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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.
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  1. Lewis Baldacchino (1991). A Study in Kant's Metaphysics of Aesthetic Experience Reason and Feeling. Monograph Collection (Matt - Pseudo).
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  2. Dorit Barchana-Lorand (2000). Kant's Reflective Judgment as an Aesthetic Fundamental.
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  3. F. C. Bartlett (1932). The Psychology of Men of Genius. The Eugenics Review 23 (4):348.
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  4. B. Bell (1982). Is Chesterton's Genius Denied Among Chestertonians Because He Had a Genius to Amuse? The Chesterton Review 8 (3):275-276.
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  5. Martin Bertman (2001). Beauty : Kant’s Discussion. Indian Philosophical Quarterly 28 (4):463.
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  6. 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.
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  7. 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.
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  8. John W. Burbidge (1994). The Genesis of Kant's Critique of Judgment. [REVIEW] Review of Metaphysics 47 (4):851-852.
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  9. James Carter (1834). Two Lectures on Taste.
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  10. 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 (...)
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  11. William Forbes Cooley (1915). Urck's The Man of Genius. [REVIEW] Journal of Philosophy 12 (20):553.
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  12. Vasilica Cotofleac (2009). Kant. Concepto e idea estética en la arquitectura. A Parte Rei: Revista de Filosofía 64:4.
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  13. Creegan Creegan (1949). SANOFF'S The Ways of Genius. [REVIEW] Philosophy and Phenomenological Research 10:589.
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  14. 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 (...)
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  15. 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.
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  16. 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 (...)
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  17. 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.
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  18. Max Deutscher (2012). In Sensible Judgment. Symposium: Canadian Journal of Continental Philosophy 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.
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  19. 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.
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  20. Walter Elder (1950). Kant's Aesthetic Theory.
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  21. Catherine Z. Elgin (2000). Considered Judgement. Mind 109 (434):334-337.
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  22. Walter Fales (1955). Genius and Terminus. Pacific Philosophical Quarterly 36 (1):29.
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  23. Alessandro Ferrara (2008). The Force of the Example: Explorations in the Paradigm of Judgment. Columbia University Press.
    Whereas exemplarity has long been thought to belong to the domain of aesthetics, this book explores the other uses to which it can be put in our philosophical predicament, especially in the field of politics.
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  24. Charles F. Flaherty & Bruce R. Lombardi (1977). Effect of Prior Differential Taste Experience on Retention of Taste Quality. Bulletin of the Psychonomic Society 9 (6):391-394.
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  25. Samuel Fleischacker (1999). Part I: The Nature of Judgment. In , A Third Concept of Liberty: Judgment and Freedom in Kant and Adam Smith. Princeton University Press. 21-88.
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  26. Samuel Fleischacker (1999). Part III: The Freedom of Judgment. In , A Third Concept of Liberty: Judgment and Freedom in Kant and Adam Smith. Princeton University Press. 241-278.
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  27. Eli Friedlander (1992). Expressions of Judgement. Dissertation, Harvard University
    The field of my inquiry is the field of judgement. I focus primarily on the difficulties involved in the act of judging. What I emphasize, after Kant, is the absence of preexisting rules for judgement in its purest form. ;I interpret Cavell's discussion of Rawls' theory of justice as probing the implications of the fact that there will always be for the individual a judgement to be made of the distance between our own society and the ideal well ordered society. (...)
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  28. James Garrison (2013). Revolution in Kant’s Relation of Aesthetics to Morality: Regarding Negatively Free Beauty and Respecting Positively Free Will. 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. 47-58.
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  29. Rob Gerwen (1994). Anthony Savile, Kantian Aesthetics Pursued. [REVIEW] Philosophy in Review 14:130-133.
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  30. Nicholas Gier (2001). Last Judgement as Self-Judgement. Indian Philosophical Quarterly 28 (1):15.
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  31. Hannah Ginsborg (2002). Critique of the Power of Judgment. [REVIEW] Philosophical Review 111 (3):429-435.
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  32. Ina Goy (2013). On Judging Nature as a System of Ends: Exegetical Problems of § 67 of the Critique of the Power of Judgment. 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. 65-76.
  33. Carole Guibet-Lafaye (2004). Le dépassement du jugement de goût. Philosophique 7 (7):47-61.
    La philosophie transcendantale kantienne serait coupable, dans la lecture hégélienne, de réintroduire « l’opposition rigide du subjectif et de l’objectif, de la pensée et des objets, de l’uni­versalité abstraite et de la singularité sensible de la volonté », là même où elle pose la nécessité de leur unification. L’identification par Hegel de la problématique d’un entendement intuitif, au cœur de l’esthétique kantienne, révèle et relève toutefois d’un décentrage problématique, qui conduit nécessairement Hegel à stigmatiser le caractère seulement subjectif de la (...)
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  34. Bruce P. Halpern (2002). Taste. In J. Wixted & H. Pashler (eds.), Stevens' Handbook of Experimental Psychology. Wiley.
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  35. Hart Hart (1957). AMONT'S The Value Judgement. [REVIEW] Philosophy and Phenomenological Research 18:557.
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  36. Antoine Hennion, Geneviève Teil & Frédéric Vergnaud (2005). Questions of Taste. In Bruno Latour & Peter Weibel (eds.), Making Things Public. Mit Press. 670--677.
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  37. Ronald Hepburn (forthcoming). The Concept of the Sublime: Has It Any Relevance for Philosophy Today? Dialectics and Humanism.
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  38. Patrick Hutchings (1990). McCloskey, M. A.: "Kant's Aesthetic". [REVIEW] Australasian Journal of Philosophy 68:467.
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  39. David Jiménez (2008). Reseña de "Estética y Modernidad. Un estudio sobre la teoría de la belleza de Immanuel Kant" de Lisímaco Parra. Ideas Y Valores 136:159-168.
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  40. Ryan Johnson (2011). An Accord in/on Kantian Aesthetics. Kritike: An Online Journal of Philosophy 5 (1):117-135.
    Kant’s Critique of Judgment is a storehouse full of provocative concepts and structures, which is why, since at least the 1970’s, many contemporary Kant scholars and philosophers of other sorts have attempted to mine and explicate this text to varying degrees of success. Among these concepts and structures, there are a few that continue to evade complete elucidation. One of the most well tread, albeit still contested, grounds that appears in the third Critique is “purposiveness without purpose.” Picking up from (...)
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  41. F. Nowell Jones & Maxine J. Marcus (1961). The Subject Effect in Judgments of Subjective Magnitude. Journal of Experimental Psychology 61 (1):40.
  42. Norman T. Jorgensen (1930). Aesthetic Judgment. Modern Schoolman 6 (2):38-38.
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  43. Sholom J. Kahn (1955). Science and Aesthetic Judgment. Philosophical Review 64 (1):119-120.
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  44. Sholom J. Kahn (1953). Science and Aesthetic Judgment: A Study in Taine's Critical Method. Journal of Philosophy 50 (20):621-622.
  45. Immanuel Kant & James Haden (1965). First Introduction to the Critique of Judgment. Bobbs-Merrill.
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  46. Immanuel Kant & James Creed Meredith (1911). Kant's Critique of Aesthetic Judgement. Clarendon Press.
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  47. Immanuel Kant & James Creed Meredith (1911). Kant's Critique of Aesthetic Judgement [Pt.1 of Kritik der Urteilskraft] Tr., with Essays, Notes and Index by J.C. Meredith. [REVIEW]
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  48. Edward Eugene Kleist (1994). Contemplation and Judgment in Kant's Aesthetics. Dissertation, Boston College
    The Critique of Judgment aims to account for the affective sharing of a common world of appearance. To accomplish this project, Kant retrieves a connection between contemplation and judgment which had lain dormant in the philosophical tradition since the time of Plato. Kant rescues the theme of contemplatio or $\theta\varepsilon\omega\rho\acute\iota\alpha$ from the Neo-platonist tradition culminating in Leibniz and Shaftesbury. This tradition took beauty as the motivation for an intuitive assimilation to the order of ideas, which are understood as principles for (...)
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  49. David Knight (1990). Genius: The History of an Idea. [REVIEW] British Journal for the History of Science 23 (3):348-349.
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  50. Jorge Larraín (2012). Ricardo Camargo. El Sublime Re-Torno de la (Crítica de la) Ideología. De Platón a ŽIžEk. Revista de Filosofia 68:203-226.
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