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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 (...) |
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In this paper, I examine the role of attention in Kant’s aesthetic theory in the Critique of the Power of Judgment. While broadly Kantian aestheticians have defended the claim that there is a distinct way that we attend to objects in aesthetic experience, Kant himself is not usually acknowledged as offering an account of aesthetic attention. On the basis of Kant’s more general account of attention in other texts and his remarks on attention in the Critique of the Power of (...) |
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Name der Zeitschrift: Kant-Studien Jahrgang: 109 Heft: 1 Seiten: 72-100. |
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In this paper, I propose a solution to a notorious puzzle that lies at the heart of Kant’s Critique of Judgment. The puzzle arises because Kant asserts two apparently conflicting claims: (1) F→J: A judgment of beauty is aesthetic, i.e., grounded in feeling. (2) J→F: A judgment of beauty could not be based on and must ground the feeling of pleasure in the beautiful. I argue that (1) and (2) are consistent. Kant’s text indicates that he distinguishes two feelings: the (...) |
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"Über 40 Jahre hat Immanuel Kant an der Königsberger Albertus-Universität Vorlesungen über 'Physische Geographie' gehalten. Diese Vorlesung weist in mehrfacher Hinsicht Besonderheiten auf, deren editorische Bewältigung in der Begründungszeit von Kant's gesammeltenSchriften in den Jahren vor 1914 nicht gelungen ist. Der nun abgeschlossene Band 26.1 präsentiert das von Kant in der zweiten Hälfte der 1750er Jahre niedergeschriebene Konzept zur Vorlesung auf der Grundlage des 'Ms Holstein', mit einem doppelten Apparat und Registern."--. |
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This is a collection of four essays on aesthetic, ethical, and political issues by the pre-eminent Kant scholar in Germany today, perhaps best known for rekindling interest in the great classical German tradition from Kant to Fichte. |
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_A study of the first half of Kant’s Critique of Judgment._. |
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In an intriguing but neglected passage in the Transcendental Deduction, Kant appears to link the synthetic activity of the understanding in experience with the phenomenon of attention (B156-7n). In this paper, we take up this hint, and draw upon Kant's remarks about attention in the Anthropology to shed light on the vexed question of what, exactly, the understanding's role in experience is for Kant. We argue that reading Kant's claims about synthesis in this light allows us to combine two aspects (...) |
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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 (...) |
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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; (...) |
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The notion of the ‘free harmony of the faculties’ has baffled many of Kant's readers and also attracted much criticism. In this paper I attempt to shed light on this puzzling notion. By doing so, I aim to challenge some of the criticisms that this notion has attracted, and to point to its relevance to contemporary debates in aesthetics. While most of the literature on the free harmony is characterized by what I regard as an ‘extra-aesthetic approach’, I propose ‘an (...) |
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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. |
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Rachel Zuckert - The Purposiveness of Form: A Reading of Kant's Aesthetic Formalism - Journal of the History of Philosophy 44:4 Journal of the History of Philosophy 44.4 599-622 Muse Search Journals This Journal Contents The Purposiveness of Form: A Reading of Kant's Aesthetic Formalism Rachel Zuckert In 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 (...) |
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This essay argues that, contrary to the prevailing view according to which reflection in Kant's aesthetic judgment is interpreted as ‘the logical actus of the understanding’, we should pay closer attention to Kant's own formulation of aesthetic reflection as ‘an action of the power of imagination’. Put differently, I contend in this essay that the rule that governs and orders the manifold in aesthetic judgment is imagination's own achievement, the achievement of the productive synthesis of the ‘fictive power’, entirely independent (...) |
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Abstract In the Critique of the Power of Judgment, Kant refers to the pleasure that we feel when judging that an object is beautiful as the pleasure of "mere reflection". Yet Kant never makes explicit what exactly is the relationship between the activity of "mere reflection" and the feeling of pleasure. I discuss several contemporary accounts of the pleasure of taste and argue that none of them is fully accurate, since, in each case, they leave open the possibility that one (...) |
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In the Critique of Judgment Kant repeatedly points out that it is only the pleasure of taste that reveals to us the need to introduce a third faculty of the mind with its own a priori principle. In order to elucidate this claim I discuss two general principles about pleasure that Kant presents, the transcendental definition of pleasure from § 10 and the principle from the Introduction that connects pleasure with the achievement of an aim. Precursors of these principles had (...) |
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Kant often seems to suggest that a cognition – whether an everyday cognition or a scientific cognition – cannot be beautiful. In the Critique of Judgment and the Lectures on Logic, he writes: ‘a science which, as such, is supposed to be beautiful, is absurd.’ (CJ 184 (5:305)) ‘The expression "beautiful cognition" is not fitting at all’ (LL 446 (24:708)). These claims are usually understood rather straightforwardly. On the one hand, cognition cannot be beautiful since on Kant’s account, it is (...) |
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It is quite standard, even banal, to describe Kant's project in the Critique of Pure Reason [KrV] as a critical reconciliation of rationalism and empiricism, most directly expressed in Kant's claim that intuitions and concepts are two distinct, yet equally necessary, and necessarily interdependent sources of cognition. Similarly, though Kant rejects both the rationalist foundation of morality in the concept of perfection and that of the empiricists in feeling or in the moral sense, one might broadly characterize Kant's moral philosophy (...) |
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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 (...) |
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