About this topic
Summary Kant's major work in aesthetics is the Critique of the Aesthetic Power of Judgment, which comprises roughly the first half of the Critique of the Power of Judgment (1790; also known as "the third Critique", after the Critique of Pure Reason (1781/1787) and Critique of Practical Reason (1788)).  The main task of this work is to provide an analysis of aesthetic judgment concerning the beautiful and the sublime, and an account of its epistemic and moral significance.  Kant indicates that his analysis of the "judgment of taste" -- which specifically refers to our enjoyment of beauty -- is the "most important" part of the work, apparently because he thinks it promises to reveal something about our cognitive capacities that his previous work in epistemology and philosophy of mind lacked the resources to reveal (see Critique of the Power of Judgment 5:169 and 5:213).    Despite considerable interpretive controversy over the systematic ambitions of the analysis of taste, Kant was evidently interested in aesthetics for its own sake as well.  At any rate, he made major contributions to what was then a burgeoning area of philosophical inquiry.  He had clearly studied closely the developments in aesthetics from Britain from earlier in the 18th century.  Kant's Critique of the Aesthetic Power of Judgment contains a principled account of the difference between the sublime and beautiful that marks a clear conceptual alternative to that of his predecessors.  He also takes on some of the distinctive issues about beauty and sublimity in art (as opposed to nature), which bear less directly on the systematic ambitions of critical philosophy -- e.g., the role of genius, and the distinct expressive resources of various media.     Kant's earlier work in aesthetics, Observations on the Feeling of the Beautiful and the Sublime (1764) has somewhat more limited ambitions.  It is not a systematic work at all, and does not make bold claims about the epistemic and moral significance of aesthetic pleasure.  Rather it aims to provide a putatively descriptive catalogue of the "beautiful" and "sublime" qualities of human beings according to sex, nationality, and race; hence it perhaps belongs more to Kant's efforts in anthropology, rather than aesthetics per se.  
Key works In addition to Kant's Critique of the Power of Judgment (1790) and Observations on the Feeling of the Beautiful and the Sublime (1764), readers can find some discussion of aesthetics -- mostly as regards the sublime -- in Kant's works in moral philosophy.   Kant's work in aesthetics follows on several decades of keen work on the topic in Britain from earlier in the the 18th century.  Key works from the British tradition include: Joseph Addison, "The Pleasures of the Imagination" (published in The Spectator, 1712); Francis Hutcheson, Inquiry into the Original of our Ideas of Beauty and Virtue (1725); Edmund Burke, A Philosophical Enquiry into our Ideas of the Sublime and the Beautiful (1757); and David Hume, "Of the Standard of Taste" (1757).  He was also influenced by aesthetics as it developed in the German tradition, especially Alexander Baumgarten's Aesthetica (1750/1758) which Kant employed as a textbook in his lectures.  
Introductions For an examination of Kant's aesthetics in historical context, see Guyer 1993.  For a collection of articles on the significance of Kant's analysis of taste for epistemology and philosophy of mind, see Kukla 2006.
  Show all references
Related categories
Subcategories:
1054 found
Search inside:
(import / add options)   Order:
1 — 50 / 1054
Material to categorize
  1. George John Agich (1976). The Systematic Significance of Kant's "Critique of Aesthetic Judgment.". Dissertation, The University of Texas at Austin
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  2. Shawn Helen Alfrey (1995). The Poetics of Intense Sociability: The Sublime in Emily Dickinson, H.D. And Gertrude Stein. Dissertation, Brandeis University
    Arguably the dominant aesthetic of the west, the sublime was also central to Modernism. In part, this is because it could be invoked to support Modernism's reactionary, elitist, patriarchal values. Despite its ideological baggage, however, the sublime has also been an important aesthetic to many women poets. This dissertation explores how Emily Dickinson, H. D. and Gertrude Stein developed strategies that retain the energy and inspiration figured by the sublime while at the same time redefining its meaning and demands. ;Chapter (...)
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  3. Richard E. Aquila (1994). Kant and the Experience of Freedom: Essays on Aesthetics and Morality. [REVIEW] Review of Metaphysics 47 (4):815-817.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  4. John Astolat (1991). Psychology of Genius. Monograph Collection (Matt - Pseudo).
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  5. Sidney Axinn (1964). And Yet: A Kantian Analysis of Aesthetic Interest. Philosophy and Phenomenological Research 25 (1):108-116.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  6. Denise Baker (1976). The Priesthood of Genius: A Study of the Medieval TraditionArticle Author Querybaker Dn [Google Scholar]. Speculum 51 (2):277-291.
    The Allegorical Figure Genius Plays a significant role in three important works of medieval literature: Alain de Lille's De planctu Naturae, Jean de Meun's Roman de la Rose, and John Gower's Confessio Amantis. Although scholars have commented extensively on the meaning and function of Genius in the first two works, the interpretation of this character in the Confessio Amantis has proven problematic. The crucial difficulty involves the dual priesthood of Genius in Gower's poem. As a priest of Venus the character (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  7. Lewis Baldacchino (1991). A Study in Kant's Metaphysics of Aesthetic Experience Reason and Feeling. Monograph Collection (Matt - Pseudo).
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  8. Kent Baldner (1994). Paul Guyer, Kant and the Experience of Freedom. [REVIEW] Philosophy in Review 14:19-21.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  9. Dorit Barchana-Lorand (2000). Kant's Reflective Judgment as an Aesthetic Fundamental.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  10. Kristina Mussgnug Barrett (2006). Review: Sherover & Johnson (Ed), Are We in Time? [REVIEW] Kantian Review 11 (1):133-136.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  11. F. C. Bartlett (1932). The Psychology of Men of Genius. The Eugenics Review 23 (4):348.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  12. B. Bell (1982). Is Chesterton's Genius Denied Among Chestertonians Because He Had a Genius to Amuse? The Chesterton Review 8 (3):275-276.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  13. Andrew Benjamin, Towards an Affective Structure of Subjectivity. Notes on Kant's an Answer to the Question: What is the Enlightenment?
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  14. Kimberly W. Benston (1982). The Shaping of the Marlovian Sublime. Dissertation, Yale University
    Marlowe's major characters share the language of desire, an idiom of pathos which, in its opposition to all that impedes active realization of the will's intention, often opens into the full force of the sublime mode. When we seek the precedents for such sublime imagining and imaging, they elude us in Marlowe's English predecessors. Rather, they are to be found in the speculations of Renaissance Hermeticism and in the non-ethical, agonistic foundations of Humanist rhetoric. ;Any discussion of the Marlovian sublime (...)
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  15. Martin Bertman (2001). Beauty : Kant’s Discussion. Indian Philosophical Quarterly 28 (4):463.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  16. Joseph Bien (2005). Couch, Kant, Culture End the Role of the Artist. Southwest Philosophy Review 21 (2):163-165.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  17. Stefan Bird-Pollan (2013). Kant, Genius and Moral Development. In Margit Ruffing, Claudio La Rocca, Alfredo Ferrarin & Stefano Bacin (eds.), Kant Und Die Philosophie in Weltbürgerlicher Absicht: Akten des Xi. Kant-Kongresses 2010. De Gruyter 601-610.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  18. John Blanco (1998). Cross the Line: Goya and Kant-Between the 18th and 19th Centuries. Budhi: A Journal of Ideas and Culture 2 (1):1-26.
  19. Gernot Böhme (2003). Contribution to the Critique of the Aesthetic Economy. Thesis Eleven 73 (1):71-82.
    This article charts the emergence since the 1950s of a new value category, staging value, which arises when capitalism moves from addressing people's needs to exploiting their desires. Staging values serve the intensification and heightening of life rather than the satisfaction of primary needs. The article reevaluates successive theories on the relationship between aesthetics and the economy in the light of these changes, and suggests the continued relevance of critical theory in the era of the aesthetic economy.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  20. Paul William Bruno (1999). The Concept of Genius: Its Origin and Function in Kant's Third "Critique". Dissertation, Boston College
    This is a study regarding genius. The dissertation is an attempt to uncover the philosophical roots of a term that is commonplace in Western languages today. Specifically, this study proposes to examine the roots of the word genius as they relate to one of its major early articulators, Immanuel Kant. ;Chapter One. Chapter one traces the etymology of the word genius and establishes three definitions of genius. The earliest definition of genius is one that means attendant spirit or guide; its (...)
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  21. John W. Burbidge (1994). The Genesis of Kant's Critique of Judgment. [REVIEW] Review of Metaphysics 47 (4):851-852.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  22. Joyce A. Carpenter (1992). Kant on Beauty and Metaphor. Dissertation, University of Illinois at Chicago
    What Kant calls "aesthetic judgment" is better understood as a form of aesthetic response, which he also refers to as "mere judging." The Critique of Aesthetic Judgment is, then, an analysis of a relation between the mental faculties, rather than an analysis of a type of proposition, and this relation has certain formal properties in virtue of which we can find a "formalist" account of aesthetic response. My interpretation, however, is in direct opposition to other formalist theories, which argue that (...)
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  23. James Carter (1834). Two Lectures on Taste.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  24. Franco Chiereghin (2010). The Peculiarly Human Feature of the Aesthetic Experience : The Teaching of Kant and the Challenge of Neuroscience. In Malcolm A. Jeeves (ed.), Rethinking Human Nature: A Multidisciplinary Approach. William B. Eerdmans Pub. Company
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  25. Robert R. Clewis (2003). Aesthetic and Moral Judgment: The Kantian Sublime in the "Observations", the "Remarks" , and the "Critique of Judgment". Dissertation, Boston College
    This study characterizes Kant's understanding of the relation between aesthetic and moral judgment by examining the concept of sublimity in three of Kant's texts: the Beobachtungen uber das Gefuhl des Schonen und Erhabenen , the Bemerkungen in den " Beobachtungen uber das Gefuhl des Schonen und Erhabenen" , and the Kritik der Urteilskraft . Part I examines aesthetic and moral judgment in the Observations and the Remarks; Part II characterizes Kant's account in the later or critical period; and Part III (...)
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  26. Ted Cohen & Paul Guyer (1983). Essays in Kant's Aesthetics. Journal of Aesthetics and Art Criticism 41 (3):337-340.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography   6 citations  
  27. Daniel Cole (2012). The Mathematical and Temporal Basis of Judgments of the Sublime. Asage 4 (1):10-18.
    In this paper, I elaborate the difference between the concept of infinity and the idea of infinity through Cantor's diagonalization proof to illuminate a passage in Kant's Critique of Judgment. Taking Lyotard's analysis of aesthetic judgments as the basis for my own project, I focus on the idea of a collapse of temporality required for objective cognition and its concomitant preclusion of cognitive subjectivity. Finally, after borrowing language from Hegel's Phenomenology of Spirit, I show that even though there is not (...)
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  28. William Forbes Cooley (1915). Urck's The Man of Genius. [REVIEW] Journal of Philosophy 12 (20):553.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  29. Mary L. Coolidge (1944). Purposiveness Without Purpose in a New Context. Philosophy and Phenomenological Research 4 (1):85-93.
  30. Vasilica Cotofleac (2009). Kant. Concepto e idea estética en la arquitectura. A Parte Rei: Revista de Filosofía 64:4.
    Remove from this list  
    Translate
     
     
    Export citation  
     
    My bibliography  
  31. Donald Wesley Crawford (1965). Kant's Aesthetics. Dissertation, The University of Wisconsin - Madison
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  32. Creegan Creegan (1949). SANOFF'S The Ways of Genius. [REVIEW] Philosophy and Phenomenological Research 10:589.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  33. Raymond H. Cromie (1985). Art Provides Windows Into the Supersensible.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  34. Paul Crowther (1991). Beyond Formalism: Kant's Theory of Art. Filozofski Vestnik 12 (1):27-40.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  35. Paul Crowther (1987). The Structure and Significance of Kant's Theory of the Sublime. Dissertation, University of Oxford (United Kingdom)
    Available from UMI in association with The British Library. Requires signed TDF. ;Kant's extensive discussion of the sublime has received scant attention. This neglect, indeed, is a general characteristic of the reception of Kant's aesthetics in the Anglo-American, and German traditions of philosophy in the twentieth century. The reasons behind it have been usefully summarised by Paul Guyer. ;My approach will be as follows. In Part One of this study , I shall first outline the sublime as it is understood (...)
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  36. James Cunningham (2009). Art is Dangerous Nonsense: Reflections on Kant's Aesthetics and Frye's Modernist Update. Ultimate Reality and Meaning 32 (2-4):144-156.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  37. Hubert Damisch (1996). The Judgment of Paris. Monograph Collection (Matt - Pseudo).
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  38. Paul Daniels (2008). Kant on the Beautiful: The Interest in Disinterestedness. Colloquy 16:198-209.
    In the Critique of the Power of Judgment, Immanuel Kant proposes a puzzling account of the experience of the beautiful: that aesthetic judgments are both subjective and speak with a universal voice. 1 These properties – the subjective and the universal – seem mutually exclusive but Kant maintains that they are compatible if we explain aesthetic judgment in terms of the mind’s a priori structure, as explicated in his earlier Critique of Pure Reason. Kant advances two major claims towards arguing (...)
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  39. Stephen F. Davis, Scott A. Bailey, Angela H. Becker & Cathy A. Grover (1990). Taste/Taste Potentiation as a Function of Age and Stimulus Intensity. Bulletin of the Psychonomic Society 28 (3):201-203.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  40. K. Deligiorgi (2008). Imagination In Kant's Critique Of Practical Reason. [REVIEW] Journal of the British Society for Phenomenology 39:334-336.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  41. Max Deutscher (2012). In Sensible Judgment. Symposium: Canadian Journal of Continental Philosophy/Revue canadienne de philosophie continentale 16 (1):203-225.
    The article focuses on the support to the position of Hannah Arendt that taste and feelings have roles in having sensible judgment. It mentions the pleasure that are derived from judgment such as aesthetic judgment and judging what is right. It states that Arendt argues that judgment should be used to defeat moral epithets.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  42. Brian Donohue (1999). An Examination of Moral Action and Aesthetic Judgement in Kant’s Critical Philosophy. Janus Head 1 (3).
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  43. Leonel Ribeiro dos Santos (1992). La Vivencia de Lo Sublime y la Experiencia Moral En Kant. Anales Del Seminario de Historia de la Filosofía 9:115.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  44. J. L. Dronsfield, After Parerga: Kant, Derrida, and the Temporality of Aesthetic Judgement.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  45. Will Dudley & Kristina Engelhard (2014). Immanuel Kant: Key Concepts. Routledge.
    Immanuel Kant is among the most pivotal thinkers in the history of philosophy. His transcendental idealism claims to overcome the skepticism of David Hume, resolve the impasse between empiricism and rationalism, and establish the reality of human freedom and moral agency. A thorough understanding of Kant is indispensable to any philosopher today. The significance of Kant's thought is matched by its complexity. His revolutionary ideas are systematically interconnected and he presents them using a forbidding technical vocabulary. A careful investigation of (...)
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  46. Daniel Dumouchel (1994). "The Genesis of Kant's" Critique of Judgment, Par John H. Zammito. [REVIEW] Dialogue 33:160.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  47. K. Dusing (1986). Aesthetic Powers of Imagination and Intuitive Understanding-the Theory of Kant and the Speculative-Idealistic Reinterpretation by Hegel. Hegel-Studien 21:87-128.
  48. Terry Eagleton (1991). Aesthetics and Subjectivity: From Kant to Nietzsche. [REVIEW] Radical Philosophy 57.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  49. Walter Elder (1950). Kant's Aesthetic Theory.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  50. Catherine Z. Elgin (2000). Considered Judgement. Mind 109 (434):334-337.
    Philosophy long sought to set knowledge on a firm foundation, through derivation of indubitable truths by infallible rules. For want of such truths and rules, the enterprise foundered. Nevertheless, foundationalism's heirs continue their forbears' quest, seeking security against epistemic misfortune, while their detractors typically espouse unbridled coherentism or facile relativism. Maintaining that neither stance is tenable, Catherine Elgin devises a via media between the absolute and the arbitrary, reconceiving the nature, goals, and methods of epistemology. In Considered Judgment, she argues (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography   8 citations  
1 — 50 / 1054