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  1. Diagnosis of Genius.Lord Brain - 1963 - British Journal of Aesthetics 3 (2):114-128.
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  2. A Comment on the Mechanism of the Generation of Aesthetic Ideas in Kant's Critique of Judgment.Steven Ravett Brown - 2000 - [Journal (Paginated)] (in Press).
    In Kant's Critique of Judgment (CJ), the actual mechanism of the construction of aesthetic ideas is only briefly sketched. I suggest that there may be a connection between certain aspects of Sections 49 and 59, such that the creation of aesthetic ideas can be related to the process of "symbolic hypotyposis" (¤59.2). I will argue that the process of symbolic hypotyposis relates to the formation of aesthetic attributes, as symbols, through an analogical process; that a symbol acts, in effect, as (...)
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  3. Reply to Paul Guyer.Joseph Cannon - 2011 - Kantian Review 16 (1):135-139.
  4. Geist and Communication in Kant's Theory of Aesthetic Ideas.Charles DeBord - 2012 - Kantian Review 17 (2):177-190.
    In his Critique of the Power of Judgement, Kant explicates the creation of works of fine art (schöne Kunst) in terms of aesthetic ideas. His analysis of aesthetic ideas claims that they are not concepts (Begriffe) and are therefore not definable or describable in determinate language. Nevertheless, Kant claims that aesthetic ideas are communicable via spirit (Geist), a special mental ability he associates with artistic genius. This paper argues that Kant's notion of Geist is central to his analysis of fine (...)
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  5. Spirit Without Lines: Kant's Attempt to Reconcile the Genius with Society.Corey W. Dyck - 2004 - Idealistic Studies 34 (2):151-62.
    In the Anthropology, Kant wonders whether the genius or the individual possessing perfected judgment has contributed more to the advance of culture. In the KU, Kant answers this question definitively on the side of those with perfected judgment. Nevertheless, occurring as it does in §50 of the KU, immediately after Kant’s celebration of the genius in §49, this only raises more questions. Kant rejects the genius in favour of the individual of taste as an advancer of culture, yet under what (...)
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  6. Das Verhältnis von Genie, Künstler und Wissenschaftler in der Kantischen Philosophie.Piero Giordanetti - 1995 - Kant-Studien 86 (4):406-430.
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  7. Welche "Natur" gibt der Kunst die Regel? Zur Präsenz des spekulativen Vernunftbegriffs in Kants Kunstphilosophie.Max Gottschlich - 2013 - In S. Bacin (ed.), Kant Und Die Philosophie in Weltbürgerlicher Absicht. De Gruyter. pp. 71-84.
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  8. Genius and Taste: A Response to Joseph Cannon,'The Moral Value of Artistic Beauty in Kant'.Paul Guyer - 2011 - Kantian Review 16 (1):127-134.
  9. Gerard and Kant: Influence and Opposition.Paul Guyer - 2011 - Journal of Scottish Philosophy 9 (1):59-93.
    In his notes and lectures on anthropology, Kant explicitly refers to Alexander Gerard's 1774 Essay on Genius, and his own position that genius is necessary for art but not for science is clearly a response to Gerard. Kant does not explicitly mention Gerard's 1759 Essay on Taste, but it was probably an influence on his own conception of free play, and in any case a comparison of the two theories of aesthetic response is instructive. Gerard's development of a version of (...)
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  10. Kant and the Experience of Freedom: Essays on Aesthetics and Morality.Paul Guyer - 1993 - Cambridge University Press.
    This collection of essays by one of the preeminent Kant scholars of our time transforms our understanding of both Kant's aesthetics and his ethics. Guyer shows that at the very core of Kant's aesthetic theory, disinterestedness of taste becomes an experience of freedom and thus an essential accompaniment to morality itself. At the same time he reveals how Kant's moral theory includes a distinctive place for the cultivation of both general moral sentiments and particular attachments on the basis of the (...)
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  11. The Ways of Genius.John Holloway & Radoslav A. Tsanoff - 1951 - Philosophical Quarterly 1 (5):474.
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  12. Art and Genius.I. Kant - 1997 - In Susan L. Feagin & Patrick Maynard (eds.), Aesthetics. Oxford University Press. pp. 180--192.
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  13. Introduction to Cosmological Aesthetics: The Kantian Sublime and Nietzschean Dionysian.Erman Kaplama - 2010 - International Journal of the Humanities 8 (2):69-84.
    This paper is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...)
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  14. Paul W. Bruno, Kant's Concept of Genius: Its Origin and Function in the Third Critique.Kathleen Kelley - 2012 - Graduate Faculty Philosophy Journal 33 (1):247-250.
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  15. Kant and the Power of Imagination.Jane Kneller - 2007 - Cambridge University Press.
    In this book Jane Kneller focuses on the role of imagination as a creative power in Kant's aesthetics and in his overall philosophical enterprise. She analyzes Kant's account of imaginative freedom and the relation between imaginative free play and human social and moral development, showing various ways in which his aesthetics of disinterested reflection produce moral interests. She situates these aspects of his aesthetic theory within the context of German aesthetics of the eighteenth century, arguing that Kant's contribution is a (...)
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  16. 'Original Nonsense': Art and Genius in Kant's Aesthetic.Peter Lewis - 1990 - In G. MacDonald Ross & Tony McWalter (eds.), Kant and His Influence. Thoemmes Continuum. pp. 126.
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  17. Kant and the Art of Schematism.Samantha Matherne - 2014 - Kantian Review 19 (2):181-205.
    In the Critique of Pure Reason, Kant describes schematism as a (A141/B180–1). While most commentators treat this as Kant's metaphorical way of saying schematism is something too obscure to explain, I argue that we should follow up Kant's clue and treat schematism literally as Kunst. By letting our interpretation of schematism be guided by Kant's theoretically exact ways of using the term Kunst in the Critique of Judgment we gain valuable insight into the nature of schematism, as well as its (...)
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  18. The Inclusive Interpretation of Kant's Aesthetic Ideas.Samantha Matherne - 2013 - British Journal of Aesthetics 53 (1):21-39.
    In the Critique of the Power of Judgment, Kant offers a theory of artistic expression in which he claims that a work of art is a medium through which an artist expresses an ‘aesthetic idea’. While Kant’s theory of aesthetic ideas often receives rather restrictive interpretations, according to which aesthetic ideas can either present only moral concepts, or only moral concepts and purely rational concepts, in this article I offer an ‘inclusive interpretation’ of aesthetic ideas, according to which they can (...)
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  19. Context and Creation: The Significance of Kant’s Third Critique for Dilthey’s Hermeneutics of History.Jared A. Millson - 2011 - In Hans-Ulrich Lessing, Rudolf Makkreel & Riccardo Pozzo (eds.), Recent Contributions to Dilthey’s Philosophy of the Human Sciences. Stuttgart: Frommann-Holzboog. pp. 83-104.
  20. 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 (...)
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  21. Nature, Judgment and Art: Kant and the Problem of Genius.Jeremy Proulx - forthcoming - Kant Studies Online.
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  22. Kant's Concept of Genius: Its Origin and Function in the Third Critique.Jeremy Paul Proulx - 2012 - British Journal for the History of Philosophy 20 (3):633-636.
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  23. Kant's Apotheosis of Genius.Timothy Sean Quinn - 1991 - International Philosophical Quarterly 31 (2):161-172.
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  24. Genio e Weltanschauung da Kant a Hitler.Nicolae Rambu - 2008 - Cultura 5 (1):86-106.
    During the Nazi regime, Immanuel Kant was the most studied German philosopher. The most important in this context is the theory of the genius and of thecreation of the genius that is developed especially in the Critique of Judgement. Kant defines the genius as the natural capacity of the personality to impose its own rules to the art. The Nazi ideologists had invoked this fact to justify philosophically the right of the Führer to impose its own rules to the art (...)
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  25. Le malattie assiologiche dello spirito.Nicolae Râmbu - 2006 - Cultura 3 (2):49-67.
    During the Nazi regime, Immanuel Kant was the most studied German philosopher. The most important in this context is the theory of the genius and of thecreation of the genius that is developed especially in the Critique of Judgement. Kant defines the genius as the natural capacity of the personality to impose its own rules to the art. The Nazi ideologists had invoked this fact to justify philosophically the right of the Führer to impose its own rules to the art (...)
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  26. Kant on Fine Art, Genius and the Threat of Private Meaning.Aviv Reiter - 2018 - Kantian Review 23 (2):307-323.
  27. The Free Play of the Faculties and the Status of Natural Beauty in Kant's Theory of Taste.Alexander Rueger - 2008 - Archiv für Geschichte der Philosophie 90 (3):298-322.
    I argue that the free play of the faculties in Kant's theory of beauty should be interpreted as an activity that involves, over and above cognition, the aesthetic presentation of rational ideas. Two consequences of this proposal are then discussed: (1) Beauty in nature is not systematically prior to, or more basic than, artificial beauty; (2) genius and taste are connected more closely in the notion of the free play than Kant admits in the final version of his theory; this (...)
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  28. Kant's Concept of Genius and the Meaning of Art.Vedran Rutnik - 2013 - Filozofska Istrazivanja 33 (1):69-81.
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  29. The Dignity of the Particular: Adorno on Kant's Aesthetics.T. Stark - 1998 - Philosophy and Social Criticism 24 (2-3):61-83.
  30. Why Didn’T Kant Think Highly of Music?Emine Hande Tuna - forthcoming - In Violetta Waibel & Margit Ruffing (eds.), Natur und Freiheit: Akten des XII. Internationalen Kant-Kongresses 2015. Berlin, Germany: De Gruyter.
    In this paper, in answering the question why Kant didn’t think very highly of music, I argue that for Kant (i) music unlike other art forms, lends itself more easily to combination judgments involving judgments of sense, which increases the propensity to make aesthetic mistakes and is ill-suited as an activity for improving one’s taste; (ii) music expresses aesthetic ideas and presents rational ideas only by taking advantage of existing associations while other art forms do so by breaking with the (...)
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  31. Kant's Strange Light: Romanticism, Periodicity, and the Catachresis of Genius.Orrin N. C. Wang - 2000 - Diacritics 30 (4):15-37.
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  32. 'Wild Above Rule or Art' : Creation and Critique.Alistair Welchman - 1996 - Dissertation, University of Warwick
    This thesis is an interrogation of the viability of transitive production, which I associate with the Aristotelian term hylomorphic. The central axiom of hylomorphic production that will be targeted for critique is that the agent of production must be distinguished absolutely from the product. The thesis follows the thought of production primarily-but not exclusively-in its characteristically modem instantiation in the Kantian transcendental. The argument seeks to demonstrate that the productive aspect of the operator of transitive production is incompatible with the (...)
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  33. The Art of Doing Mathematics.Christian Helmut Wenzel - 2018 - In Berys Gaut & Matthew Kieran (eds.), Creativity and Philosophy. Routledge. pp. 313-330.
    Mathematicians often say that their theorems, proofs, and theories can be beautiful. They say mathematics can be like art. They know how to move creatively and freely in their domains. But ordinary people usually cannot do this and do not share this view. They often have unpleasant memories from school and do not have this experience of freedom and creativity in doing mathematics. I myself have been a mathematician, and I wish to highlight some of the creative aspects in doing (...)
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  34. Do Negative Judgments of Taste Have a Priori Grounds in Kant?Christian Helmut Wenzel - 2012 - Kant-Studien 103 (4):472-493.
    When contrasting something with its opposite, such as positive numbers with negative numbers, repulsion with attraction, good and evil, beauty and ugliness, Kant some-times says the latter are not merely cases of negation or privation of the former, but that they have their own, independent grounds. But do negative judgments of taste really have a priori grounds? There are two kinds of negative judgments of taste: “This is not beautiful” and “This is ugly.” Can they be a priori judgments? Or (...)
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  35. An Introduction to Kant's Aesthetics: Core Concepts and Problems.Christian Helmut Wenzel - 2005 - New York (USA), Oxford (UK): Wiley-Blackwell.
    In _An Introduction to Kant’s Aesthetics_, Christian Wenzel discusses and demystifies Kant’s Critique of the Power of Judgment, guiding the reader each step of the way and placing key points of discussion in the context of Kant’s other work. Explains difficult concepts in plain language, using numerous examples and a helpful glossary. Proceeds in the same order as Kant’s text for ease of reference and comprehension. Includes an illuminating foreword by Henry E. Allison. Offers twenty-six further-reading sections, commenting briefly on (...)
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  36. Das Problem der Subjektiven Allgemeingültigkeit des Geschmacksurteils Bei Kant (The Problem of Subjective Universality of the Judgment of Taste in Kant).Christian Helmut Wenzel - 2000 - Walter de Gruyter.
  37. Genie und Tragik.Ottomar Wichmann - 1921 - Kant-Studien 26 (1-2):351-389.
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