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  1. Analytic Aesthetics and the Dilemma of Timelessness.Derek Allan - manuscript
    The paper highlights analytic aesthetics’ unacknowledged assumption that art is timeless, a view it inherited from Enlightenment thinkers such as Hume and Kant, who in turn inherited it from the Renaissance. This view, I contend, is no longer tenable because it is at odds with our experience of the art of the past. Analytic aesthetics avoids this key problem because it confines its attention to issues such as the nature of aesthetic pleasure, whether the appreciation of art should be disinterested (...)
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  2. Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment.Henry E. Allison - 2001 - Cambridge University Press.
    This book constitutes one of the most important contributions to recent Kant scholarship. In it, one of the pre-eminent interpreters of Kant, Henry Allison, offers a comprehensive, systematic, and philosophically astute account of all aspects of Kant's views on aesthetics. The first part of the book analyses Kant's conception of reflective judgment and its connections with both empirical knowledge and judgments of taste. The second and third parts treat two questions that Allison insists must be kept distinct: the normativity of (...)
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  3. Productive Excess: Aesthetic Ideas, Silence, and Community. Bradfield - 2014 - Journal of Aesthetic Education 48 (2):1-15.
    Due to the complexity of aesthetic ideas and the lack of a determinate concept that is adequate to the experience, we search for the words to describe our encounters with art. Sometimes, that search is in vain, and we have difficulty expressing ourselves. In such cases, we are so taken aback by the sheer amount of cognitive activity spurred by our aesthetic experience that we are silenced by art. Instead of viewing what happens in judgments of taste as “discursively mute,” (...)
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  4. Was bedeutet die abstrakte Kunst?Walter Bröcker - 1956 - Kant-Studien 48 (1-4):485-501.
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  5. Judgment in Contemporary Aesthetic Experience.Bernardo Barros Coelho de Oliveira - 2011 - Filosofia Unisinos 12 (1):38-47.
    The article presents central concepts of the “Critique of Aesthetic Judgment,” the first part of the Critique of Judgment by Kant, arguing for the possibility of a fruitful discussion between this work and the problems of aesthetic experience in the contemporary world. It emphasizes Kant’s claims about the judgments of taste concerning works of art and tries to remove some prejudices that hinder the dialogue between this work and current problems.
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  6. 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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  7. Niebo gwiaździste nad Królewcem a prawo moralne. Dyskusja Gadamera z estetyką Kanta wokół kwestii doświadczenia piękna i jego odniesienia do etyki.Paweł Dybel - 2018 - Diametros 55:112-131.
    In the article, I engage with H.G.Gadamer’s reading of Kant’s aesthetic theory. Gadamer accused Kant of subjectivizing the aesthetic experience so that it would be reduced to the free play of the cognitive faculties of the subject. Consequently, the ethical dimension of aesthetic experience that played such an important role in the preceding tradition of European humanism has been lost. Yet, this charge of Gadamer is not quite right. The connection between the experience of beauty and ethics has been maintained (...)
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  8. Recensione: Klemme (Hrsg.), Die Schule Immanuel Kants. Mit dem Text von Christian Schiffert über das Königsberger Collegium Fridericianum (Kant-Forschungen; Band 6). [REVIEW]P. Giordanetti - 1996 - Kant-Studien 87 (3):378-382.
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  9. Das Verhältnis von Genie, Künstler und Wissenschaftler in der Kantischen Philosophie.Piero Giordanetti - 1995 - Kant-Studien 86 (4):406-430.
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  10. 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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  11. Kant's Conception of Fine Art.Paul Guyer - 1994 - Journal of Aesthetics and Art Criticism 52 (3):275-285.
  12. Kant's Aesthetic Theory.Paul Guyer - 1993 - International Studies in Philosophy 25 (3):131-133.
  13. A „fogalom nélküli” szép és a művészet modern paradigmája.Gizela Horvath - 2016 - In Varga Rita Tánczos Péter (ed.), Tanulmányok Immanuel Kant aktualitásáról. ("...amennyiben szellemi lények vagyunk"). Budapest, Hungary: L'Harmattan. pp. 267-288.
  14. Art and Genius.I. Kant - 1997 - In Susan L. Feagin & Patrick Maynard (eds.), Aesthetics. Oxford University Press. pp. 180--192.
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  15. 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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  16. Implications of Kant's Theories of Art for Developing Creative Identity in Students. Katz-Buonincontro - 2015 - Journal of Aesthetic Education 49 (4):1-18.
    In the Critique of the Power of Judgment, philosopher Immanuel Kant explored whether art can be learned, as well as the nature of aesthetic ideas that underpin the creative process of making art. Much the same way, teachers and professors still question whether artistic talent and creativity can be learned and how to foster students’ creativity in schools and universities. For example, some professors believe that students come into their classroom either possessing creativity or not possessing creativity,1 which resonates with (...)
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  17. That Kant Did Not Complete His Argument Concerning the Relation of Art to Morality and How It Might Be Completed.Richard Kuhns - 1975 - Idealistic Studies 5 (2):190-206.
  18. Is There Are a Possibility of an Ugly Aesthetic Idea in Kant's Aesthetics?Mojca Küplen - forthcoming - In Violetta L. Waibel and Margit Ruffing (ed.), Proceedings of the 12. International Kant Congress Nature and Freedom. De Gruyter.
    In Kant’s aesthetic theory, the association of ugliness with aesthetic ideas is not immediately apparent. Even more, it has been argued by most of Kant’s commentators that ugliness cannot express aesthetic ideas. In short, they claim that accordance with taste (i.e. free harmony between imagination and understanding) is a necessary condition for an aesthetic idea to be expressed in a way that makes sense to others. But if production of aesthetic ideas must be restrained by taste in order to have (...)
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  19. Kants Kunsttheorie Und Die Einheit Der Kritik Der Urteilskraft.K. Kuypers - 1972 - Amsterdam: North-Holland Pub. Co..
  20. The Moral Significance of Art in Kant's Critique of Judgment: Imagination and the Performance of Imperfect Duties.Wing Sze Leung - 2018 - Journal of Aesthetic Education 52 (3):87.
    Debates among contemporary philosophers and literary scholars on the moral value of representational art revolve around how art appreciation influences the audience—whether viewer or reader. Martha Nussbaum, a distinguished scholar in law and ethics who has initiated many lively dialogues on this subject, holds that we have a great deal to learn from literary works—in particular, realist novels—because they so concretely depict the ways in which personal and social circumstances shape human emotions, actions, and choices. While Charles Dickens’s Hard Times (...)
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  21. '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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  22. Celebrating Both Singularity and Commonality.Yu Liu - 2012 - International Philosophical Quarterly 52 (1):99-116.
    Kant’s notion of genius and the related idea of exemplary originality in the Critique of Judgment have been read by Paul Guyer and Timothy Gould as implying azero-sum game in which all creative artists are willy-nilly patricidal in relation to their predecessors and suicidal in relation to their successors. By way of challenging this interesting but ultimately repugnant reading, and especially its modernist and postmodernist frame of reference, this essay takes a close look at Kant’s sustained interest in the monumental (...)
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  23. Aesthetic Reflection and the Very Possibility of Art.Jennifer A. McMahon - 2007 - In Ian North (ed.), Visual Animals: Cross Overs, Evolution and New Aesthetics. Contemporary Art Centre of South Australia. pp. 73-83.
    If we conceive of ourselves as animals, it might be accurate to call us visual animals. The visual cortex is much larger in us relative to the size of our brains than in other animals, and large relative to the parts of the cortex responsible for the transmission of signals emanating from the other perceptual transducers. Our ability to recall visual images, recombine them in imagination and enter imaginatively into narratives is linked to this evolved piece of brain architecture. However, (...)
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  24. The Rule of Art: On Kant with Wittgenstein.E. Mechoulan - 1992 - Diogenes 40 (157):113-127.
  25. From Kant to Bourdieu: An Aesthetic Renewal?M. Meyer - 2002 - Revue Internationale de Philosophie 56 (220):259-274.
  26. Is a Kantian Musical Formalism Possible?Thomas J. Mulherin - 2016 - Journal of Aesthetics and Art Criticism 74 (1):35-46.
    In this article, I consider whether a suitably stripped-down version of Kant's aesthetic theory could nevertheless provide philosophical foundations for musical formalism. I begin by distinguishing between formalism as a view about the nature of music and formalism as an approach to music criticism, arguing that Kant's aesthetics only rules out the former. Then, using an example from the work of musicologist and composer Edward T. Cone, I isolate the characteristics of formalist music criticism. With this characterization in mind, I (...)
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  27. Ideal Embodiment. Kant's Theory of Sensibility.Angelica Nuzzo - 2008 - Indiana University Press.
    Angelica Nuzzo offers a comprehensive reconstruction of Kant's theory of sensibility in his three Critiques. By introducing the notion of "transcendental embodiment," Nuzzo proposes a new understanding of Kant's views on science, nature, morality, and art. She shows that the issue of human embodiment is coherently addressed and key to comprehending vexing issues in Kant's work as a whole. In this penetrating book, Nuzzo enters new terrain and takes on questions Kant struggled with: How does a body that feels pleasure (...)
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  28. Conflit et dialectique des sentiments dans la fiancée de Messine de Schiller.Giovanna Pinna - 2006 - Les Etudes Philosophiques 77 (2):237.
  29. Review: Cheetham, Kant, Art and Art History: Moments of Discipline. [REVIEW]Brad Prager - 2002 - Journal of the History of Philosophy 40 (4):547-548.
    Brad Prager - Kant, Art and Art History: Moments of Discipline - Journal of the History of Philosophy 40:4 Journal of the History of Philosophy 40.4 547-548 Book Review Kant, Art and Art History: Moments of Discipline Mark A. Cheetham. Kant, Art and Art History: Moments of Discipline. New York: Cambridge University Press, 2001. Pp. x + 222. Cloth, $55.00. Mark Cheetham's thorough and insightful new work investigates Kant's continuing influence on the visual arts, both in practice and as defined (...)
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  30. Kant on Fine Art, Genius and the Threat of Private Meaning.Aviv Reiter - 2018 - Kantian Review 23 (2):307-323.
  31. Natural Beauty, Fine Art and the Relation Between Them.Aviv Reiter & Ido Geiger - 2018 - Kant-Studien 109 (1):72-100.
    Name der Zeitschrift: Kant-Studien Jahrgang: 109 Heft: 1 Seiten: 72-100.
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  32. The Kantian Sublime: From Morality to Art.Eva Schaper - 1991 - Philosophical Books 32 (2):85-86.
  33. Kant on Painting and the Representation of the Sublime.Gabriele Tomasi - 2005 - Croatian Journal of Philosophy 5 (3):545-567.
    The essay deals with the question of how works of art that evoke a sense of the sublime are to be analysed in terms of Kant’s theory. Although Kant assumes the possibility of a beautiful representation of the sublime, of a sublime “shaped by beauty”, that a work can appear sublime is not immediately clear. Contrapurposiveness plays a key role in the experience of the sublime, but art is an essentially purposive context and aims at beauty. Following readings such as (...)
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  34. 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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  35. A Kantian Hybrid Theory of Art Criticism: A Particularist Appeal to the Generalists.Emine Hande Tuna - 2016 - Journal of Aesthetics and Art Criticism 74 (4):397-411.
    Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, I not only present (...)
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  36. A Kantian Theory of Art Criticism.Emine Hande Tuna - 2016 - Dissertation, University of Alberta
    I argue that Kant’s aesthetic theory yields a fruitful theory of art criticism and that this theory presents an alternative both to the existing theories of his time and to contemporary theories. In this regard, my dissertation offers an examination of a neglected area in Kant scholarship since it is standardly assumed that a theory of criticism flies in the face of some of Kant’s most central aesthetic tenets, such as his rejection of aesthetic testimony and general objective principles of (...)
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  37. Art, nature et expérience esthétique chez Kant.Claude Veillette - 1996 - Dialogue 35 (2):219-.
    Au § 45 de la Critique de la facultè de juger, Kant écrit: «La nature était belle lorsqu'elle avait incontinent l'apparence de l'art; et l'art ne peut être appelé beau que lorsque nous sommes conscients qu'il s'agit bien d'art, mais qu'il prend pour nous l'apparence de la nature». Ce qui semble à première vue n'être qu'un simple «paradoxes Gedankenspiel» nous convie au contraire à l'un des problèmes les plus intéressants de la troisième Critique: celui du rapport entre la beauté de (...)
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  38. Philosophers on Art From Kant to the Postmodernists: A Critical Reader.Christopher Want (ed.) - 2010 - Columbia University Press.
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  39. The Art of Willing: The Impact of Kant’s Aesthetics on Schopenhauer’s Conception of the Will.Alistair Welchman - 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. 627-638.
    Much has been written about Schopenhauer’s use of Kant’s aesthetics as well as Schopenhauer’s adherence to and departures from Kant’s theoretical philosophy, not least by Schopenhauer himself. The hypothesis I propose in this paper combines these two research trajectories in a novel way: I wish to argue that Schopenhauer’s main theoretical innovation, the doctrine of the will, can be regarded as the development of an aspect of Kant’s aesthetic theory, specifically that the intransitive, goalless striving of the will in Schopenhauer (...)
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  40. 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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  41. 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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  42. 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.
  43. Review: Cheetham, Kant, Art, and Art History: Moments of Discipline[REVIEW]Robert Wicks - 2003 - Dialogue 42 (3):604-.
  44. Is There Kantian Art Criticism?Rachel Zuckert - 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. 343-356.
    Kant’s theory of taste might suggest that there cannot be any legitimate, useful art criticism, which guides others’ art appreciation: on the Kantian view, each of us must judge for him- or herself, autonomously, not follow the judgments of others; and no empirical concepts, or empirical knowledge, is supposed to be relevant for making a judgment of taste. Thus, it would seem, we should not follow others who have superior knowledge of art, because they have such knowledge. Despite these elements (...)
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