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Switch to: References
Citations of:
Kants Logik des ästhetischen Urteils
Journal of Aesthetics and Art Criticism 40 (2):212-217 (1981)
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This article provides a critical assessment of Habermas’s recent work on religion and its role in the public sphere by comparing it to Kant’s phi-losophy of religion on the one hand and that of Kierkegaard on the other. It is argued that although Habermas is in many ways a Kantian, he diverges from Kant when it comes to religion, by taking a position which comes closer to the Kierkegaardian view that religiousness belongs to private faith rather than philosophy. This has (...) |
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In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique, the Critique of the Power of Judgment. The latter contains two parts, the ‘Critique of the Aesthetic Power of Judgment’ and the ‘Critique of the Teleological Power of Judgment’. They reveal a new principle, namely the a priori principle of purposiveness (Zweckmäßigkeit) of our power of judgment, and thereby offer new a priori grounds for beauty and biology within (...) |
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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 (...) |
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Although in his earlier ethical writings Kant explains the concept of moral feeling, inherited from the British sentimentalists, as a peculiar feeling of respect for the moral law that functions as an incentive for moral actions, the Doctrine of Virtue seems to add complexity to the issue. There, Kant discusses two similar aesthetic predispositions, moral feeling and respect, whose relationship to the feeling of respect is far from clear. This article offers a much needed elucidation of the relationship between these (...) |
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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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In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique , the Critique of the Power of Judgment . The latter contains two parts, the 'Critique of the Aesthetic Power of Judgment' and the 'Critique of the Teleological Power of Judgment'. They reveal a new principle, namely the a priori principle of purposiveness ( Zweckmäßigkeit ) of our power of judgment, and thereby offer new a priori grounds for (...) |
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Though the notion of common-sense plays an important role in Kant’s aesthetic theory, it is not immediately clear what Kant means by this term. This essay works to clarify the role that common-sense plays in the logic of Kant’s argument. My interpretive hypothesis is that a careful examination of the way common-sense functions in Kant’s account of judgments of taste can help explain what this notion means. I argue that common-sense names the capacity to discern the relation between the cognitive (...) |
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