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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. Michel Chaouli, Thinking with Kant's Critique of Judgment Cambridge, MA: Harvard University Press, 2017 Pp. 315ISBN 9780674971363 (Hbk) $44.56. [REVIEW]Moran Godess-Riccitelli - 2020 - Kantian Review 25 (2):313-317.
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  2. A Kantian Account of Emotions as Feelings1.Alix Cohen - 2020 - Mind 129 (514):429-460.
    The aim of this paper is to extract from Kant's writings an account of the nature of the emotions and their function – and to do so despite the fact that Kant neither uses the term ‘emotion’ nor offers a systematic treatment of it. Kant's position, as I interpret it, challenges the contemporary trends that define emotions in terms of other mental states and defines them instead first and foremost as ‘feelings’. Although Kant's views on the nature of feelings have (...)
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  3. Kant on Common-Sense and the Unity of Judgments of Taste.Samuel A. Stoner - 2019 - Kant Yearbook 11 (1):81-99.
    Though the notion of common-sense plays an important role in Kant’s aesthetic theory, it is not immediately clear what Kant means by this term. This essay works to clarify the role that common-sense plays in the logic of Kant’s argument. My interpretive hypothesis is that a careful examination of the way common-sense functions in Kant’s account of judgments of taste can help explain what this notion means. I argue that common-sense names the capacity to discern the relation between the cognitive (...)
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  4. Kant’s Account of the Sublime as Critique.Rachel Zuckert - 2019 - Kant Yearbook 11 (1):101-119.
    Kant’s account of the sublime in the Critique of Judgment has been extremely influential, prompting extensive discussion of the psychology, affect, moral significance, and relevance to artistic representation of the sublime on his provocative view. I focus instead on Kant’s account of the mathematical sublime in connection to his theoretical critical project, namely his attempt to characterize human cognitive powers and to limit human pretensions to knowledge of the supersensible. I argue, first, that his account of the psychology of the (...)
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  5. Aesthetic Judgment as Parasitic on Cognition.Aaron Halper - 2019 - Kant Yearbook 11 (1):41-59.
    When we judge something to be beautiful, do we identify an inherent feature of the object, or only our subjective response to it? This paper argues that, for Kant, pure aesthetic judgment occupies a middle ground. Such judgments are based upon affective responses to our own cognitive faculties. Thus, pure aesthetic judgment is subjective insofar as it concerns our feeling ourselves to be engaged in a certain task; it is objective insofar as the task we are engaged in is cognition (...)
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  6. Performative Versus Orientational Hermeneutics. Gadamer’s Criticism of Kant’s Sensus Communis and its Hermeneutical Rehabilitation by Makkreel.Marcello Ruta - 2019 - Kant Yearbook 11 (1):61-79.
    In a series of works published over the last thirty years, Rudolf Makkreel accomplished what can be called a hermeneutical rehabilitation of Kant’s Critique of Judgment. Such a rehabilitation has been formulated in explicit opposition to the negative hermeneutical image of Kant’s aesthetics which originated in the work of Hans-Georg Gadamer, and according to which the subjectivization of aesthetics perpetrated by Kant reduced aesthetic judgments to a mere communication of feelings, sanctioning thereby their hermeneutical irrelevance. In this essay I do (...)
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  7. Game Between Arch-Enemies: An Interpretation of the Free and Harmonious Play of Faculties.Hin-Fung Fung - 2019 - Kant Yearbook 11 (1):1-16.
    The aim of this paper is to give an interpretation of the free and harmonious play of faculties. The dominant interpretations focus on how the imagination is free from the determination of understanding, but say little about the harmony that can exist between imagination and understanding; thus, in this paper an attempt is made to account for the free and harmonious relationship between these two faculties. Some of Kant’s lectures are reviewed to show the inclinations of the power of imagination (...)
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  8. The Possibility of Universality.Laura Davis - 2019 - In Violetta Waibel & Margit Ruffing (eds.), Proceedings of the 12. International Kant Congress Nature and Freedom.
    In his lecture on logic, Kant puts forth his most detailed account of concept formation. Here Kant maintains that concepts are the result of a three-step process: comparison, reflection, and abstraction. Though most commentators acknowledge that this particular passage leads to a number of interpretive difficulties, it is almost unanimously accepted that: (1) concepts are composed of features which are shared by a multiplicity of objects and (2) that it is in virtue of these features that concepts apply to a (...)
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  9. Joseph J. Tinguely, Kant and the Reorientation of Aesthetics: Finding the World New York: Routledge, 2018 Pp. 246 ISBN 9781138081970 $140.00. [REVIEW]Oliver Thorndike - 2019 - Kantian Review 24 (3):492-496.
  10. The Oxford Handbook of Kant.Andrew Stephenson & Anil Gomes - forthcoming - Oxford, UK: Oxford University Press.
  11. Dialética negativa e radicalismo negro: Angela Davis nos anos 1960.Raphael F. Alvarenga - 2018 - Blog da Boitempo.
    The article focuses on a chapter of the biography of Angela Davis which, unless mistaken, has not yet received due attention: the training and intellectual experience with her German professors, Herbert Marcuse and Theodor W. Adorno. From the philosophical studies in Frankfurt in the 1960s to the more recent reflections on movements such as Black Lives Matter, there seems to be a continuity in the way she approaches contemporary social reality, a démarche that draws its strength from the original combination (...)
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  12. The Sublime Visions of Philosophy: Fundamental Ontology and the Imaginal World (‘Ālam Al–Mithāl).Mohammad Azadpur - 2006 - In Anna-Teresa Tymieniecka (ed.), Islamic Philosophy and Occidental Phenomenology on the Perennial Issue of Microcosm and Macrocosm. pp. 183-201.
  13. Zhengmi Zhouhuang: Der sensus communis bei Kant. Zwischen Erkenntnis, Moralität und Schönheit. Kantstudien-Ergänzungshefte 187. Berlin/boston: Walter de Gruyter, 2016. IX, 132 Seiten. ISBN: 978-3-11-045017-0.Der sensus communis bei Kant. Zwischen Erkenntnis, Moralität und Schönheit. Kantstudien-Ergänzungshefte 187. 2016. IX, 132 Seiten. ISBN: 978-3-11-04. [REVIEW]Michael Pluder - 2019 - Kant-Studien 110 (1):182-185.
    Name der Zeitschrift: Kant-Studien Jahrgang: 110 Heft: 1 Seiten: 182-185.
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  14. Kant and the Reorientation of Aesthetics.Joseph Tinguely - 2017 - New York, NY, USA: Routledge.
    This book argues that the philosophical significance of Kant’s aesthetics lies not in its explicit account of beauty but in its implicit account of intentionality. Kant’s account is distinct in that feeling, affect, or mood must be operative within the way the mind receives the world. Moreover, these modes of receptivity fall within the normative domain so that we can hold each other responsible for how we are "struck" by an object or scene. -/- Joseph Tinguely composes a series of (...)
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  15. Kojin Karatani, Nation and Aesthetics: On Kant and Freud Trans. Jonathan E. Abel Oxford: Oxford University Press, 2017 Pp. Xlii + 165 ISBN 9780190622978 $65.00. [REVIEW]Michael Gregory - 2018 - Kantian Review 23 (3):500-504.
  16. Sagezza, Immaginazione E Giudizio Pratico. Studio Su Aristotele E Kant, by Alfredo Ferrarin. [REVIEW]Katerina Deligiorgi - 2008 - Journal of the British Society for Phenomenology 39 (3):334-336.
  17. Hegel's Theory of Imagination, by Jennifer Ann Bates. [REVIEW]Katerina Deligiorgi - 2008 - Journal of the British Society for Phenomenology 39 (3):334-336.
  18. Imagination in Kant's Critique of Practical Reason, by Bernard Freydberg. [REVIEW]Katerina Deligiorgi - 2008 - Journal of the British Society for Phenomenology 39 (3):334-336.
  19. Humor, Contempt, and the Exemption From Sense.Bryan Lueck - 2020 - Philosophy Today 64 (1):205-220.
    Building on the theory of humor advanced by Yves Cusset in his recent book Rire: Tractatus philo-comicus, I argue that we can understand the phenomenon in terms of what Jean-Luc Nancy, following Roland Barthes, has called the exemption from sense. I attempt to show how the humorous sensibility, understood in this way, is entirely incompatible with the experience of others as contemptible. I conclude by developing some of the normative implications of this, focusing specifically on the question whether it is (...)
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  20. Recontextualizing Kant's Theory of Imagination.Rudolf Makkreel - 2013 - In Michael Thompson (ed.), Imagination in Kant's Critical Philosophy. Boston, USA: De Gruyter. pp. 205-220.
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  21. Legislating Fantasms: Girls Lean Back Everywhere: The Law of Obscenity and the Assault on Genius. E. De Grazia.Yifat Hachamovitch - 1992 - Cardozo Studies in Law and Literature 4 (2):289-304.
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  22. Beautiful Perception and its Object. Mendelssohn’s Theory of Mixed Sentiments Reconsidered.Anne Pollok - 2018 - Kant-Studien 109 (2):270-285.
    : Complex aesthetic perception, according to Mendelssohn’s writings between 1755 and 1771, is most alluring if it showcases a breach in the order of perfection. With this, Mendelssohn introduces a shift in our understanding of the artistic act of imitation: Artistic semblance is always lacking, and a painting that does not point to this fact is, in fact, displeasing. This is also the main reason why we enjoy non-beautiful art: in the artistic rendering of an unpleasant ‘object’ we focus on (...)
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  23. The Beauty of Science Without the Science of Beauty: Kant and the Rationalists on the Aesthetics of Cognition.Angela Breitenbach - 2018 - Journal of the History of Philosophy 56 (2):281-304.
    it is common to praise the beauty of theories, the elegance of proofs, and the pleasing simplicity of explanations. We may admire, for example, the beauty of Einstein’s theory of general relativity, the simplicity of Darwin’s idea of natural selection, and the elegance of a geometrical proof of Pythagoras’s theorem. Aesthetic judgments such as these have much currency among scientists, and they are employed in the search for knowledge more broadly. But while the use of aesthetic judgments in science is (...)
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  24. Creative Imagination, Sensus Communis, and the Social Imaginary: Miki Kiyoshi and Nakamura Yūjirō in Dialogue with Contemporary Western Philosophy.John Krummel - 2017 - In Michiko Yusa (ed.), The Bloomsbury Research Handbook of Contemporary Japanese Philosophy. New York, USA: Bloomsbury. pp. 255-284.
    This chapter examines the imagination, its relationship to “common sense,” and its recent development in the notion of the social imaginary in Western philosophy and the contributions Miki Kiyoshi and Nakamura Yūjirō can make in this regard. I trace the historical evolution of the notion of the productive imagination from its seeds in Aristotle through Kant and into the social imagination or imaginary as bearing on our collective being-in-the-world, with semantic and ontological significance, in Paul Ricoeur, Cornelius Castoriadis, and Charles (...)
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  25. Introduction: Perfectionism and Education—Kant and Cavell on Ethics and Aesthetics in Society. Roth, Gustafsson & Johansson - 2014 - Journal of Aesthetic Education 48 (3):1.
    Immanuel Kant’s conception of ethics and aesthetics, including his philosophy of judgment and practical knowledge, are widely discussed today among scholars in various fields: philosophy, political science, aesthetics, educational science, and others. His ideas continue to inspire and encourage an ongoing interdisciplinary dialogue, leading to an increasing awareness of the interdependence between societies and people and a clearer sense of the challenges we face in cultivating ourselves as moral beings.Early on in his career, Cavell began to recognize the strong connection (...)
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  26. Kant on the Science of Aesthetics and the Critique of Taste.J. Colin McQuillan - 2017 - Kant Yearbook 9 (1):113-132.
  27. Der systematische Zusammenhang der Philosophie in Kants Kritik der Urteilskraft.„Zweite Aufmerksamkeit “und Analogie der ästhetischen und teleologischen Urteilskraft.Marie-élise Zovko - 2010 - Deutsche Zeitschrift für Philosophie 58 (4):629-645.
    The unity of aesthetic and teleological judgment, the third and earlier Critiques, is based on Kant′s discovery of a “heuristic method” for applying judgments regarding sense phenomena to abstract thought, a “second attention” which enables an “idea of the whole”. Synthetic judgment, basis for cognition and human action, depends on efficacy of non-empirical insights: the transcendental standpoint, “regulative” ideas, consciousness of “ought” and the reality of freedom, universality of natural mechanism, the principle of “fortuitous” purposiveness. The activity of reflective judgment (...)
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  28. Hannah Ginsborg, The Normativity of Nature: Essays on Kant’s Critique of Judgement Oxford: Oxford University Press, 2015 Pp. 364 ISBN 9780199547982 £25.00. [REVIEW]Andrew Jones - 2016 - Kantian Review 21 (3):510-516.
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  29. What Kind of Normativity is the Normativity of Grammar?Hanne Appelqvist - 2017 - Metaphilosophy 48 (1-2):123-145.
    The overall goal of this article is to show that aesthetics plays a major role in a debate at the very center of philosophy. Drawing on the work of David Bell, the article spells out how Kant and Wittgenstein use reflective judgment, epitomized by a judgment of beauty, as a key in their respective solutions to the rule-following problem they share. The more specific goal is to offer a Kantian account of semantic normativity as understood by Wittgenstein. The article argues (...)
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  30. P. Gambazzi, Sensibilità, immaginazione e bellezza. Introduzione alla dimensione estetica nelle tre critiche di Kant. [REVIEW]C. Esposito - 1988 - Kant-Studien 79 (1):97.
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  31. R.-E. Dode, Ästhetik als Vernunftkritik. Eine Untersuchung zum Begriff des Spiels und der ästhetischen Bildung bei Kant-Schiller-Schopenhauer und Hebbel. [REVIEW]J. Pleines - 1988 - Kant-Studien 79 (1):114.
  32. Baeumler, Alfred, Kants Kritik der Urteilskraft. Ihre Geschichte und Systematik. [REVIEW]Friedrich Seifert - 1927 - Kant-Studien 32:381.
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  33. K. Neumann, Gegenständlichkeit Und Existenzbedeutung des Schönen. Untersuchungen Zu Kants "Kritik der Ästhetischen Urteilskraft". [REVIEW]W. Steinbeck - 1974 - Kant-Studien 65 (4):477.
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  34. Kant und Beethoven.Karl Vorländer - 1926 - Kant-Studien 31:126.
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  35. Die ästhetische Autonomie.G. Wolandt - 1972 - Kant-Studien 63 (4):504.
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  36. Die Grundfragen der Ästhetik unter kritischer Zugrundelegung von Kants Kritik der Urteilskraft.R. V. Schubert-Soldern - 1909 - Kant-Studien 14:45.
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  37. D. W. Crawford, Kant's Aesthetic Theory.R. Dostal - 1979 - Kant-Studien 70 (1):92.
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  38. H. Mertens, Kommentar Zur Ersten Einleitung in Kants Kritik der Urteilskraft. [REVIEW] E. Sandberg - 1979 - Kant-Studien 70 (1):89.
  39. W. Bartuschat, Zum Systematischen Ort von Kants Kritik der Urteilskraft. [REVIEW]K. Düsing - 1974 - Kant-Studien 65 (2):222.
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  40. K. Leider, Transzendentalphilosophische Briefe. Kritik an den drei Kritiken Kants. [REVIEW]W. Steinbeck - 1981 - Kant-Studien 72 (4):512.
  41. F. X. J. Coleman, The Harmony of Reason: A Study in Kant's Aesthetics. [REVIEW]R. Dostal - 1979 - Kant-Studien 70 (2):236.
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  42. A. Bäumler, Das Irrationalitätsproblem in der Ästhetik Und Logik des 18. Jahrhunderts Bis Zur Kritik der Urteilskraft, Nachdruck. [REVIEW]R. Malter - 1979 - Kant-Studien 70 (2):238.
  43. G. Kohler, Geschmacksurteil und ästhetische Erfahrung. Beiträge zur Auslegung von Kants "Kritik der ästhetischen Urteilskraft". [REVIEW]W. Steinbeck - 1982 - Kant-Studien 73 (2):250.
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  44. Philosophical Anthropology and the Critique of Aesthetic Judgment.F. Williams - 1954 - Kant-Studien 46:172.
  45. P. Menzer, Kants Ästhetik in Ihrer Entwicklung. [REVIEW]H. Herring - 1954 - Kant-Studien 46:90.
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  46. Die Grundfragen der Ästhetik unter kritischer Zugrundelegung von Kants Kritik der Urteilskraft.R. V. Schubert-Soldern - 1910 - Kant-Studien 15:233.
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  47. Kant, Aesthetical Theory and Some Indian Art.S. K. Saxena - 1978 - Kant-Studien 69 (2):194.
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  48. S. Marcucci, Intelletto e Intellettualismo nell' Estetica di Kant. [REVIEW]K. Oedingen - 1978 - Kant-Studien 69 (1):117.
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  49. L. Anceschi, Da Bacone a Kant. Saggi di Estetica. [REVIEW]M. Casula - 1977 - Kant-Studien 68 (4):500.
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  50. A. H. Trebels, Einbildungskraft Und Spiel. Untersuchungen Zur Kantischen Ästhetik. [REVIEW]K. Dickopp - 1970 - Kant-Studien 61 (2):263.
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