This book constitutes one of the most important contributions to recent Kant scholarship. In it, one of the pre-eminent interpreters of Kant, Henry Allison, offers a comprehensive, systematic, and philosophically astute account of all aspects of Kant's views on aesthetics. The first part of the book analyses Kant's conception of reflective judgment and its connections with both empirical knowledge and judgments of taste. The second and third parts treat two questions that Allison insists must be kept distinct: the normativity of (...) pure judgments of taste, and the moral and systematic significance of taste. The fourth part considers two important topics often neglected in the study of Kant's aesthetics: his conceptions of fine art, and the sublime. (shrink)

"The four essays in this volume constitute Derrida's most explicit and sustained reflection on the art work as pictorial artifact, a reflection partly by way of philosophical aesthetics (Kant, Heidegger), partly by way of a commentary on art works and art scholarship (Van Gogh, Adami, Titus-Carmel). The illustrations are excellent, and the translators, who clearly see their work as both a rendering and a transformation, add yet another dimension to this richly layered composition. Indispensable to collections emphasizing art criticism and (...) aesthetics."--Alexander Gelley, Library Journal. (shrink)

In _Aesthetics and Material Beauty_, Jennifer A. McMahon develops a new aesthetic theory she terms Critical Aesthetic Realism - taking Kantian aesthetics as a starting point and drawing upon contemporary theories of mind from philosophy, psychology, and cognitive science. The creative process does not proceed by a set of rules. Yet the fact that its objects can be understood or appreciated by others suggests that the creative process is constrained by principles to which others have access. According to her update (...) of Kantian aesthetics, beauty is grounded in indeterminate yet systematic principles of perception and cognition. However, Kant’s aesthetic theory rested on a notion of indeterminacy whose consequences for understanding the nature of art were implausible. McMahon conceptualizes "indeterminacy" in terms of contemporary philosophical, psychological, and computational theories of mind. In doing so, she develops an aesthetic theory that reconciles the apparent dichotomies which stem from the tension between the determinacy of communication and the indeterminacy of creativity. Dichotomies such as universality and subjectivity, objectivity and autonomy, cognitivism and non-cognitivism, and truth and beauty are revealed as complementary features of an aesthetic judgment. (shrink)

"George Hagman looks anew at psychoanalytic ideas about art and beauty through the lens of current developmental psychology that recognizes the importance of attachment and affiliative motivational systems. In dialogue with theorists such as Freud, Ehrenzweig, Kris, Rank, Winnicott, Kohut, and many others, Hagman brings the psychoanalytic understanding of aesthetic experience into the 21st century. He amends and extends old concepts and offers a wealth of stimulating new ideas regarding the creative process, the ideal, beauty, ugliness, and -perhaps his most (...) original contribution-the sublime. Especially welcome is his grounding of aesthetic experience in intersubjectivity and health rather than individualism and pathology. His emphasis on form rather than the content of an individual's aesthetic experience is a stimulating new direction for psychoanalytic theory of art. With this work Hagman stands in the company of his predecessors with this deeply-learned, sensitively conceived, and provocative general theory of human aesthetic experience." Ellen Dissanayake, author of "Art and Intimacy: How the Arts Began" and "Homo Aestheticus: Where Art Comes From and Why.". (shrink)

In this illuminating study of Kant's theory of imagination and its role in interpretation, Rudolf A. Makkreel argues against the commonly held notion that Kant's transcendental philosophy is incompatible with hermeneutics. The charge that Kant's foundational philosophy is inadequate to the task of interpretation can be rebutted, explains Makkreel, if we fully understand the role of imagination in his work. In identifying this role, Makkreel also reevaluates the relationship among Kant's discussions of the feeling of life, common sense, and the (...) purposiveness of history. (shrink)

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.

Against the assumption that aesthetic form relates to a harmonious arrangement of parts into a beautiful whole, this book argues that reason is the real theme of the _Critique of Judgment_ as of the two earlier _Critiques_. Since aesthetic judgment of the beautiful becomes possible only when the mind is confronted with things of nature, for which no determined concepts of understanding are available, aesthetic judgment is involved in an epistemological or, rather, para-epistemological task. The predicate "beautiful" indicates that something (...) has minimal form and is cognizable. This book explores this concept of form, in particular the role of presentation in what Kant refers to as "mere form," which involves not only the understanding, but also reason as the faculty of ideas. Such a notion of form reveals why the beautiful can be related to the morally good. On the basis of this reinterpreted concept of form, most major concepts and themes of the _Critique of Judgment_—such as disinterestedness, free play, the sublime, genius, and beautiful arts—are examined by the author and shown in a new light. (shrink)

Karl Ameriks here collects his most important essays to provide a uniquely detailed and up-to-date analysis of Kant's main arguments in all three major areas of his work: theoretical philosophy (Critique of Pure Reason), practical philosophy (Critique of Practical Reason), and aesthetics (Critique of Judgment). Guiding the volume is Ameriks's belief that one cannot properly understand any one of these Critiques except in the context of the other two. The essays can be read individually, but read together they offer a (...) comprehensive guide to the main themes of the most influential of all modern philosophical systems. (shrink)

Serious doubts have been raised about the coherence of theories of the sublime and the usefulness of the concept. By contrast, the sublime is increasingly studied as a key function in Kant's moral psychology and in his ethics. This article combines methodological conservatism, approaching the topic from within Kant's discussion of aesthetic judgment, with reconstruction of a conception of human agency that is tenable on Kantian grounds. I argue that a coherent theory of the sublime is possible and useful, and (...) the experience of the sublime is significant for our self-conception as agents. However, the chief interest in the sublime is not moral. (shrink)

In hisCritique of the Power of Judgement, Kant explicates the creation of works of fine art (schöne Kunst) in terms of aesthetic ideas. His analysis of aesthetic ideas claims that they are not concepts (Begriffe) and are therefore not definable or describable in determinate language. Nevertheless, Kant claims that aesthetic ideas are communicable via spirit (Geist), a special mental ability he associates with artistic genius. This paper argues that Kant's notion ofGeistis central to his analysis of fine art's expressive power. (...) The notion ofGeistconstitutes a conceptual link between Kant's aesthetic theory and that of G. W. F. Hegel, for whose analysisGeistis the subject. (shrink)

Introduction The General Bearings of Kant's Third Critique The Critique of Judgment may be broadly viewed as a work of philosophical diplomacy in which Kant ...

What does the faculty of Understanding do during the execution of a judgement of taste? How are singular judgements of beauty related to general judgements of beauty? For what reason is beauty the symbol of morality? The first question has a tentative answer, although one not obviously congenial to Kant. The second two questions have no compelling answers.

For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal to (...) Kant's notions of an aesthetic idea and an aesthetic attribute, and the connection that Kant makes between an object's expression of rational and the normativity of aesthetic judgements about it. -/- . (shrink)

Drawing on resources from both the analytical and continental traditions, this book argues that a comprehension of Immanuel Kant's aesthetics is necessary for grasping the scope and force of his epistemology. It draws on phenomenological and aesthetic resources to bring out the continuing relevance of Kant's project. One of the difficulties faced in reading ‘The Critique of Pure Reason’ is finding a way of reading the text as one continuous discussion. This book offers a reading at each stage of Kant's (...) epistemological argument, showing how various elements of Kant's argument, often thought of as extraneous or indefensible, can be integrated. Arguing for the centrality of aesthetics in philosophy, and within experience in general, it challenges a blind spot in the Anglo-American tradition of philosophy and will contribute to a growing interest in the general significance of aesthetic culture. (shrink)

In both Introductions to the Critique of Judgment Kant seems to identify the a priori principle at the basis of aesthetic judgments with the principle that guides reflective judgment in its cognitive inquiry of nature, i.e. the purposiveness of nature or systematicity. For instance Kant writes.

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

My plan in this article is to begin by raising the question of the point of judgements of beauty, and then to examine Kant's account of beauty in the third Critique from the perspective opened up by that question. Having raised the question of the point, I will argue, first, that there is an implied answer to it in Kant's text, and, second, that the answer is ultimately unsatisfying in that it falsely assumes that there is a ‘need’, or ‘task’, (...) or ‘purpose’, that we all necessarily share, to conceptualize all that encounters us in our experience, and fit it into one unified and comprehensive system. It is only against this assumption of our transcendental cognitive interest that Kant can so much as seem to have a real story to tell about where the value that we claim for things in calling them ‘beautiful’ derives from. This, in effect, means that to the extent that Kant offers us any answer at all to the question of the point of judgements of beauty, that answer testifies to his general neglect of the question of the point of judgements. And my purpose is to draw attention to that neglect, and to begin to assess its significance for Kant's transcendental project in general and for his conception of beauty in particular. (shrink)

_A study of the first half of Kant’s Critique of Judgment._.

Originally published: London: Allen & Unwin, 1936.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 44.4 (2006) 599-622 MuseSearchJournalsThis JournalContents[Access article in PDF]The Purposiveness of Form: A Reading of Kant's Aesthetic FormalismRachel ZuckertIn the "critique of aesthetic judgment," Kant claims that when we find an object beautiful, we are appreciating its "purposive form." Many of Kant's readers have found this claim one of his least interesting and most easily criticized claims about aesthetic experience. Detractors hold up his (...) aesthetics as a paradigmatic case of narrow formalism; 1 and even many admirers of Kant's aesthetics take Kant's claims about form to be problematic, but argue that they are inessential to his aesthetics (which includes more interesting, defensible claims). 2 Though these critics come to differing evaluations of Kant's aesthetics as a whole, they agree on two points. First, interpretively: that when Kant claims that it is the "form" of an object we find beautiful, he means that in aesthetic appreciation, we find certain spatial and/or temporal properties (such as proportion, line, shape) aesthetically pleasing—and that such properties are exclusively responsible for an object's beauty. Second, evaluatively: that Kant is wrong, at least about this.In this paper, I shall propose that we need not endorse either claim. I shall argue that one may interpret Kant's formalism as a claim that in aesthetic experience 3 [End Page 599] we appreciate the object as an individual, as comprising all (or indeterminately many) of its sensible properties as inextricably interrelated or unified to make the object what it is; in other words, we appreciate what has been called an object's 'individual form.' This reading, I shall suggest, allows us not only to understand Kant's aesthetics as intimately connected to his project in the Critique of Judgment (hereafter, CJ) as a whole, but also to see Kant's aesthetics, in general, as providing a richer, more plausible description of our aesthetic engagement with an object, or as less narrowly subjectivist than is frequently believed.I shall proceed by presenting Kant's claims about form, and the standard criticisms thereof, and then turn to defend this alternative reading. Before I do so, however, I wish to make some preliminary remarks about aesthetic formalism in general. Contemporary discussion of formalism often takes aesthetic formalism to be instantiated by the views of the twentieth-century art critics, Clive Bell and Roger Fry, 4 and Kant's formalism is often implicitly equated with theirs (or the kind of position attributed to them). I wish to resist that equation in this essay; to that end, I start here by giving a wider sense of what formalism might be, drawing especially on historical positions that were available to Kant. 5Broadly speaking, "formalism" is the view that, in aesthetic appreciation of an object (usually a work of art), we do and ought to pay attention not to the object's representational content, emotional expressiveness, historical, institutional, or social context (whether conditions for the production of the object or its effects), but only to its form. Formalism is characterized in some sense, then, by what it excludes, viz. considerations taken to be external to the object. But it does specify positively (if vaguely) that the form of an object is what makes it beautiful. 6'Form,' however, can mean a number of different things, all of which (in some sense) are the design or arrangement of an object's parts, often of its sensible properties. I wish to draw attention to three somewhat distinct ways in which one may understand such form or arrangement of properties, which I shall call 'property-formalism,' 'kind-formalism,' and 'whole-formalism.' Property-formalism is the view that the form of an object can be described in terms of a set of specific spatial or temporal properties that characterize the relations that hold among different parts of the object, and that these properties are responsible for the beauty of the object. Hogarth's view that the serpentine line is the most beautiful line, responsible... (shrink)

This essay critically examines the view recently set forth by Paul Guyer that Kant's theories of artistic beauty and artistic creativity exclusively coincide with this theory of natural beauty. I note that very great works of art, although they may indeed be beautiful, also tend to be sublime. To acknowledge the sense of awe which attends those great works of art which are also beautiful, I argue that Kant's theory of sublimity must also be included within an accurate interpretation of (...) Kant's account of artistic beauty, and maintain that Guyer's exclusive reference to Kant's theory of natural beauty will not suffice. (shrink)

Kant famously declares that “although all our cognition commences with experience, … it does not on that account all arise from experience”. This marks Kant’s disagreement with empiricism, and his contention that human knowledge and experience require both sensation and the use of certain a priori concepts, the Categories. However, this is only the surface of Kant’s much deeper, though neglected view about the nature of reason and judgment. Kant holds that even our a priori concepts are acquired, not from (...) sensation, but “originally,” because our mind has a fundamental capacity to judge that, upon sensory stimulation, generates the Categories through its basic logical functions of judgment. This “epigenesis” of reason and our fundamental capacity to judge that drives it is the topic of Longuenesse’s fascinating book, and the source of her title. (shrink)

Many of the most popular genres of narrative art are designed to elicit negative emotions: emotions that are experienced as painful or involving some degree of pain, which we generally avoid in our daily lives. Melodramas make us cry. Tragedies bring forth pity and fear. Conspiratorial thrillers arouse feelings of hopelessness and dread, and devotional religious art can make the believer weep in sorrow. Not only do audiences know what these artworks are supposed to do; they seek them out in (...) pursuit of prima facie painful reactions.Traditionally, the question of why people seek out such experiences of painful art has been presented as the paradox of tragedy. Most solutions to the paradox of tragedy assume that the reason we seek out tragedies, horror films, melodramas, and the like is because they afford pleasureful experiences. From there, theorists attempt to account for the source of this pleasure, a pleasure assumed to be had from representations of events from which we do not derive pleasure in real life. I argue that this assumption is suspect: the motive for seeking out devotional religious art, melodrama, tragedy, and some horror is not clearly to find pleasure. (shrink)

The primary task confronting an examination of the claimed connection between Kant's general theory of cognition and his account of aesthetic judgment requires clarifying perhaps the most obscure component of that account, the doctrine of the harmony of the faculties. Kant's presentation of this doctrine makes it notoriously difficult to penetrate. Much of what Kant says about the harmony of the faculties – perhaps the very phrase “the harmony of the faculties” – is rather imprecise and metaphorical. Yet, the importance (...) of a correct understanding of the harmony of the faculties to assessing both the merits of Kant's aesthetic theory and his claims for the epistemological significance of reflection is difficult to overstate, for it is precisely this state of harmony that ultimately grounds the validity of judgments of taste and does so in virtue of being a state in which the most general prerequisites to conceptual judgment are present. (shrink)

I argue that the free play of the faculties in Kant's theory of beauty should be interpreted as an activity that involves, over and above cognition, the aesthetic presentation of rational ideas. Two consequences of this proposal are then discussed: (1) Beauty in nature is not systematically prior to, or more basic than, artificial beauty; (2) genius and taste are connected more closely in the notion of the free play than Kant admits in the final version of his theory; this (...) more intimate association can be traced in the reflections on aesthetics from the 1770s. (shrink)

Beauty, or at least natural beauty, is famously a symbol of the morally good in Kant's theory of taste. Natural beauty is also, we argue, a symbol of the systematicity of nature. This symbolic connection of beauty and systematicity in nature sheds light on the relation between the principles underlying the use of reflecting judgement. The connection also motivates a more general interpretive proposal: the fact that the imagination can symbolize ideas plays a crucial role in the theory of taste; (...) it is the mechanism that underlies pure judgements of taste, the operation by which the imagination ‘schematizes without a concept’. (shrink)

Kant’s argument in § 38 of the *Critique of Judgment* is subject to a dilemma: if the subjective condition of cognition is the sufficient condition of the pleasure of taste, then every object of experience must produce that pleasure; if not, then the universal communicability of cognition does not entail the universal communicability of the pleasure. Kant’s use of an additional premise in § 21 may get him out of this difficulty, but the premises themselves hang in the air and (...) have no independent plausibility. What Kant offers as a proof of our right to make judgments of taste is more charitably construed as an indirect argument for the adequacy of a speculative explanation of a *presumed* right to make judgments of taste. (shrink)

Kant's treatment of pure aesthetic judgement can ignore ugliness, since an analytic of the ugly, according to a recent essay by Paul Guyer, uncovers the aesthetic impurity of the criteria against which we judge ugliness. Free beauty, as Kant expounds it, does not admit a contrary, and hence a Kantian account of ugliness, such as Guyer's, must look elsewhere in order to scrabble together terms for its definition. Yet if we recognise the ugly by its unsuitability as an object of (...) pure contemplation, then we have made a disinterested judgement of free ugliness. The pleasure of the harmony of the faculties, which is a pleasure in the way the world and our faculties fit together, observes itself contradicted by ugliness. (shrink)

Classical aesthetics sees the experience of the beautiful as an anthropological necessity. But, in fact, the beautiful is rather the central category designating classical art, and one can question the relevance of this category considering contemporary art. The reference term most frequently used for contemporary art is interesting: works of art solicit the interests of my faculties (the cognitiveintellectual, the pragmatic community-oriented moral, the affective aesthetic faculties). It is interesting to notice that the categories of the beautiful and the ugly (...) have an axiological-moral value. It looks as if the qualities of contemporary art works are judged according to the intensity of the impact on the interests of our faculties. It reveals important, in this respect, to distinguish the ugly from the sublime and the monstrous. Kant’s Third Critique is of some importance in defi ning these categories. (shrink)

The paper distinguishes between two different senses of ‘genius’ found in Kant's Critique of Judgement, and criticizes an argument commonly attributed to Kant. The argument is in support of the conclusion that an agent must possess and employ genius in the ‘productive faculty’ sense in order to produce an artwork. It is shown that Kant did not in fact make this argument. He defended a different claim concerning the need to employ the concept of a productive faculty of genius in (...) order to make pure judgements of taste concerning artworks. I conclude with the suggestion that there are indications in Kant's theory of a significant departure from a tradition of thought according to which there is something essentially mysterious about the possibility of the production of fine art. (shrink)