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  1. M. Arnold (2003). Harmonious Mood of Enlightened Burghers-The Relation Between Politics and Aesthetics in Immanuel Kant's' Kritik der Urteilskraftl'. Kant-Studien 94 (1):24-50.
  2. Hamilton Beck (1983). Kant and the Novel. A Study of the Examination Scene in Hippel's “Lebensläufe Nach Aufsteigender Linie”. Kant-Studien 74 (3):271-301.
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  3. Christian Berger (2006). Musik Nach Kant. In Hans Heinrich Eggebrecht, Michael Beiche & Albrecht Riethmüller (eds.), Musik--Zu Begriff Und Konzepten: Berliner Symposion Zum Andenken an Hans Heinrich Eggebrecht. Franz Steiner.
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  4. Andrew Bowie (2003). Aesthetics and Subjectivity: From Kant to Nietzsche. Manchester University Press.
    This new, completely revised and re-written edition of Aesthetics and subjectivity brings up to date the original book's account of the path of German philosophy from Kant, via Fichte and Holderlin, the early Romantis, Schelling, Hegel, Schleimacher, to Nietzsche, in view of recent historical research and contemporary arguments in philosophy and theory in the humanities.
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  5. Reinhardt Brandt (2005). Philologisch-philosophische Antithesen. Kant-Studien 96 (2):235-242.
  6. N. Brender (2001). Kant's Conception of Moral Character: The "Critical" Link of Morality, Anthropology, and Reflective Judgment. Philosophical Review 110 (3):440-443.
  7. Steven Ravett Brown (2004). On the Mechanism of the Generation of Aesthetic Ideas in Kant's Critique of Judgment. British Journal for the History of Philosophy 12 (3):487 – 499.
  8. Paul W. Bruno (2010). Kant's Concept of Genius: Its Origin and Function in the Third Critique. Continuum.
    The first comprehensive study of the roots of the concept of genius in Kant's understanding of nature and his notion of the artist.
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  9. Malcolm Budd (2002). The Aesthetic Appreciation of Nature: Essays on the Aesthetics of Nature. Oxford University Press.
    The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of nature, (...)
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  10. Malcolm Budd (1996). The Aesthetic Appreciation of Nature. British Journal of Aesthetics 36 (3):207-222.
    The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Just as nature offers aesthetic experiences beyond the reach of art, so the aesthetics of nature raises issues not contained within the philosophy of art. -/- Malcolm Budd presents four interlinked essays addressing all the main problems about the aesthetics of nature. These include: (...)
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  11. Charlotte Bühler (1921). Die Aufgaben der Ästhetik. Kant-Studien 26 (1-2):403-415.
  12. Douglas Burnham, Immanuel Kant: Aesthetics. Internet Encyclopedia of Philosophy.
  13. Joseph Cannon (2011). The Moral Value of Artistic Beauty in Kant. Kantian Review 16 (1):113-126.
    In the third Critique, Kant argues that it is to take an immediate interest in natural beauty, because it indicates an interest in harmony between nature and moral freedom. He, however, denies that there can be a similarly significant interest in artistic beauty. I argue that Kant ought not to deny this value to artistic beauty because his account of fine art as the joint product of the of genius and the discipline of taste commits him to the claim that (...)
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  14. Pol Capdevila (2009). Historizität und Intersubjektivität der ästhetischen Erfahrung. Eine Positionierung zwischen Jauß und Kant. Estetika 46 (2):119-143.
    Historicity and Intersubjectivity of the Aesthetic Experience: Between Jauß and Kant This article seeks to formulate a theory of aesthetic experience, which includes a historical dimension. It first takes some historical examples of aesthetic experience and looks for similarities amongst them. It then presents a personal reading of Jauß’s theory of aesthetic experience, which, though historicist, presents a general or universal structure. The article aims to demonstrate that Jauß’s theory is highly productive for the purpose of the current argument, but (...)
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  15. H. W. Cassirer (1938/1970). A Commentary on Kant's Critique of Judgment. New York, Barnes & Noble.
  16. Georg Cavallar (2012). Review: Roth & Surprenant (Eds), Kant and Education: Interpretations and Commentary. [REVIEW] Kantian Review 17 (3):527-530.
  17. Mark A. Cheetham (2001). Kant, Art, and Art History: Moments of Discipline. Cambridge University Press.
    Kant, Art, and Art History is the first systematic study of Kant's reception of and influence on the visual arts and art history. Arguing against Kant's transcendental approach to aesthetic judgment, Cheetham examines five 'moments' of his influence, including the use of Kant's political writings among German-speaking artists and critics in Rome around 1800; the canonized patterns of Kant's reception in late nineteenth- and early twentieth-century art history, particularly in the work of Wölfflin and Panofsky; and the Kantian language in (...)
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  18. Chang Chung-Yuan (1976). Kant's Aesthetics and the East. Journal of Chinese Philosophy 3 (4):399-411.
  19. Ted Cohen (1990). An Emendation in Kant's Theory of Taste. Noûs 24 (1):137-145.
  20. Francis X. J. Coleman (1974). The Harmony of Reason: A Study in Kant's Aesthetics. University of Pittsburgh Press.
    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 ...
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  21. Diarmuid Costello (2009). Retrieving Kant's Aesthetics for Art Theory After Greenberg. In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice. Stanford University Press.
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  22. Diarmuid Costello (2007). Kant After Lewitt: Towards an Aesthetics of Conceptual Art. In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press. 92.
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  23. Timothy M. Costelloe (2003). Hume, Kant, and the "Antinomy of Taste". Journal of the History of Philosophy 41 (2):165-185.
  24. Timothy M. Costelloe (2001). Review: Munzel, Kant's Conception of Moral Character: The "Critical" Link of Morality, Anthropology, and Reflective Judgment. Journal of the History of Philosophy 39 (3):445-446.
  25. Vasilica Cotofleac (2004). La Obertura Cognitiva. Monte Ávila Editores.
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  26. Donald W. Crawford (1974). Kant's Aesthetic Theory. [Madison]University of Wisconsin Press.
  27. Paul Crowther (2010). The Kantian Aesthetic: From Knowledge to the Avant-Garde. Oxford University Press.
    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.
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  28. Paul Crowther (1985). Fundamental Ontology and Transcendent Beauty: An Approach to Kant's Aesthetics. Kant-Studien 76 (1-4):55-71.
  29. Paul Crowther (1985). Greenberg's Kant and the Problem of Modernist Painting. British Journal of Aesthetics 25 (4):317-325.
    This paper analyzes the kantian aspects of greenberg's theory of modernism. It is argued first that the distinctiveness of greenberg's theory lies not in a kantian-Style aesthetic formalism, But rather in an intellectualist notion of aesthetic value which greenberg associates with a kantian-Style self-Critical method. It is then argued that greenberg's use of this kantian notion of self-Criticism in order to explain the development of modernist painting, Leads him into insuperable problems.
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  30. Anna Alice Cutler (1899). The Aesthetical Factors in Kant's Theory of Knowledge. Kant-Studien 2 (1-3).
  31. Andrew Cutrofello (2007). Kant's Debate with Herder About the Philosophical Significance of the Genius of Shakespeare. Philosophy Compass 3 (1):66-82.
  32. Daniel Davies (2004). Kant, Art, and Art History. Moments of Discipline. British Journal of Aesthetics 44 (1):96-100.
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  33. 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.
  34. Charles DeBord (2012). Geist and Communication in Kant's Theory of Aesthetic Ideas. Kantian Review 17 (2):177-190.
    In his Critique 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 of Geist is central to his analysis of fine (...)
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  35. M. F. Deckard (2006). Imitation and Society: The Persistence of Mimesis in the Aesthetics of Burke, Hogarth, and Kant. British Journal of Aesthetics 46 (3):326-327.
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  36. Bertrand Dejardin (2008). L'art Et le Sentiment: Éthique Et Esthétique Chez Kant. Harmattan.
    Cet ouvrage est le premier d'une série de quatre études consacrées aux liens que Kant, Hegel, Nietzsche et Freud établissent entre éthique et esthétique.
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  37. Gilles Deleuze (2000). The Idea of Genesis in Kant's Aesthetics. Angelaki 5 (3):57 – 70.
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  38. Steven M. Delue (1985). Kant's Politics as an Expression of the Need for His Aesthetics. Political Theory 13 (3):409-429.
  39. P. Dhillon (2007). Review: Peters, Irony and Singularity: Aesthetic Education From Kant to Levinas. [REVIEW] British Journal of Aesthetics 47 (2):221-223.
  40. George Dickie (1996). The Century of Taste: The Philosophical Odyssey of Taste in the Eighteenth Century. Oxford University Press.
    The Century of Taste offers an exposition and critical account of the central figures in the early development of the modern philosophy of art. Dickie traces the modern theory of taste from its first formulation by Francis Hutcheson, to blind alleys followed by Alexander Gerard and Archibald Allison, its refinement and complete expression by Hume, and finally to its decline in the hands of Kant. In a clear and straightforward style, Dickie offers sympathetic discussions of the theoretical aims of these (...)
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  41. Christopher Dowling (2011). Zangwill, Moderate Formalism, and Another Look at Kant's Aesthetic. Kantian Review 15 (2):90-117.
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  42. Daniel Dumouchel (1996). Kant et l'expérience esthétique de la liberté. Dialogue 35 (03):571-.
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  43. Daniel Dumouchel (1994). La découverte de la faculté de juger réfléchissante. Kant-Studien 85 (4):419-442.
  44. Barrows Dunham (1934). A Study in Kant's Aesthetics. Lancaster, Pa..
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  45. Félix Duque (1984). Teleologie und Leiblichkeit beim späten Kant. Kant-Studien 75 (1-4):381-397.
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  46. Armin Erlinghagen (2014). Armin Erlinghagen Karl Heinrich Heydenreich als philosophischer Schriftsteller. Kant-Studien 105 (1):125-144.
  47. 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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  48. Mihaela C. Fistioc (2009). Review: Rogerson, The Problem of Free Harmony in Kant's Aesthetics. [REVIEW] Notre Dame Philosophical Reviews 2009 (5).
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  49. Werner Flach (1982). Zu Kants Lehre von der Symbolischen Darstellung. Kant-Studien 73 (4):452-461.
    The treatise is engaged in kant's too little noticed aesthetic doctrine of symbolic representation. It furthermore is occupied with the relevance which this doctrine has to enlighten the self-Estimation of literary criticism (theory of literature). The treatise results that kant's doctrine is to be considered as an offer to solve many problems in actually literary criticism (theory of literature).
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  50. Stefan Forrester (2010). Review: Rogerson, The Problem of Free Harmony in Kant's Aesthetics. [REVIEW] Journal of Aesthetics and Art Criticism 68 (4):425-427.
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1 — 50 / 155