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  1. Lucy Allais (2007). Review: Longuenesse, Kant on the Human Standpoint. [REVIEW] Kantian Review 12 (2):164-173.
  2. Henry E. Allison (2003). Reply to the Comments of Longuenesse and Ginsborg. Inquiry 46 (2):182 – 194.
    In this discussion I respond to some of the criticisms raised by Béatrice Longuenesse and Hannah Ginsborg to my account of Kant's aesthetic theory presents in Kant's Theory of Taste.
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  3. Karl Ameriks (1994). Review: Guyer, Kant and the Experience of Freedom: Essays on Aesthetics and Morality. [REVIEW] Ethics 105 (1):207-.
  4. Karl Ameriks (1983). Kant and the Objectivity of Taste. British Journal of Aesthetics 23 (1):3-17.
  5. Karl Ameriks (1982). How to Save Kant's Deduction of Taste. Journal of Value Inquiry 16 (4):295-302.
  6. H. Appelqvist (2013). Wittgenstein and the Limits of Musical Grammar. British Journal of Aesthetics 53 (3):299-319.
    This paper offers a Kantian reading of Wittgenstein’s later conception of rules. Building on the continuity of Wittgenstein’s comparison between a sentence and a musical theme, the paper argues that central elements of the Kantianism one may find in Wittgenstein’s early philosophy carry over to his mature conception of grammar. Moreover, this Kantian reading offers a novel perspective on the puzzle about the normativity of Wittgenstein’s later notion of rules. It is argued that the normativity of an aesthetic judgement, understood (...)
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  7. Richard E. Aquila (1979). A New Look at Kant's Aesthetic Judgment. Kant-Studien 70 (1-4):17-34.
    One approach sees aesthetic pleasure as distinctively caused (by interplay of the cognitive faculties involved in apprehending an object) and accompanied by a distinctive judgment (that everyone ought to respond thus). I suggest a closer tie between affective and cognitive aspects: the pleasure is referred to its object, Not simply through causal relations with the cognitive faculties involved, But through itself receiving the very form constituting apprehension in the first place. This avoids certain difficulties concerning intentionality. It also respects kant's (...)
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  8. Dorit Barchana-Lorand (2002). The Kantian Beautiful, or, the Utterly Useless: Prolegomena to Any Future Aesthetics. Kant-Studien 93 (3):309–323.
  9. Peter Baumanns (1981). Kant's Logic of Aesthetic Judgment. Philosophy and History 14 (1):23-25.
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  10. Avner Baz (2005). Kant's Principle of Purposiveness and the Missing Point of (Aesthetic) Judgements. Kantian Review 10 (1):1-32.
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  11. Ronald Beiner (1997). Rereading Hannah Arendt's Kant Lectures. Philosophy and Social Criticism 23 (1):21-32.
    This paper offers a restatement of the basic project of Hannah Arendt's Lectures on Kant's Political Philosophy, tries to trace its theoretical motivation, and presents some criticisms of Arendt's interpretation of Kant's Critique of Judgment. Arendt's political philosophy as a whole is an attempt to ground the idea of human dignity on the publicly displayed 'words and deeds' that con stitute the realm of human affairs. This project involves a philo sophical response both to Plato's impugning of the dignity of (...)
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  12. David Bell (1987). The Art of Judgement. Mind 96 (382):221-244.
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  13. David Berger (2009). Kant's Aesthetic Theory: The Beautiful and Agreeable. Continuum.
    The twofold conception of taste -- The beautiful and the agreeable -- Sensations and interests -- Some varieties of normativity.
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  14. Ruben Berrios (2003). Sublime Understanding: Aesthetic Reflection in Kant and Hegel. British Journal of Aesthetics 43 (4):422-424.
  15. Kenneth Berry (2008). Kandinsky, Kant, and a Modern Mandala. Journal of Aesthetic Education 42 (4):pp. 105-110.
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  16. Angela Breitenbach (2013). Aesthetics in Science: A Kantian Proposal. Proceedings of the Aristotelian Society 113 (1pt1):83-100.
    Can aesthetic judgements legitimately be linked to the success of scientific theories? I suggest that a satisfactory answer to this question should account for the persistent attraction that aesthetic considerations seem to have for scientists, while also explaining the apparent instability of the link between the beauty of a theory and its truth. I argue that two widespread tendencies in the literature, Pythagorean and subjectivist approaches, have difficulties meeting this twofold challenge. I propose a Kantian conception of aesthetic judgements as (...)
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  17. Angela Breitenbach (2013). Beauty in Proofs: Kant on Aesthetics in Mathematics. European Journal of Philosophy 22 (3):n/a-n/a.
    It is a common thought that mathematics can be not only true but also beautiful, and many of the greatest mathematicians have attached central importance to the aesthetic merit of their theorems, proofs and theories. But how, exactly, should we conceive of the character of beauty in mathematics? In this paper I suggest that Kant's philosophy provides the resources for a compelling answer to this question. Focusing on §62 of the ‘Critique of Aesthetic Judgment’, I argue against the common view (...)
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  18. Francesca Brencio (2013). Sul gusto e sul giudizio di gusto. In M. Marchi & G. Di Renzo (eds.), Le declinazioni del gusto. Aracne.
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  19. G. Anthony Bruno (2009). Aesthetic Value, Intersubjectivity and the Absolute Conception of the World. Postgraduate Journal of Aesthetics 6 (3).
    In the Critique of the Power of Judgment, Kant diagnoses an antinomy of taste: either determinate concepts exhaust judgments of taste or they do not. That is to say, judgments of taste are either objective and public or subjective and private. On the objectivity thesis, aesthetic value is predicable of objects. But determining the concepts that would make a judgment of taste objective is a vexing matter. Who can say which concepts these would be? To what authority does one appeal? (...)
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  20. Malcolm Budd (2001). The Pure Judgement of Taste as an Aesthetic Reflective Judgement. British Journal of Aesthetics 41 (3):247-260.
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  21. Malcolm Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part I: Natural Beauty. British Journal of Aesthetics 38 (1):1-18.
  22. Malcolm Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature Part III: The Sublime in Nature. British Journal of Aesthetics 38 (3):233-250.
  23. Charlotte Bühler (1921). Die Aufgaben der Ästhetik. Kant-Studien 26 (1-2):403-415.
  24. Craig Burgess (1989). Kant's Key to the Critique of Taste. Philosophical Quarterly 39 (157):484-492.
  25. Joseph Cannon (2011). Reply to Paul Guyer. Kantian Review 16 (1):135-139.
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  26. Joseph Cannon (2008). The Intentionality of Judgments of Taste in Kant's Critique of Judgment. Journal of Aesthetics and Art Criticism 66 (1):53–65.
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  27. Luigi Caranti (2005). Logical Purposiveness and the Principle of Taste. Kant-Studien 96 (3):364-374.
    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.
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  28. Clive Cazeaux (2004). Kant and Metaphor in Contemporary Aesthetics. Kantian Review 8 (1):1-37.
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  29. Clive Cazeaux (2001). Review: Banham, Kant and the Ends of Aesthetics. Kantian Review 5:141.
  30. Andrew Chignell (2013). Ogilby, Milton, Canary Wine, and the Red Scorpion: Another Look at Kant's Deduction of Taste. In Dina Emundts (ed.), Self, World, and Art. Walter De Gruyter. 261-282.
    An effort to expand and defend aspects of my earlier reading of the Deduction of Taste. The Red Scorpion is just for fun. -/- .
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  31. Andrew Chignell (2007). Kant on the Normativity of Taste: The Role of Aesthetic Ideas. Australasian Journal of Philosophy 85 (3):415 – 433.
    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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  32. Andrew Chignell (2006). Beauty as a Symbol of Natural Systematicity. British Journal of Aesthetics 46 (4):406-415.
    I examine Kant's claim that a relation of symbolization links judgments of beauty and judgments of ‘systematicity’ in nature (that is, judgments concerning the ordering of natural forms under hierarchies of laws). My aim is to show that the symbolic relation between the two is, for Kant, much closer than many commentators think: it is not only the form but also the objects of some of our judgments of taste that symbolize the systematicity of nature. -/- .
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  33. Andrew Chignell (1999). The Problem of Particularity in Kant's Aesthetic Theory. In Kevin A. Stoehr (ed.), The Proceedings of the Twentieth World Congress of Philosophy. 197-208.
    An early version of "Kant on the Normativity of Taste" above. -/- .
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  34. Robert R. Clewis (2006). Kant's Consistency Regarding the Regime Change in France. Philosophy and Social Criticism 32 (4):443-460.
    Can it be consistent to be interested, for moral reasons, in the fact that uninvolved spectators of a regime change are enthusiastic about that change, when the latter is carried out according to means considered immoral or unjust? Yes. In ‘An Old Question Raised Again’ ( The Conflict of the Faculties , 1798), Kant demonstrates a morally based interest in disinterested spectators’ expressions (aesthetic judgments) of enthusiasm for the idea of a republican form of government. This interest is puzzling. Kant's (...)
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  35. Ted Cohen (2002). Three Problems in Kant's Aesthetics. British Journal of Aesthetics 42 (1):1-12.
    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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  36. Ted Cohen (1990). An Emendation in Kant's Theory of Taste. Noûs 24 (1):137-145.
  37. Diarmuid Costello (2007). Greenberg's Kant and the Fate of Aesthetics in Contemporary Art Theory. Journal of Aesthetics and Art Criticism 65 (2):217–228.
  38. Timothy M. Costelloe (2003). Hume, Kant, and the "Antinomy of Taste". Journal of the History of Philosophy 41 (2):165-185.
  39. Donald W. Crawford (1974). Kant's Aesthetic Theory. [Madison]University of Wisconsin Press.
  40. Paul Crowther (1984). Kant and Greenberg's Varieties of Aesthetic Formalism. Journal of Aesthetics and Art Criticism 42 (4):442-445.
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  41. Stuart Dalton (2000). Nancy and Kant on Inoperative Communities. Critical Horizons 1 (1):29-50.
    This essay argues that Kant's explanation of the purposiveness-without-a-purpose of beauty (in the third Critique) can help to make sense of Nancy's theory of the inoperative community.
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  42. Stuart Dalton (1999). Subjectivity and Orientation in Levinas and Kant. Continental Philosophy Review 32 (4):433-449.
    This essay presents an argument for reconceptualizing subjectivity as orientational rather than foundational in nature. My focus is on the work of Emmanuel Levinas and Immanuel Kant. I begin by summarizing Levinas''s theory of ethical subjectivity as a theory of the self where the internal and the external are in constant play. Then I turn to two works of Kant for resources to understand better the meaning of Levinas''s theory of the self. In "What is Orientation in Thinking?" Kant presents (...)
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  43. Thierry de Duve (2009). Kant's "Free-Play" in the Light of Minimal Art. In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice. Stanford University Press.
  44. Bernardo Barros Coelho de Oliveira (2011). Judgment in Contemporary Aesthetic Experience. Filosofia Unisinos 12 (1):38-47.
    The article presents central concepts of the “Critique of Aesthetic Judgment,” the first part of the Critique of Judgment by Kant, arguing for the possibility of a fruitful discussion between this work and the problems of aesthetic experience in the contemporary world. It emphasizes Kant’s claims about the judgments of taste concerning works of art and tries to remove some prejudices that hinder the dialogue between this work and current problems.
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  45. Katerina Deligiorgi (2014). The Pleasures of Contra‐Purposiveness: Kant, the Sublime, and Being Human. Journal of Aesthetics and Art Criticism 72 (1):25-35.
    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 (...)
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  46. George Dickie (1989). Kant, Mothersill and Principles of Taste. Journal of Aesthetics and Art Criticism 47 (4):375-376.
  47. Robert J. Dostal (1980). Kantian Aesthetics and the Literary Criticism of E. D. Hirsch. Journal of Aesthetics and Art Criticism 38 (3):299-305.
  48. Corey W. Dyck (2009). Review: Lee, The German 'Mittelweg': Garden Theory and Philosophy in the Time of Kant. [REVIEW] Journal of the History of Philosophy 47 (3):pp. 476-477.
  49. R. K. Elliott (1968). The Unity of Kant's ‘Critique of Aesthetic Judgement’. British Journal of Aesthetics 8 (3):244-259.
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  50. A. Ferrara (2008). Does Kant Share Sancho's Dream?: Judgment and Sensus Communis. Philosophy and Social Criticism 34 (1-2):65-81.
    In this paper the notion of sensus communis, as articulated by Kant in the Critique of the Power of Judgment, is discussed from the vantage point of the author's project of exporting the model of exemplary universalism underlying reflective and, specifically, aesthetic judgment beyond the realm of aesthetics. In the first section, the relevance of such a project relative to an appraisal of the new and unsuperseded philosophical context opened by the Linguistic Turn is elucidated. Then the centrality of sensus (...)
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