas as representations of the imagination and says that the gift of artistic genius is the inscrutable capacity to envision them. Furthermore, they are counterparts of rational ideas. Works of art thus sensibly present rational ideas; the pleasure they occasion is a consequence of the enriching process of reflection upon the wealth of content they sensibly (...)
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  • Reflective and Non-Reflective Aesthetic Ideas in Kant’s Theory of Art.Mojca Kuplen - 2021 - British Journal of Aesthetics 61 (1):1-16.
    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, (...)
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  • Aesthetic Normativity in Kant’s Account: A Regulative Model.Serena Feloj - 2020 - Con-Textos Kantianos 1 (12):105-122.
    The notion of normativity has been key to an actualizing reading of the subjective universality that for Kant characterizes the aesthetic judgment. However, in the scholarly literature little discussion is made, somehow unsurprisingly, of what exactly we should understand by normativity when it comes to Kant’s aesthetics. Recent trends show indeed the tendency to take normativity very broadly to the point of nuancing most of its core meaning. Based on how we speak about normativity in aesthetics, we seem indeed to (...)
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  • Reflective and Non-Reflective Aesthetic Ideas in Kant’s Theory of Art.Mojca Kuplen - 2020 - British Journal of Aesthetics 1.
    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, (...)
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  • Philosophy of Animal-Made Art | فلسفه هنرِ جانور-ساخت.Pouya Lotfi Yazdi - manuscript
    In this article, first of all, I (hereafter: the writer) have presented an interpretation of aesthetic universality and it is argued that each definition of art has to admit the aesthetic universality. Next, the writer has argued that there is a relation between creativity and aesthetic universality, and it is claimed that there is the same aesthetic universality by the creative processes, products, and persons, both scientifically and philosophically; and so, the relation represents that aesthetic universality is true. Moreover, the (...)
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  • Pleasure's Place.Karl Ameriks - 2017 - Australasian Philosophical Review 1 (1):67-72.
    ABSTRACTMatthen usefully distinguishes between mere ‘r-pleasures’ and ‘f-pleasures’: ‘facilitating’ pleasures that are valuable in drawing out the ‘self-reinforcing’ characteristic of good art. But there are reasons, especially from a Kantian Critical perspective with which Matthen sympathizes, to worry about any such ‘hedonistic’ approach to aesthetics, however valuable its general account of pleasure may be. Especially deserving of emphasis are the role of objectivity and the significance of aesthetic goals other than pleasure.
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  • The Classical Trinity and Kant's Aesthetic Formalism.Jennifer A. McMahon - 2010 - Critical Horizons 11 (3):419-441.
    I identify two mutually exclusive notions of formalism in Kant’s Critique of Aesthetic Judgement: a thin concept of aesthetic formalism and a thick concept of aesthetic formalism. Arguably there is textual support for both concepts in Kant’s third critique. I offer interpretations of three key elements in the Critique of Aesthetic Judgement which support a thick formalism. The three key elements are: Harmony of the Faculties, Aesthetic Ideas and Sensus Communis. I interpret these concepts in relation to the conditions for (...)
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  • Aesthetic Comprehension of Abstract and Emotion Concepts: Kant’s Aesthetics Renewed.Mojca Küplen - 2018 - Itinera 15:39-56.
    In § 49 of the Critique of the Power of Judgment Kant puts forward a view that the feeling of pleasure in the experience of the beautiful can be stimulated not merely by perceptual properties, but by ideas and thoughts as well. The aim of this paper is to argue that aesthetic ideas fill in the emptiness that abstract and emotion concepts on their own would have without empirical intuitions. That is, aesthetic ideas make these concepts more accessible to us, (...)
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  • Aesthetic Opacity.Emanuele Arielli - 2017 - Proceedings of the European Society for Aesthetics.
    Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...)
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  • Revisiting Kant’s Deduction of Taste.Ryan S. Kemp - forthcoming - History of Philosophy Quarterly.
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  • A Dialogue Concerning Aesthetics and Apolaustics.Timothy M. Costelloe & Andrew Chignell - 2011 - Journal of Scottish Philosophy 9 (1):v-xvi.
    A debate between two aestheticians concerning the relative influence of Scottish and German philosophers on the contemporary discipline. -/- .
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  • 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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  • Systematicity and Symbolisation in Kant's Deduction of Judgements of Taste.Alexander Rueger - 2011 - Hegel Bulletin 32 (1-2):232-251.
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  • Kant on Fine Art, Genius and the Threat of Private Meaning.Aviv Reiter - 2018 - Kantian Review 23 (2):307-323.
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