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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. 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 (...)
  2. 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.
  3. Creative Imagination, Sensus Communis, and the Social Imaginary: Miki Kiyoshi and Nakamura Yūjirō in Dialogue with Contemporary Western Philosophy.John Krummel - forthcoming - 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 (...)
  4. Kant on the Science of Aesthetics and the Critique of Taste.J. Colin McQuillan - 2017 - Kant Yearbook 9 (1):113-132.
  5. 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 (...)
  6. Kant and the Objectification of Aesthetic Pleasure.R. Schott Louisville - 1989 - Kant-Studien 80 (1):81.
  7. Kant’s Ideality of Genius.Robert J. M. Neal - 2012 - Kant-Studien 103 (3):351-360.
    : To say that a work of fine art is beautiful because it has been produced by a genius introduces a determinate concept precluding a judgment of the work’s beauty by way of a pure judgment of taste. What Kant in fact proposes is that we judge a work to be the product of genius as a consequence of our judgment of its beauty. As Kant explains in KU §58, when we judge the beautiful in fine art it is the (...)
  8. Kant and the Feeling of Life: On Pleasure and the Ambient of Beauty.Margit Ruffing, Guido A. De Almeida, Ricardo R. Terra & Valerio Rohden - 2008 - In Margit Ruffing, Guido A. De Almeida, Ricardo R. Terra & Valerio Rohden (eds.), Recht Und Frieden in der Philosophie Kantslaw and Peace in Kant’s Philosophy: Akten des X. Internationalen Kant-Kongresses. Walter de Gruyter.
  9. Logica Naturalis, Healthy Understanding and the Reflecting Power of Judgment in Kant’s Philosophy: The Source of the Problem of Judgment in the Leibniz-Wolffian Logic and Aesthetics.Manuel Sánchez Rodríguez - 2012 - Kant-Studien 103 (2):188-206.
    : The aim of this article is to explore the origin of the difficulty of founding the reflecting power of judgment as Kant outlines it in the Preface of the third Critique. Although a foundation for this faculty was only established in 1790, we must interpret it as a critical solution to an old problem, which Kant had already recognized around 1770. Through his comprehension of the meaning of healthy understanding and native wit he already confirms the impossibility of determining (...)
  10. The Problem of Particularity in Kant’s Aesthetic Theory.Andrew Chignell - 1999 - The Proceedings of the Twentieth World Congress of Philosophy 4:197-208.
    In moving away from the objective, property-based theories of earlier periods to a subject-based aesthetic, Kant did not intend to give up the idea that judgments of beauty are universalizable. Accordingly, the “Deduction of Judgments of Taste” aims to show how reflective aesthetic judgments can be “imputed” a priori to all human subjects. The Deduction is not successful: Kant manages only to justify the imputation of the same form of aesthetic experience to everyone; he does not show that this experience (...)
  11. What is a Judgment of Taste?Anthony Savile - 1989 - Proceedings of the Sixth International Kant Congress 2 (2):383-395.
  12. Kant's Principles of Judgment and Taste.Donald W. Crawford - 1989 - Proceedings of the Sixth International Kant Congress 2 (2):281-292.
  13. The Appearance of Nature, Genius and the Classification of the Fine Arts According to Kant.Jules Vuillemin - 1991 - Proceedings of the Sixth International Kant Congress 1:213-229.
  14. 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 (...)
  15. In Sensible Judgement.Max Deutscher - 2012 - Symposium 16 (1):203-225.
    Only in being pleased at what is done can I judge it as right. Kant is correct, nevertheless, then my motive is not the object of my judgment's concern. In working to make a good judgment, it is not pleasure but die right result that one seeks. In taking the jury's decision to be right, one is pleased at it—one takes pleasure in it. At the same time, it would shift attention from judgment's proper object to find the point of (...)
  16. On the Primacy of the Spectator in Kant’s Account of Genius.Samuel A. Stoner - 2016 - Review of Metaphysics 70 (1):87-116.
    This essay argues that §49 of Kant’s third Critique pursues the question of the nature of genius through an analysis of the spectator’s response to beautiful art. It presents and defends a spectator-centered interpretation of §49’s opening paragraphs, which clarifies Kant’s notion of aesthetic ideas and reveals that beautiful art provokes a productive imaginative activity in its spectators. This interpretation is significant because it elucidates the character of Kant’s account of genius and his understanding of art criticism. Moreover, it suggests (...)
  17. The Immanent Sublime.Jim Urpeth - unknown
    The claim advanced in this paper is that the radicalisation of Kant’s project of the critique of metaphysics can be said to culminate in the fusion of two, traditionally opposed, terms - immanence and sublimity. Starting with a discussion of Kant's 'Analytic of the Sublime', the paper pursues its main claim through the reading of key texts in the thought of Nietzsche, Heidegger and Deleuze/Guattari. It attempts to clarify the dfferent senses of the'immanent sublime' it suggests is found in the (...)
  18. Nature and Art: Towards a 'Transhuman' Aesthetics.Jim Urpeth - unknown
    At the centre of Kant’s “Critique of Aesthetic Judgment” lies a tantalising relation, the reciprocal semblance between nature and art, upon which the entire text pivots. With this thought, Kant suggests a critically licensed blurring of some of the defining presuppositions of critical philosophy and reconfigures the ancient problematic of mimesis. This paper will offer a sketch of how some of Kant’s key successors attempt to extend his project of ‘transcendental critique’ in the field of aesthetics by exposing and challenging (...)
  19. A 'Sacred Thrill': Presentation and Affectivity in the 'Analytic of the Sublime'.Jim Urpeth - 2000 - In .
    This paper offers a critique of what it terms the ‘Heideggerian-deconstructive’ reading of Kant’s “Analytic of the Sublime” and develops an alternative ‘genealogical’ interpretation of it. It is argued that the ‘Heideggerian-deconstructive’ reading of Kant’s text emphasises the ‘question of presentation’. By contrast, the concerns of the ‘genealogical’ interpretation of Kant’s sublime are affective and ‘libidinal’ in character. The underlying issue concerns the prioritisation of the orders of presentation and affectivity respectively and the balance between them in Kant’s text. The (...)
  20. The Vitalisation of Aesthetic Form: Kant, Nietzsche, Heidegger, Focillon.James Urpeth - 2000 - In .
    In 'The Vitalisation of Aesthetic Form: Kant, Nietzsche, Heidegger, Focillon, James Urpeth seeks to provide a corrective on behalf of the beautiful to this emphasis on the sublime. Urpeth takes art as a pre-eminent site for the dissolution of the 'human'and considers the implications for aesthetic theory of a thoroughgoing naturalisation of the aesthetic... Taking Kant's classic discussion as his starting point, Urpeth surveys the problematisation of Kant's account of aesthetic form via Nietzsche's critique of its metaphysical pressupositions and Heidegger's (...)
  21. Kant and the Experience of Freedom: Essays on Aesthetics and Morality. [REVIEW]Larry Krasnoff - 1994 - Philosophical Review 103 (4):765.
  22. The Genesis of Kant's Critique of Judgment.Paul Guyer & John H. Zammito - 1994 - Philosophical Review 103 (2):369.
  23. Studies in Kant's Aesthetics.Paul Guyer & Eva Schaper - 1981 - Philosophical Review 90 (3):429.
  24. The Harmony of Reason: A Study in Kant's Aesthetics.Ingrid Stadler & Francis X. J. Coleman - 1977 - Philosophical Review 86 (2):270.
  25. Kant's Aesthetic Theory.Mary-Barbara Zeldin & Donald W. Crawford - 1975 - Philosophical Review 84 (4):587.
  26. The Judgment of History.Maurice Mandelbaum & Marie Collins Swabey - 1955 - Philosophical Review 64 (2):302.
  27. AEsthetic Judgment.C. J. Ducasse & D. W. Prall - 1930 - Philosophical Review 39 (3):311.
  28. The Genius of Li Po, A. D. 701-762.Richard John Lynn & Wong Siukit - 1977 - Journal of the American Oriental Society 97 (4):570.
  29. The Difference Between a Genius and an Apostle.Edna H. Hong - 1997 - In Kierkegaard's Writings, Xviii: Without Authority. Princeton University Press. pp. 91-108.
  30. Addendum II. The Difference Between a Genius and an Apostle.Edna H. Hong - 1998 - In Kierkegaard's Writings, Xxiv: The Book on Adler. Princeton University Press. pp. 173-188.
  31. Lucan and the Sublime: Power, Representation and Aesthetic Experience.Henry J. M. Day - 2013 - Cambridge University Press.
    This is the first comprehensive study of the sublime in Lucan. Drawing upon renewed literary-critical interest in the tradition of philosophical aesthetics, Henry Day argues that the category of the sublime offers a means of moving beyond readings of Lucan's Bellum Civile in terms of the poem's political commitment or, alternatively, nihilism. Demonstrating in dialogue with theorists from Burke and Kant to Freud, Lyotard and Ankersmit the continuing vitality of Longinus' foundational treatise On the Sublime, Day charts Lucan's complex and (...)
  32. Early Kant & a Rococo Spirit: Setiing for the Critique of Judgment.C. Seerveld - 1978 - Philosophia Reformata 43 (3-4):145-167.
  33. Sublime Waste: Kant on the Destiny of the ‘Races’.Mark Larrimore - 1999 - Canadian Journal of Philosophy 29 (sup1):99-125.
    (1999). Sublime Waste: Kant on the Destiny of the ‘Races’. Canadian Journal of Philosophy: Vol. 29, Supplementary Volume 25: Civilization and Oppression, pp. 99-125.
  34. Kant’s Theory of Taste.Béatrice Longuenesse - 2003 - Journal of Philosophy 100 (9):487-492.
  35. Kant's Aesthetic Theory.Paul D. Guyer & Donald W. Crawford - 1975 - Journal of Philosophy 72 (3):77-86.
  36. A Study in Kant's Aesthetics. The Universal Validity of Aesthetic Judgments.T. M. G. & Barrows Dunham - 1934 - Journal of Philosophy 31 (24):666.
  37. The Judgment Day Theme in Old English Poetry. Grahm D. Caie.Alvin A. Lee - 1978 - Speculum 53 (3):564-565.
  38. The Genius of Chesterton.Robert Hamilton - 1949 - New Blackfriars 30 (351):257-264.
  39. A New Catholic Genius.Robert Sencourt - 1933 - New Blackfriars 14 (164):924-935.
  40. The Rule of Genius.S. F. Darwin Fox - 1932 - New Blackfriars 13 (148):429-433.
  41. XI.—The Nature of Judgment.E. H. Strange - 1916 - Proceedings of the Aristotelian Society 16 (1):326-343.
  42. XII—The Kantian “As-If” and its Relevance for Aesthetics.Eva Schaper - 1965 - Proceedings of the Aristotelian Society 65 (1):219-234.
  43. Origins of Genius: Darwinian Perspectives on Creativity. Dean Keith Simonton. [REVIEW]Michael Ruse - 2001 - Isis 92 (3):587-589.
  44. Strange Genius: The Life of Ferdinand Vandeveer Hayden. Mike Foster.Ronald Rainger - 1995 - Isis 86 (3):509-510.
  45. 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.
  46. Scientific Genius: A Psychology of ScienceDean Keith Simonton.Harriet Zuckerman - 1991 - Isis 82 (1):101-102.
  47. Apprentice to Genius: The Making of a Scientific Dynasty. Robert Kanigel.Joshua Lederberg - 1987 - Isis 78 (3):462-463.
  48. A Gardener Touched with Genius: The Life of Luther Burbank. Peter Dreyer.Barbara A. Kimmelman - 1986 - Isis 77 (4):728-729.
  49. Uneasy Genius: The Life and Work of Pierre DuhemStanley L. Jaki.John Lyon - 1986 - Isis 77 (1):141-142.
  50. Beyond the Sublime PorteBarnette Miller.D. B. Macdonald - 1932 - Isis 17 (2):439-440.
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