ABSTRACTThis paper examines Mohan Matthen's account of aesthetic pleasure. The first part explores implications of Matthen's notion of ‘fit’ between features of art objects and our pleasurable contemplation of them. Through historical comparisons with Plato and Dewey, I challenge his claim not to be offering a theory of aesthetic norms. The second part of my paper sketches how Matthen might address two important problems of contemporary aesthetics: the first concerning interpretation, and the second concerning genres of art that evoke negative (...) or painful emotions such as tragedy, melodrama, and horror. (shrink)

Many academic works as well as many works of art are such that if they had never been produced, no one would be worse off. Yet it is hard to resist the judgment that some such works are good nonetheless. We are rightly grateful that these works were created; we rightly admire them, appreciate them, and take pains to preserve them. And the authors and artists who produced them have reason to be proud. This should lead us to question the (...) view that in order for a thing to be good, in a sense which implies that the thing merits our attention and positive concern, it needs to be good for someone or something whose welfare is enhanced by it. (shrink)

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...) introduction to the work; the only English edition notes to the many differences between the first (1790) and second (1793) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this new edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)