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  1. Kant on Fine Art, Genius and the Threat of Private Meaning.Aviv Reiter - 2018 - Kantian Review 23 (2):307-323.
    Wittgenstein’s private language argument claims that language and meaning generally are public. It also contends with our appreciation of artworks and reveals the deep connection in our minds between originality and the temptation to think of original meaning as private. This problematic connection of ideas is found in Kant’s theory of fine art. For Kant conceives of the capacity of artistic genius for imaginatively envisioning original content as prior to and independent of finding the artistic means of communicating this content (...)
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  • (1 other version)Formalism and the Theory of Expression in Kant’s Aesthetics.Paul D. Guyer - 1977 - Kant Studien 68 (1-4):46-70.
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  • Kant and the Aesthetics of Nature.Alexander Rueger - 2007 - British Journal of Aesthetics 47 (2):138-155.
    I try to identify the characteristic and distinguishing features of a theory of natural beauty (as opposed to the sublime) that can be found in Kant's Critique of Judgement. Lest this may seem superfluous, I argue first that, contrary to a common view, Kant's theory does not take the experience of beauty in nature as theoretically basic and that he does not deal with beauty in art only as a derivative case of aesthetic experience. I then try to understand what (...)
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  • Natural Beauty, Fine Art and the Relation between Them.Aviv Reiter & Ido Geiger - 2018 - Kant Studien 109 (1):72-100.
    Name der Zeitschrift: Kant-Studien Jahrgang: 109 Heft: 1 Seiten: 72-100.
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  • Works of genius as sensible exhibitions of the idea of the highest good.Lara Ostaric - 2010 - Kant Studien 101 (1):22-39.
    In this paper I argue that, on Kant's view, the work of genius serves as a sensible exhibition of the Idea of the highest good. In other words, the work of genius serves as a special sign that the world is hospitable to our moral ends and that the realization of our moral vocation in such a world may indeed be possible. In the first part of the paper, I demonstrate that the purpose of the highest good is not to (...)
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  • "The beautiful is the symbol of the morally-good": Kant's philosophical basis of proof for the idea of the morally-good.G. Felicitas Munzel - 1995 - Journal of the History of Philosophy 33 (2):301-330.
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  • Understanding Kant's distinction between free and dependent beauty.Philip Mallaband - 2002 - Philosophical Quarterly 52 (206):66-81.
    I interpret Kant's distinction between free and dependent beauty in a way that makes it possible for an object to be judged dependently beautiful without being judged freely beautiful. This is an alternative to the analyses provided by Malcolm Budd and Christopher Janaway, which both face a dilemma because they entail that an object must be judged freely beautiful in order to be judged dependently beautiful. The dilemma is that either the determinant of a judgement of dependent beauty is based (...)
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  • Aesthetic Judgment as Parasitic on Cognition.Aaron Halper - 2019 - Kant Yearbook 11 (1):41-59.
    When we judge something to be beautiful, do we identify an inherent feature of the object, or only our subjective response to it? This paper argues that, for Kant, pure aesthetic judgment occupies a middle ground. Such judgments are based upon affective responses to our own cognitive faculties. Thus, pure aesthetic judgment is subjective insofar as it concerns our feeling ourselves to be engaged in a certain task; it is objective insofar as the task we are engaged in is cognition (...)
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  • Bridging the Gulf: Kant's Project in the Third Critique.Paul Guyer - 2006 - In Graham Bird (ed.), A Companion to Kant. Oxford: Wiley-Blackwell. pp. 423–440.
    This chapter contains sections titled: Why is there a Third Critique? The Critique of the Aesthetic Power of Judgment The Critique of the Teleological Power of Judgment Conclusion.
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  • Form and expression in Kant's aesthetics.D. W. Gotshalk - 1967 - British Journal of Aesthetics 7 (3):250-260.
    In the earlier sections of part one of the "critique of judgment," discussing natural beauty, Kant describes the aesthetical or beautiful in strongly formalistic terms. In the closing sections of this part, Discussing fine art, He characterizes the aesthetical or beautiful in predominantly expressionistic terms. The puzzle is not that these views are different but that our philosopher seems to think they are identical. Various hypotheses that claim to explain this puzzle are examined. The key suggested is kant's background or (...)
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  • Lawfulness without a Law.Hannah Ginsborg - 1997 - Philosophical Topics 25 (1):37-81.
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  • The significance of Kant's pure aesthetic judgement.Paul Crowther - 1996 - British Journal of Aesthetics 36 (2):109-121.
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  • Essay on the maladies of the head (1764).Immanuel Kant - 2007 - In Anthropology, history, and education. New York: Cambridge University Press.
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  • Some remarks on Ludwig Heinrich Jakob's Examination of Mendelssohn's morning hours (1786).Immanuel Kant - 2007 - In Anthropology, history, and education. New York: Cambridge University Press.
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  • The genesis of Kant's « Critique of Judgment».John H. ZAMMITO - 1992 - Revue Philosophique de la France Et de l'Etranger 182 (4):639-639.
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  • Imagination and Interpretation in Kant: The Hermeneutic Import of the Critique of Judgment.Rudolph A. MAKKREEL - 1990
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  • On the Primacy of the Spectator in Kant’s Account of Genius.Samuel A. Stoner - 2016 - Review of Metaphysics 70 (1):87-116.
    This essay argues that §49 of Kant’s third Critique pursues the question of the nature of genius through an analysis of the spectator’s response to beautiful art. It presents and defends a spectator-centered interpretation of §49’s opening paragraphs, which clarifies Kant’s notion of aesthetic ideas and reveals that beautiful art provokes a productive imaginative activity in its spectators. This interpretation is significant because it elucidates the character of Kant’s account of genius and his understanding of art criticism. Moreover, it suggests (...)
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