This is done by exploring some of his other ideas concerning how critical comparisons inform our cultivation of taste, and art's relation to genius.

Kant and Milton: fundamentals and foundations -- Kant's journey in the constellation of German Miltonism: toward the procedure of succession -- Kant's Miltonic transfer to exemplarity: the succession to Milton's "On his blindness" in the groundwork of the Metaphysics of morals -- Kantian tragic form and Kantian "storytelling" -- The Critique of practical reason and Samson agonistes -- Kant's Miltonic procedure of succession in a key moment of the Critique of judgment.

While visiting a friend's family in Cornwall during the traditional May Day celebrations, eighteen-year-old Laura becomes involved in an old family mystery concerning the disappearance of ancient heirlooms.

About the philosophy of Giambattista Vico, 1668- 1774 and Johann Gottfried Herder, 1774-1803.

The Century of Taste offers an exposition and critical account of the central figures in the early development of the modern philosophy of art. Dickie traces the modern theory of taste from its first formulation by Francis Hutcheson, to blind alleys followed by Alexander Gerard and Archibald Allison, its refinement and complete expression by Hume, and finally to its decline in the hands of Kant. In a clear and straightforward style, Dickie offers sympathetic discussions of the theoretical aims of these (...) philosophers, but does not shy from controversy--pointing out, for instance, the obscurities and inconsistencies in Kant's aesthetic writings, and arguing that they have been overrated. (shrink)

In this book, Morrison discusses the process of aesthetic education, as defined by Johann Joachim Winckelmann on the basis of his status as arbiter of classical taste and as applied to his teaching of two pupils. Morrison identifies the key features of Winckelmann's treatment of classical beauty and elucidates how Winckelmann taught the appreciation of beauty. He argues that Winckelmann's practice of aesthetic education fell short of his aesthetic theory. Morrison concludes by looking at Goethe's aesthetic self-education, which was strongly (...) influenced by Winckelmann. (shrink)

Integrating Kant's ideas on aesthetics and morality, Dr. Kemal explains how Kant's theories emphasize that art is critical to the development of culture and community goals. He clarifies Kant's often obscure efforts to justify artistic judgements and demonstrates Kant's claim that they have their own necessity. Containing explanations of many difficult terms present in Kant's Critique of Judgment, this study is a valuable guide to understanding Kant's association of beauty and morality.

A monograph devoted exclusively to Kant's theory of the sublime a subject currently witnessing a revival amongst European philosophers in relation to debates about the nature of postmodernism.

Kant’s The Critique of Judgment laid the groundwork of modern aesthetics when it appeared in 1790. Eli Friedlander’s reappraisal emphasizes the internal connection of judgment and meaning, showing how the pleasure in judging is intimately related to our capacity to draw meaning from our encounter with beauty.

Im Mittelpunkt der Untersuchung steht die Analytik des Schonen in Kants Kritik der Urteilskraft. Es wird gezeigt, was Kant zu einer Geschmackskritik in transzendentaler Absicht motiviert und wie er in Form einer entdeckenden Analyse die Erklarung dafur zu finden sucht, warum reine asthetische Urteile mit einem Allgemeingultigkeitsanspruch auftreten konnen, auch wenn sie ihn nicht einlosen konnen. Kritische Betrachtungen der Einleitungen zur Kritik der Urteilskraft und Analysen von Kants Theorie der schonen Form und seiner Theorie der anhangenden Schonheit runden die Untersuchung (...) ab. Der zweiten Auflage der Abhandlung sind ein Register und ein langeres Nachwort beigegeben, das auf einige Titel der neueren Forschungsliteratur eingeht (Ginsborg, Fricke, Henrich, Otto). (shrink)

The Ugliness of Moses Mendelssohn examines the idea of ugliness through four angles: philosophical aesthetics, early anthropology, physiognomy and portraiture in the eighteenth-century. Highlighting a theory that describes the benefit of encountering ugly objects in art and nature, eighteenth-century German Jewish philosopher Moses Mendelssohn recasts ugliness as a positive force for moral education and social progress. According to his theory, ugly objects cause us to think more and thus exercise—and expand—our mental abilities. Known as ugly himself, he was nevertheless portrayed (...) in portraits and in physiognomy as an image of wisdom, gentility, and tolerance. That seeming contradiction—an ugly object made beautiful—illustrates his theory's possibility: ugliness itself is a positive, even redeeming characteristic of great opportunity. Presenting a novel approach to eighteenth century aesthetics, this book will be of interest to students and scholars in the fields of Jewish Studies, Philosophy and History. (shrink)

Sublimity addresses the nature of the sublime experience itself, and the function that experience has played, and continues to play, within aesthetic discourse. The book both updates and revises existing treatments of the sublime in the eighteenth century, examines its neglected role in the nineteenth century aesthetics, and analyzes the significance of the modifications the concept has undergone in order to serve the interests of contemporary aesthetics. The book thus offers the most comprehensive coverage of the history of the sublime (...) available. (shrink)

Concerned with topics at the heart of Kant's aesthetics, this provoking reading of The Critique of Judgement focuses on often misunderstood or neglected themes. Starting from the issues of the truth and justifiability of our critical assertions, Anthony Savile develops Kantian theory broadly across the arts, and shows it working with subtlety and rigour in cases as diverse as music and architecture. New light is thrown on the exemplary necessity of our aesthetic pleasures, on the Antimony of Taste, on the (...) distinction between free and dependent beauty, on the supposed idealism of taste, and on the a priori limits of fine art. Eminently subjective material is here given a place in Kant's overall idealism in a sophisticated discussion that will invite the close attention of Kant scholars and aestheticians alike. (shrink)

Kant stated that there are three mental faculties: cognition, feeling, and desire. The faculty of feeling has received the least scholarly attention, despite its importance in Kant's broader thought, and this volume of new essays is the first to present multiple perspectives on a number of important questions about it. Why does Kant come to believe that feeling must be described as a separate faculty? What is the relationship between feeling and cognition, on the one hand, and desire, on the (...) other? What is the nature of feeling? What do the most discussed Kantian feelings, such as respect and sublimity, tell us about the nature of feeling for Kant? And what about other important feelings that have been overlooked or mischaracterized by commentators, such as enthusiasm and hope? This collaborative and authoritative volume will appeal to Kant scholars, historians of philosophy, and those working on topics in ethics, aesthetics, and emotions. (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“. 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)

This Element considers Kant's account of the sublime in the context of his predecessors both in the Anglophone and German rationalist traditions. Since Kant says with evident endorsement that 'we call sublime that which is absolutely great' and nothing in nature can in fact be absolutely great, Kant concludes that strictly speaking what is sublime can only be the human calling to perfect our rational capacity according to the standard of virtue that is thought through the moral law. The Element (...) takes account of the difference between respect and admiration as the two main varieties of sublime feeling, and concludes by considering the role of Stoicism in Kant's account of the sublime, particularly through the channel of Seneca. (shrink)

Broad in its geographic scope and yet grounded in original archival research, this book situates the inception of modern aesthetic theory – the philosophical analysis of art and beauty - in theological contexts that are crucial to explaining why it arose. Simon Grote presents seminal aesthetic theories of the German and Scottish Enlightenments as outgrowths of a quintessentially Enlightenment project: the search for a natural 'foundation of morality' and a means of helping naturally self-interested human beings transcend their own self-interest. (...) This conclusion represents an important alternative to the standard history of aesthetics as a series of preludes to the achievements of Immanuel Kant, as well as a reinterpretation of several canonical figures in the German and Scottish Enlightenments. It also offers a foundation for a transnational history of the Enlightenment without the French philosophes at its centre, while solidly endorsing historians' growing reluctance to call the Enlightenment a secularising movement. (shrink)

Thirteen scholars offer new essays exploring the question at the heart of J. G. Herder's thought: How can philosophy enable an understanding of the human being not simply as an intellectual and moral agent, but also as a creature of nature who is fundamentally marked by an affective openness and responsiveness to the world and other persons?

Herder is often criticized for having embraced cultural relativism, but there has been little philosophical discussion of what he actually wrote about the nature of the human species and its differentiation through culture. This book focuses on Herder's idea of culture, seeking to situate his social and political theses within the context of his anthropology, metaphysics, epistemology, ethics, theory of language and philosophy of history. It argues for a view of Herder as a qualified relativist, who combined the conception of (...) a common human nature with a belief in the importance of culture in developing and shaping that nature. Especially highlighted are Herder's understanding of the relativity of virtue and happiness, and his belief in the impossibility of constructing a single best society. The book will appeal to a wide range of readers interested both in Herder and in Enlightenment culture more generally. (shrink)

Values of Beauty discusses major ideas and figures in the history of aesthetics from the beginning of the eighteenth century to the end of the twentieth century. The core of the book features Paul Guyer's essays on the epochal contribution of Immauel Kant, and sets Kant's work in the context of predecessors, contemporaries, and successors including David Hume, Alexander Gerard, Archibald Alison, Arthur Schopenhauer, and John Stuart Mill All of the essays emphasize the complexity rather than isolation of our aesthetic (...) experience of both nature and art; and the interconnection of aesthetic values such as beauty and sublimity on the one hand, and prudential and moral values on the other. Guyer emphasizes that the idea of the freedom of the imagination as the key to both artistic creation and aesthetic experience has been a common thread throughout the modern history of aesthetics, although the freedom of the imagination has been understood and connected to other forms of freedom in a variety of ways. (shrink)

Kant's Critique of Judgment has often been interpreted by scholars as comprising separate treatments of three uneasily connected topics: beauty, biology, and empirical knowledge. Rachel Zuckert's book interprets the Critique as a unified argument concerning all three domains. She argues that on Kant's view, human beings demonstrate a distinctive cognitive ability in appreciating beauty and understanding organic life: an ability to anticipate a whole that we do not completely understand according to preconceived categories. This ability is necessary, moreover, for human (...) beings to gain knowledge of nature in its empirical character as it is, not as we might assume it to be. Her wide-ranging and original study will be valuable for readers in all areas of Kant's philosophy. (shrink)

An eminent scholar of modern culture argues that the Enlightenment—the importance of which has been vigorously debated in recent years—was a more complex phenomenon than either its detractors or advocates assume. “Ranging as it does over art, morality, religion, science, philosophy, social theory, and a good deal besides, [Dupré’s book] is a marvel of scholarly erudition.... Formidably well-researched,... [this] would make an excellent introduction to Enlightenment ideas for the general reader.”—Terry Eagleton, _Harper’s Magazine _“This immensely readable book will cause readers (...) to rethink the Enlightenment and to see its positive aspects. It will also add crucial historical perspective to current discussions of modernity.”—Donald Verene, Emory University. (shrink)

Angelica Nuzzo offers a comprehensive reconstruction of Kant's theory of sensibility in his three Critiques. By introducing the notion of "transcendental embodiment," Nuzzo proposes a new understanding of Kant's views on science, nature, morality, and art. She shows that the issue of human embodiment is coherently addressed and key to comprehending vexing issues in Kant's work as a whole. In this penetrating book, Nuzzo enters new terrain and takes on questions Kant struggled with: How does a body that feels pleasure (...) and pain, desire, anger, and fear understand and experience reason and strive toward knowledge? What grounds the body's experience of art and beauty? What kind of feeling is the feeling of being alive? As she comes to grips with answers, Nuzzo goes beyond Kant to revise our view of embodiment and the essential conditions that make human experience possible. (shrink)

While Immanuel Kant is an epochal figure in a variety of fields, he has not figured prominently in the study of rhetoric and communication. This book represents the most detailed examination available into Kant's uneasy but often misunderstood relationship with rhetoric. By explicating Kant's complex understanding of rhetoric, this book advances the thesis that communicative practices play an important role in Kant's account of how we become better humans and how we create morally cultivating communities.

At the end of section §6 in the Analytic of the Beautiful, Kant defines taste as the “faculty for judging an object or a kind of representation through a satisfaction or dissatisfaction without any interest”. On the face of it, Kant’s definition of taste includes both; positive and negative judgments of taste. Moreover, Kant’s term ‘dissatisfaction’ implies not only that negative judgments of taste are those of the non-beautiful, but also that of the ugly, depending on the presence of an (...) actual displeasure. (shrink)

In this book, Robert Doran offers the first in-depth treatment of the major theories of the sublime, from the ancient Greek treatise On the Sublime and its reception in early modern literary theory to the philosophical accounts of Burke and Kant. Doran explains how and why the sublime became a key concept of modern thought and shows how the various theories of sublimity are united by a common structure - the paradoxical experience of being at once overwhelmed and exalted - (...) and a common concern: the preservation of a notion of transcendence in the face of the secularization of modern culture. Combining intellectual history with literary theory and philosophical analysis, his book provides a new, searching and multilayered account of a concept that continues to stimulate thought about our responses to art, nature and human events. (shrink)

In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to (...) other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world. (shrink)

The series, founded in 1970, publishes works which either combine studies in the history of philosophy with a systematic approach or bring together systematic studies with reconstructions from the history of philosophy. Monographs are published in English as well as in German. The founding editors are Erhard Scheibe (editor until 1991), Günther Patzig (until 1999) and Wolfgang Wieland (until 2003). From 1990 to 2007, the series had been co-edited by Jürgen Mittelstraß.

Diese Untersuchung betrachtet die ästhetische Position von Karl Philipp Moritz vor dem Hintergrund der gesamten ästhetischen und philosophischen Diskussion des 18. Jahrhunderts, die hier wiederum, nach dem Prinzip der hermeneutischen Zirkularität, ausgehend von den in Moritz' Schriften in Angriff genommenen Problemkomplexen rekonstruiert wird. Beschäftigte sich der erste Band dieser Untersuchung, der unter dem Titel Schönheit und Nützlichkeit erschienen ist, hauptsächlich mit Moritz' Auseinandersetzung mit der Wirkungsästhetik der Frühaufklärung, so bildet die Entwicklung einer Produktionsästhetik von Baumgarten zum Sturm und Drang und (...) bis zur deutschen Klassik den Gegenstand dieser Betrachtung. Darüber hinaus werden in den letzten Kapiteln Moritz' Ansätze zu einer neuen Theorie des Tragischen rekonstruiert, die sich von der aufklärerischen Diskussion distanziert und wichtige Positionen der Romantik vorwegnimmt. (shrink)