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This paper explores Kant’s ambivalent views on music. It aims to show, on the one hand, how these ambivalences are in line with the modern philosophical reflection on this art; on the other hand, to show their place within Kantian aesthetics, a place that justifies Kant’s hesitations as whether to classify music as beautiful or agreeable, art or mere enjoyment, free or dependent beauty, culture or nature. |
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One typically thinks of the relevance of Kant’s aesthetic theory to Western art in terms of Modernism, thanks in large part to the work of eminent critic and art historian Clement Greenberg. Yet, thinking of Kant’s legacy for contemporary art as inhering exclusively in “Kantian formalism” obscures a great deal of Kant’s aesthetic theory. In his last book, Arthur Danto suggested just this point, urging us to enlarge our appreciation of Kant’s aesthetic theory and its relevance to contemporary art, because, (...) |
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Name der Zeitschrift: Kant-Studien Jahrgang: 109 Heft: 1 Seiten: 72-100. |
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Introduction The aim of this book is to show that the Critique of Aesthetic Judgement is not a set of disconnected remarks about aesthetic matters more ... |
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This article is to be a bridge between Kant’s aesthetics and contemporary art – not by being a paper on Kant and contemporary art, but rather by being on Kant and contemporaryphilosophy of art. I claim that Kant’s views on the appreciation of art can accommodate contextualism as well as ethicism. I argue that not only does contextualism fit Kant’s views on the appreciation of art; in §§51–3 of the thirdCritique, Kant’s appreciation of art is in accordance with contextualism. I (...) |
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This paper argues that Kant presents two different accounts of beauty, one that applies properly to art and one that applies properly to nature. The judgment of beauty that applies properly to nature can be free and thus judged without concepts. The work of art, however, is judged beautiful when it expresses aesthetic ideas. This distinction then enables me to explain several problematic passages in Kant's text: those that serve to distinguish these two conceptions of beauty from one another as (...) |
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Two dominant interpretations of Kant's notion of adherent beauty, the conjunctive view and the incorporation view, provide an account of how to form informed aesthetic assessments concerning artworks. According to both accounts, judgments of perfection play a crucial role in making informed, although impure, judgments of taste. These accounts only examine aesthetic responses to objects that meet or fail to meet the expectations we have regarding what they ought to be. I demonstrate that Kant's works of genius do not fall (...) |
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Peter Kivy presents a fascinating critical examination of the two rival ways of understanding instrumental music. He argues against 'literary' interpretation in terms of representational or narrative content, and defends musical formalism. Along the way he discusses interpretations of a range of works in the canon of absolute music. |
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