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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. George John Agich (1976). The Systematic Significance of Kant's "Critique of Aesthetic Judgment.". Dissertation, The University of Texas at Austin
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  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 (...)
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  3. John Astolat (1991). Psychology of Genius. Monograph Collection (Matt - Pseudo).
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  4. 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 (...)
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  5. Lewis Baldacchino (1991). A Study in Kant's Metaphysics of Aesthetic Experience Reason and Feeling. Monograph Collection (Matt - Pseudo).
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  6. Dorit Barchana-Lorand (2000). Kant's Reflective Judgment as an Aesthetic Fundamental.
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  7. F. C. Bartlett (1932). The Psychology of Men of Genius. The Eugenics Review 23 (4):348.
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  8. 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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  9. 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 (...)
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  10. Martin Bertman (2001). Beauty : Kant’s Discussion. Indian Philosophical Quarterly 28 (4):463.
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  11. 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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  12. 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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  13. 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 (...)
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  14. John W. Burbidge (1994). The Genesis of Kant's Critique of Judgment. [REVIEW] Review of Metaphysics 47 (4):851-852.
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  15. 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 (...)
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  16. James Carter (1834). Two Lectures on Taste.
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  17. Robert Raikes 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 (...)
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  18. 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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  19. William Forbes Cooley (1915). Urck's The Man of Genius. [REVIEW] Journal of Philosophy 12 (20):553.
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  20. Vasilica Cotofleac (2009). Kant. Concepto e idea estética en la arquitectura. A Parte Rei: Revista de Filosofía 64:4.
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  21. Creegan Creegan (1949). SANOFF'S The Ways of Genius. [REVIEW] Philosophy and Phenomenological Research 10:589.
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  22. 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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  23. 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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  24. Hubert Damisch (1996). The Judgment of Paris. Monograph Collection (Matt - Pseudo).
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  25. 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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  26. 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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  27. 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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  28. Brian Donohue (1999). An Examination of Moral Action and Aesthetic Judgement in Kant’s Critical Philosophy. Janus Head 1 (3).
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  29. 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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  30. J. L. Dronsfield, After Parerga: Kant, Derrida, and the Temporality of Aesthetic Judgement.
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  31. Daniel Dumouchel (1994). "The Genesis of Kant's" Critique of Judgment, Par John H. Zammito. [REVIEW] Dialogue 33:160.
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  32. Walter Elder (1950). Kant's Aesthetic Theory.
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  33. Catherine Z. Elgin (2000). Considered Judgement. Mind 109 (434):334-337.
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  34. Henry Havelock Ellis (1904). A Study of British Genius.
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  35. Charles Edward Emmer (2002). Possibilities for a Non-Ocular Aesthetics in Kant's "Critique of Judgment". Dissertation, State University of New York at Stony Brook
    An initial consideration of Diderot's Letter on the Blind provides a heuristic device with which to examine Kant's aesthetic theory as presented in the Critique of Judgment for evidence of a privileging of sight and a corresponding proscription of touch. I argue that the exposition of his aesthetic theory---as opposed to the theory itself, i.e., that which stands on the principles he identifies---does indeed exhibit a certain oculocentrism, but that the theory itself does not allow him to privilege sight nor (...)
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  36. Eliane Escoubas (2005). The Critique Of The Faculty Of Judgment In The Century Of Critique. Studia Philosophica 1.
    This paper is an inquiry about the twofold sense of "esthetic" in Kant: as theory of the object as phenomenon and as theory of the subject, as it appears in the discussion about taste and genie in the 3rd Kantian Critique. The absence of a "transcendental aesthetics" in the Critique of the Faculty of Judgment - work dealing with the esthetical judgment - is a matter of interrogation. The analyses are leading to a theory of the subject of the Critique (...)
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  37. Walter Fales (1955). Genius and Terminus. Pacific Philosophical Quarterly 36 (1):29.
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  38. 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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  39. Cristiana Mihaela Fistioc (2000). The Beautiful Shape of the Good: A Reading of Kant's "Critique of Judgment" in Light of Plato's "Symposium" and Kant's Thoughts on Pythagoras. Dissertation, The University of Chicago
    In the Critique of Judgment Kant claims that the beautiful is the symbol of the morally good . He also claims that beauty bridges, or at least helps bridge, "the great gulf that separates the supersensible from the phenomena" . In my dissertation I attempt to explicate these two claims. ;To this end I argue that there is a parallel between the notion of eros in Plato's Symposium and that of reflective judgment in Kant's third Critique. I believe that Plato's (...)
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  40. 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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  41. 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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  42. 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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  43. 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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  44. Wlodzimierz Galewicz (1990). The Aesthetic Object and the Work of Art: Reflections on Ingarden's Theory of Aesthetic Judgment. Analecta Husserliana 30:193.
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  45. Martin John Gammon (1997). Kant and the Decline of Classical Mimesis. Dissertation, University of California, Berkeley
    This dissertation is concerned with articulating Kant's critical response to the classical doctrine of mimesis, which had dominated ethical and aesthetic treatises in Europe during the first half of the eighteenth century. In Part I, the testimony of Plato, Aristotle, and the post-Aristotelian discussions of mimesis in Latin antiquity is comprehensively reviewed. Part II is concerned with Kant's transformation of the three main strands of this "mimetic" tradition. In response to the doctrine of imitatio exemplorum--or the dogma of "following" exemplary (...)
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  46. 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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  47. Robert Gero (2004). Strategies of the Artificial Sublime: Vacant, Obscure and Rude. Dissertation, New School University
    My project is to develop a new critical category of the artificial sublime. This is not a nostalgic move to re-enchant art with the reintroduction of a romantic sublime nor is it a reductive move to locate the sublime at the border of the beautiful. I introduce the concept of the artificial sublime as a way of making sense of a certain historical moment in artmaking and to help make sense of certain works that confound aesthetic analysis. I articulate three (...)
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  48. Rob Gerwen (1994). Anthony Savile, Kantian Aesthetics Pursued. [REVIEW] Philosophy in Review 14:130-133.
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  49. Nicholas Gier (2001). Last Judgement as Self-Judgement. Indian Philosophical Quarterly 28 (1):15.
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  50. Hannah Ginsborg (2002). Critique of the Power of Judgment. [REVIEW] Philosophical Review 111 (3):429-435.
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