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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. Kants Philosophie.Gabriele Gava & Achim Vesper - 2024 - Munich: C.H. Beck.
    Immanuel Kant gilt zu Recht als einer der wichtigsten Philosophen in der Geschichte der westlichen Philosophie. In dieser Einführung werden – neben einem Seitenblick auf seine Biografie und seinen intellektuellen Werdegang – die bedeutendsten Werke seiner kritischen Periode vorgestellt und anhand ihrer Schlüsselbegriffe erklärt. Außerdem wird Kants Neuansatz in der Philosophie aus einer zentralen Idee verständlich gemacht: der Idee, dass nicht nur das menschliche Handeln, sondern alle leitenden menschlichen Weltbezüge «normativ» strukturiert sind.
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  2. Kant's Copernican Revolution.Sanjay Kumar Shukla - 1999 - Allahabad: Snigdha Publication.
    The present work is a beautific monograph over Kant’s philosophy. It begins with the proper analysis of nature and significance of content copernican revolution. The author has systematically formulated the epistemic and non-epistemic implications of Kant’s Philosophy the epistemic implications cover the philosophical issues and seminal significance: the notion of space and time, the nature and function of categories, distinction of phenomena and noumena, refutation of idealism and Kantain transcendental idealism, transcendental unity of pure apperception, nature function and limitations of (...)
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  3. ON THE “NATURALIST” CRITIQUE OF CLEMENT GREENBERG VIDE KANT: A MISTAKEN & HANDED-DOWN CRITIQUE.Ekin Erkan - 2023 - Cosmos and History : The Journal of Natural and Social Philosophy 19 (2):52-72.
    According to commentators like Rosalind Krauss, Briony Fer, Caroline Jones, and Michael Fried, Clement Greenberg’s formalist/positivist device of “medium-specificity” debars errant affective aesthetic experiences that are embodied; despite significant differences in how these theorists arrive at this conclusion, one shared point of emphasis is Greenberg’s inheriting Kant’s disinterested conception of pleasure in reflective judgments of beauty. Offering a textualist review of Kant’s Analytic of the Beautiful, I seek to demonstrate that neither Greenberg, nor Greenberg’s critics, are correct in their account (...)
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  4. Kant and the Claims of the Empirical World (by Ido Geiger). [REVIEW]Lorenzo Spagnesi - 2023 - Society of German Idealism and Romanticism Review 6 (1):109-114.
  5. Disinterested Pleasure and Beauty: Perspectives from Kantian and Contemporary Aesthetics.Larissa Berger (ed.) - 2023 - Boston: De Gruyter.
    The conception of disinterested pleasure is not only central to Kant’s theory of beauty but also highly influential in contemporary philosophical discourse about beauty. However, it remains unclear, what exactly disinterested pleasure is and what role it plays in experiences of beauty. This volume sheds new light on the conception of disinterested pleasure from the perspectives of both Kant scholarship and contemporary aesthetics. In the first part, the focus is on Kant’s theory of beauty as grounded on the conception of (...)
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  6. Die Untugend der Kunst. Pragmatistische Reflexionen über den Kitsch anlässlich des gegenwärtigen Krieges.Albert Dikovich - 2022 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 67 (2):23-42.
    Im Folgenden wird der Versuch unternommen, ausgehend von John Deweys Kunst als Erfahrung ein Verständnis des Kitsches als ästhetischer Untugend zu entwickeln. Dabei wird der leitenden Frage des Bandes, ob Kunst moralisch sein muss, in der Weise begegnet, dass nach der spezifischen moralischen Wirkungsweise von Kunstwerken gefragt wird. Nachdem entgegen einer Dichotomisierung von Kunst und Moral die Leistung moderner Literatur und Kunst darin erkannt wird, die Grenzen lebensleitender moralischer Begriffe und Werte anschaulich zu machen und damit Lern- und Reflexionsprozesse auszulösen, (...)
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  7. Kierkegaard and the Sublime.George Pattison - 1998 - Kierkegaard Studies Yearbook 1998:245-275.
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  8. Kant on Common Sense and Empirical Concepts.Janum Sethi - 2022 - Kantian Review 27 (2):257-277.
    Kant’s notion of common sense (Gemeinsinn) is crucial not only for his account of judgements of beauty, but also for the link he draws between the necessary conditions of such judgements and cognition in general. Contrary to existing interpretations which connect common sense to pleasure, I argue that it should be understood as the capacity to sense the harmony of the cognitive faculties through a sui generis sensation distinct from pleasure. This sensed harmony of the faculties is not only the (...)
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  9. Baroque Naturalism in Benjamin and Deleuze: The Art of Least Distances.Tim Flanagan - 2021 - Springer Verlag.
    ​This book, itself a study of two books on the Baroque, proposes a pair of related theses: one interpretive, the other argumentative. The first, enveloped in the second, holds that the significance of allegory Gilles Deleuze recognized in Walter Benjamin’s 1928 monograph on seventeenth century drama is itself attested in key aspects of Kantian, Leibnizian, and Platonic philosophy. The second, enveloping the first, is a literalist claim about predication itself – namely, that the aesthetics of agitation and hallucination so emblematic (...)
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  10. Two Conceptions of Kantian Autonomy.Seniye Tilev - 2021 - In Camilla Serck-Hanssen & Beatrix Himmelmann (eds.), The Court of Reason: Proceedings of the 13th International Kant Congress. De Gruyter. pp. 1579-1586.
    How to interpret autonomy plays a crucial role that leads to different readings in Kant’s moral metaphysics, philosophy of religion and moral psychology. In this paper I argue for a two-layered conception of autonomy with varying degrees of justification for each: autonomy as a capacity and autonomy as a paragon-like paradigm. I argue that all healthy rational humans possess the inalienable capacity of autonomy, i. e. share the universal ground for the communicability of objective basic moral principles. This initial understanding (...)
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  11. Correspondence of Aesthetic Judgment in Farabi through Kant’s Ideal of Beauty.Javad Amin Khandaqi - 2014 - Kimiya-Ye-Honar 3 (10):67-78.
    Farabi, “the Second Teacher” and the founder of Islamic philosophy is one of the most important philosophers in the history of Islamic philosophy. Like other Muslim philosophers and mystics, he has no independent argument about aesthetic concepts. In this research, one of the main concepts of modern aesthetics, namely the “aesthetic judgment”, is analyzed according Farabi’s perspective, and to achieving this, some of the key concepts of Kant’s aesthetics, as one of the turning points of modern aesthetics, are used. In (...)
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  12. Aesthetic Normativity and Knowing How to Go On.Hannah Ginsborg - 2020 - Con-Textos Kantianos 1 (12):52-70.
    This paper addresses a problem about aesthetic normativity raised by Kant. Can aesthetic experiences be appropriate or inappropriate to their objects? And, if so, how is that possible given that, according to Kant, aesthetic experience is not objective? Kant thought the answer to the first question was yes. But his official answer to the second question, in terms of the free play of the faculties, is obscure. The paper offers a clearer answer, inspired by Kant, which invokes Wittgenstein’s notion of (...)
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  13. Toward a reassessment of Kant’s notion of rhetoric. On Kant’s theory and practice of popularity according to Ercolini and Santos.Roberta Pasquarè - 2020 - Studia Kantiana 2 (18):109-119.
    According to a common misconception, Kant rejects rhetoric as worthy of no respect and neglects popularity as a dispensable accessory. Two recent publications on the communicative dimension of Kant’s conception and practice of philosophy represent a very solid rebuttal of such criticism. The books in question are Kant’s Philosophy of Communication by G. L. Ercolini and A linguagem em Kant. A linguagem de Kant edited by Monique Hulshof and Ubirajara Rancan de Azevedo Marques, especially in light of the long chapter (...)
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  14. 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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  15. 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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  16. 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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  17. 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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  18. 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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  19. 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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  20. The possibility of Universality.Laura Davis - 2018 - In Waibel Violetta, Ruffing Margit & David Wagner (eds.), Natur und Freiheit : Akten des XII. Internationalen Kant-Kongresses. De Gruyter.
    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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  21. 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.
  22. Oxford Handbook of Kant.Andrew Stephenson & Anil Gomes (eds.) - forthcoming - Oxford, UK: Oxford University Press.
  23. 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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  24. 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.
  25. 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. [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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  26. 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.
  27. 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.
  28. Hegel's Theory of Imagination, by Jennifer Ann Bates. [REVIEW]Katerina Deligiorgi - 2008 - Journal of the British Society for Phenomenology 39 (3):334-336.
  29. 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.
  30. 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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  31. Recontextualizing Kant's Theory of Imagination.Rudolf Makkreel - 2013 - In Michael L. Thompson (ed.), Imagination in Kant's Critical Philosophy. Boston: Walter de Gruyter. pp. 205-220.
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  32. 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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  33. 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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  34. 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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  35. Creative Imagination, Sensus Communis, and the Social Imaginary: Miki Kiyoshi and Nakamura Yūjirō in Dialogue with Contemporary Western Philosophy.John Krummel - 2017 - In Yusa Michiko (ed.), The Bloomsbury Research Handbook of Contemporary Japanese Philosophy. New York: 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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  36. Political Theory and the Enlarged Mentality.Stephen Acreman - 2017 - New York: Routledge.
    In this book, Stephen Acreman follows the development and reception of a hitherto under-analyzed concept central to modern and postmodern political theory: the Kantian ein erweiterte Denkungsart, or enlarged mentality. -/- While the enlarged mentality plays a major role in a number of key texts underpinning contemporary democratic theory, including works by Arendt, Gadamer, Habermas, and Lyotard, this is the first in-depth study of the concept encompassing and bringing together its full range of expressions. A number of attempts to place (...)
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  37. Introduction: Perfectionism and Education—Kant and Cavell on Ethics and Aesthetics in Society.Klas Roth, Martin Gustafsson & Viktor Johansson - 2014 - Journal of Aesthetic Education 48 (3):1-4.
    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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  38. Kant on the Science of Aesthetics and the Critique of Taste.J. Colin McQuillan - 2017 - Kant Yearbook 9 (1):113-132.
    This article considers the reasons Kant rejects the possibility of a science of aesthetics throughout his career. It begins by surveying the background of Kant’s denial, focusing first on the introduction of aesthetics as a new science in the works of Alexander Baumgarten and Georg Friedrich Meier. After showing that there are numerous ambiguities in the way Baumgarten and Meier present their new science, the article considers Kant’s account of the differences between aesthetics and logic in the transcripts of his (...)
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  39. 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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  40. Kant-Lexikon: Studienausgabe.Stefano Bacin, Georg Mohr, Marcus Willaschek & Jürgen Stolzenberg - 2017 - Berlin, Boston: De Gruyter.
    The Kant-Lexikon is a guide to the philosophical work of Immanuel Kant and incorporates the latest scholarship. This textbook edition presents the most important entries contained in the comprehensive, three-volume lexicon released in 2015.
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  41. 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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  42. 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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  43. 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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  44. 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.
  45. Baeumler, Alfred, Kants Kritik der Urteilskraft. Ihre Geschichte und Systematik. [REVIEW]Friedrich Seifert - 1927 - Kant Studien 32:381.
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  46. 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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  47. Kant und Beethoven.Karl Vorländer - 1926 - Kant Studien 31:126.
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  48. Die ästhetische Autonomie.G. Wolandt - 1972 - Kant Studien 63 (4):504.
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  49. 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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  50. D. W. Crawford, Kant's Aesthetic Theory.R. Dostal - 1979 - Kant Studien 70 (1):92.
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