The conception of disinterested pleasure is not only central to Kant’s theory of beauty but also highly influential in contemporary philosophical discourse about beauty. However, it remains unclear, what exactly disinterested pleasure is and what role it plays in experiences of beauty. This volume sheds new light on the conception of disinterested pleasure from the perspectives of both Kant scholarship and contemporary aesthetics. In the first part, the focus is on Kant’s theory of beauty as grounded on the conception of (...) disinterested pleasure. In the second part, disinterested pleasure is investigated in the light of contemporary debates on beauty. The third part is dedicated to the relation of theories of disinterested pleasure to the meta-aesthetical debate between realism and anti-realism. The volume clarifies the meaning, role, and implications of one of the most influential conceptions in traditional as well as contemporary approaches to beauty. (shrink)

This essay explores the meaning of Kant's transcendental definition of pleasure and displeasure. I will explain the meaning of "definition" and "transcendental" respectively in relation to the feeling of pleasure and displeasure, contrasting with the interpretations of Guyer (2018) and Deimling (2018). Not only will I show how they are wrong, but I will also offer reasons for their misinterpretations. This essay proposes that the transcendental definition of pleasure and displeasure bears more systematic significance in Kant's philosophy than previous researchers (...) might have thought. My analysis also leads back to Kant's conception of the anthropological relation between life, desire, and pleasure. (shrink)

In the recent debate on the nature of Kantian ‘content of cognition’, some scholars argue that Kantian judgments of taste bear a nonconceptual mental content because these judgments lack any conceptual determining functions of some kind. In this article, I challenge the latter standpoint for the very simple reason that judgments of taste are no propositions, but rather formative evaluations. This implies as well the fact that we are initially in possession of no aesthetic representation. Hence, neither propositionally nor non-propositionally (...) is an aesthetic representation eligible to be counted as mental content. Instead, as the representation of the beautiful just contents oneself with itself, it refers to its objects relationally, yet not representationally in the full-fledged sense. Regarding the properties of objects, it remains consequently always ineffectively monotonous. On the occasion of agreement of the relevant cognitive faculties, we may, however, count the representation of the beautiful as phenomenal content. -/- . (shrink)

Discussions of aesthetic reasons and normativity are becoming increasingly popular. This piece outlines six basic questions about aesthetic reasons, normativity, and value and discusses the space of possible answers to these questions. I divide the terrain into two groups of three questions each. First are questions about the shape of aesthetic reasons: what they favour, how strong they are, and where they come from. Second are relational questions about how aesthetic reasons fit into the wider normative landscape: whether they are (...) distinctive, what their normative status is, and how they interact with each other and with non-aesthetic reasons. This piece aims to provide a taxonomy to clarify and organise the burgeoning literature and to make a few concrete suggestions for avenues of future research. (shrink)

This paper addresses a problem about aesthetic normativity raised by Kant. Can aesthetic experiences be appropriate or inappropriate to their objects? And, if so, how is that possible given that, according to Kant, aesthetic experience is not objective? Kant thought the answer to the first question was yes. But his official answer to the second question, in terms of the free play of the faculties, is obscure. The paper offers a clearer answer, inspired by Kant, which invokes Wittgenstein’s notion of (...) “knowing how to go on.” Aesthetic normativity is problematic only on the assumption that claims to the normativity of one’s responses to things must be based on the recognition of objective properties of those things. However, Wittgenstein’s discussion shows that we need not accept that assumption. There can be legitimate claims to the normativity of one’s responses which do not rely on those responses’ reflecting appreciation of objective facts. (shrink)

In his theory of beauty, Kant introduces the free and harmonious play of the faculties as a kind of judging. This judging should precede the pleasure in the beautiful. But being the determining ground of the judgement of taste, the pleasure should precede the judgement. Regarding this problem, two opposing models have been proposed: Paul Guyer's ‘two-acts model’ and Hannah Ginsborg's ‘one-act model’. I propose a third model that, I argue, resolves the difficulty and does not fall prey to the (...) problems of the other two resolutions: the ‘subsumption model’, according to which the pleasure is followed by a subsumption under the concept ‘beautiful’. (shrink)

La nozione di “ sensus communis ” è una delle nozioni più importanti e allo stesso tempo complesse dell’intera filosofia kantiana. Tale complessità è dovuta alla diversità di significati che essa acquisisce nel corso degli scritti kantiani, i quali non dedicano mai una analisi precipua a questo concetto. Recenti studi, come quelli di Zhengmi Zhouhuang e di Serena Feloj, hanno contribuito a focalizzare l’attenzione su tale nozione, sulla sua importanza e sulle difficoltà ad essa connesse. Proprio a partire dalla discussione (...) di queste interessanti analisi, vorrei proporre una lettura epistemologica del “senso comune”, che tenga conto della molteplicità delle connotazioni che tale nozione di volta in volta assume, senza per questo perdere di vista l’unità e la sistematicità del sistema delle facoltà. Questa nozione a mio giudizio può essere identificata con la stessa facoltà di giudizio: facoltà che nell’esperienza estetica esprime pienamente la sua eautonomia, essendo a sé stessa sia oggetto sia legge. In questa senso la trattazione del “ sensus communis ” rende più che mai evidente l’importanza e la ricchezza teorica dell’approfondimento delle condizioni trascendentali che ha luogo nella terza Critica. (shrink)

Kant entwickelt in der Kritik der Urteilskraft eine philosophische Ästhetik, eine Theorie der organischen Natur. Die beiden scheinbar heterogenen Gegenstandsbereiche sind durch das Prinzip der reflektierenden Urteilskraft, die Idee der Zweckmäßigkeit, verbunden, die der Mensch sowohl bei der Reflexion über die schönen Gegenstände der Natur und der Kunst als auch bei seiner Erforschung der organischen Natur zugrunde legt. Da sich alle Zwecke zuletzt auf den Endzweck des Menschen als moralisches Wesen beziehen, übersteigt die dritte „Kritik" schließlich die Bereiche von Kunst (...) und Natur und berührt Fragen der Moralphilosophie und der Moraltheologie. Zusätzlich entdeckt Kant im subjektiven Vermögen der Urteilskraft jenes Bindeglied unter den menschlichen Gemütskräften, das einen architektonischen Übergang zwischen den Naturbegriffen des Verstandes in der ersten und dem Freiheitsbegriff der Vernunft in der zweiten „Kritik" ermöglicht und die theoretische und die praktische Philosophie in einem einzigen philosophischen System vereinigt. Der vorliegende kooperative Kommentar bietet eine textnahe, fortlaufende Interpretation der „Kritik der Urteilskraft". Für die 3. Auflage anlässlich des 300. Jubiläums Immanuel Kants wurden alle Beiträge überarbeitet und auf den neuesten Forschungsstand gebracht. Mit Beiträgen von: K. Ameriks, J. Bojanowski, R. Brandt, G. Cunico, M. Foessel, E. Förster, C. Fricke, H. Ginsborg, P. Giordanetti, I. Goy, O. Höffe, A. Kablitz, G. Kohler, S. Mathisen, B. Recki, J. Rivera de Rosales, S. Roth und E. Watkins. (shrink)