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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. The Resistance of Beauty.María del Rosario Acosta López - 2016 - Epoché: A Journal for the History of Philosophy 21 (1):235-249.
    In this article I address Schiller’s first response in his Kallias Briefe or Concerning the Beautiful, Letters to Gottfried Körner to Kant’s analysis of the beautiful in the first part of the Critique of Judgment. My main intention in the paper is to investigate Schiller’s emphasis on the notion of resistance in his reading of Kant’s concept of beauty, and to ask how does this relate to Schiller’s own approach to aesthetics as an ethico-political realm. I am particularly interested in (...)
  2. The Systematic Significance of Kant's "Critique of Aesthetic Judgment.".George John Agich - 1976 - Dissertation, The University of Texas at Austin
  3. The Poetics of Intense Sociability: The Sublime in Emily Dickinson, H.D. And Gertrude Stein.Shawn Helen Alfrey - 1995 - 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 (...)
  4. The Sublime Shepherdess.Julia Cooley Altrocchi - 1940 - Thought: A Journal of Philosophy 15 (4):700-701.
  5. True Genius: The Life and Science of John Bardeen.Vinay Ambegaokar - 2004 - Studies in History and Philosophy of Science Part B: Studies in History and Philosophy of Modern Physics 35 (1):134-138.
  6. Ethnographies of Critique: Critical Judgement as Cultural Practice.Sarah S. Amsler - unknown
  7. 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 (...)
  8. Kant and the Experience of Freedom: Essays on Aesthetics and Morality. [REVIEW]Richard E. Aquila - 1994 - Review of Metaphysics 47 (4):815-817.
  9. Psychology of Genius.John Astolat - 1991
  10. The Pleasures of Goodness: Peircean Aesthetics in Light of Kant's Critique of the Power of Judgment.Richard Kenneth Atkins - 2008 - Cognitio 9 (1):13--25.
  11. And Yet: A Kantian Analysis of Aesthetic Interest.Sidney Axinn - 1964 - Philosophy and Phenomenological Research 25 (1):108-116.
  12. Genius in the Shadows: A Biography of Leo Szilard, the Man Behind the BombWilliam Lanouette Bela Silard.Lawrence Badash - 1994 - Isis 85 (1):172-173.
  13. An Essay on the Sublime (1747).J. Baillie - 1953 - Los Angeles, William Andrews Clark Memorial Library, University of California.
  14. The Priesthood of Genius: A Study of the Medieval TraditionArticle Author Querybaker Dn [Google Scholar].Denise Baker - 1976 - 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 (...)
  15. A Study in Kant's Metaphysics of Aesthetic Experience Reason and Feeling.Lewis Baldacchino - 1991
  16. Paul Guyer, Kant and the Experience of Freedom. [REVIEW]Kent Baldner - 1994 - Philosophy in Review 14:19-21.
  17. Kant's Reflective Judgment as an Aesthetic Fundamental.Dorit Barchana-Lorand - 2000
  18. Negotiating Taste.Chris Barker - 2013 - Inquiry : An Interdisciplinary Journal of Philosophy 56 (2-3):240-257.
  19. The Roman Genius.W. Barr - 1963 - The Classical Review 13 (02):215-.
  20. Review: Sherover & Johnson (Ed), Are We in Time? [REVIEW]Kristina Mussgnug Barrett - 2006 - Kantian Review 11 (1):133-136.
  21. The Psychology of Men of Genius.F. C. Bartlett - 1932 - The Eugenics Review 23 (4):348.
  22. Essai Critique Sur L'esthétique de Kant.Victor Basch - 1897 - Philosophical Review 6 (5):543-550.
  23. The Sublime.Garrett Baxter - 1929 - [Norfolk, Va.]The Economic Press.
  24. Is Chesterton's Genius Denied Among Chestertonians Because He Had a Genius to Amuse?B. Bell - 1982 - The Chesterton Review 8 (3):275-276.
  25. Giacometti's Art as a Judgment on Culture.Richard H. Bell - 1989 - Journal of Aesthetics and Art Criticism 47 (1):15-20.
  26. Towards an Affective Structure of Subjectivity. Notes on Kant's an Answer to the Question: What is the Enlightenment?Andrew Benjamin - unknown
  27. Art: Reaching for the Sublime.Peter Benson - 1997 - Philosophy Now 18:22-23.
  28. The Shaping of the Marlovian Sublime.Kimberly W. Benston - 1982 - 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 (...)
  29. Beauty : Kant’s Discussion.Martin Bertman - 2001 - Indian Philosophical Quarterly 28 (4):463.
  30. Couch, Kant, Culture End the Role of the Artist.Joseph Bien - 2005 - Southwest Philosophy Review 21 (2):163-165.
  31. Kant, Genius and Moral Development.Stefan Bird-Pollan - 2013 - 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. pp. 601-610.
  32. Cross the Line: Goya and Kant-Between the 18th and 19th Centuries.John Blanco - 1998 - Budhi: A Journal of Ideas and Culture 2 (1):1-26.
  33. How to Talk About Heartbreaking Works of Staggering Genius-and Those That Are Not: A Guide to Ethics in Book Reviewing.Lynn Z. Bloom - 2002 - Journal of Information Ethics 11 (1):7-18.
  34. Contribution to the Critique of the Aesthetic Economy.Gernot Böhme - 2003 - 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.
  35. The Genius to Improve an Invention: Literary Transitions (Book).Gordon Braden - 2003 - American Journal of Philology 124 (3):493-496.
  36. The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature.Emily Brady - 2013 - Cambridge University Press.
    In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to (...)
  37. Disinterestedness and Political Art.Peggy Zeglin Brand - 1998 - In Carolyn Korsmeyer (ed.), Aesthetics: The Big Questions. Blackwell.
  38. The Genius of Architecture;: Or, the Analogy of That Art with Our Sensations.David Britt (ed.) - 1992 - The Getty Center for the History of Art.
  39. Judgment and Reason.Harold I. Brown - 1994 - Electronic Journal of Analytic Philosophy 2 (4).
  40. The Concept of Time and the Faculty of Judgment in the Ontogenesis of Historical Consciousness.Micha Brumlik - 2005 - In Jürgen Straub (ed.), Narration, Identity, and Historical Consciousness. Berghan Books. pp. 3--135.
  41. The Neural Sublime: Cognitive Theories and Romantic Texts (Review).John Bruni - 2012 - Symploke 20 (1):405-407.
  42. The Concept of Genius: Its Origin and Function in Kant's Third "Critique".Paul William Bruno - 1999 - 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 (...)
  43. The Nature of Judgment.Edward Franklin Buchner - 1899 - Psychological Review 6 (4):441-442.
  44. The Philosophic Significance of the Sublime.Henry Bugbee - 1967 - Philosophy Today 11 (1):55.
  45. Book Review: Cigarettes Are Sublime by Richard Klein. [REVIEW]R. Bunton - 1996 - Body and Society 2:119.
  46. The Genesis of Kant's Critique of Judgment. [REVIEW]John W. Burbidge - 1994 - Review of Metaphysics 47 (4):851-852.
  47. Book Review: 'The Kantian Aesthetic: From Knowledge to the Avant-Garde' by Paul Crowther. [REVIEW]Emily Caddick Bourne - unknown
  48. Kant on Beauty and Metaphor.Joyce A. Carpenter - 1992 - 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 (...)
  49. The Ways of Genius. By R. A. Tsanoff. (Harper. Pp. 310. Price $4.).E. F. Carritt - 1950 - Philosophy 25 (95):367-.
  50. The Sublime.E. F. Carritt - 1910 - Mind 19 (75):356-372.
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