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  1. Emilio Garroni and the aesthetic Conceptualism in Kant’s Third Critique.Luca Forgione - 2022 - Aesthetica Preprint 119 (1):181-197.
    In recent years, nonconceptual content theories have seen Kant as a reference point for his notion of intuition (§§ 1-3). This work aims to dismiss the possibility that intuition is provided with an autonomous function of de re knowledge. To this end, it will explore certain epistemological points that emerge from Garroni’s reading of the Third Critique in the conviction that they provide a suitable context to verify the presence of autonomous, epistemically nonconceptual content in the transcendental system (§§ 4-5). (...)
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  2. The Passions and Disinterest: From Kantian Free Play to Creative Determination by Power, via Schiller and Nietzsche.Eli I. Lichtenstein - 2019 - Ergo: An Open Access Journal of Philosophy 6:249-279.
    I argue that Nietzsche’s criticism of the Kantian theory of disinterested pleasure in beauty reflects his own commitment to claims that closely resemble certain Kantian aesthetic principles, specifically as reinterpreted by Schiller. I show that Schiller takes the experience of beauty to be disinterested both (1) insofar as it involves impassioned ‘play’ rather than desire-driven ‘work’, and (2) insofar as it involves rational-sensuous (‘aesthetic’) play rather than mere physical play. In figures like Nietzsche, Schiller’s generic notion of play—which is itself (...)
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  3. 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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  4. Rethinking Kant.Pablo Muchnik (ed.) - 2018 - Cambridge Scholars Publishing.
    The series Rethinking Kant, now in its fourth volume, has become a mirror of Kantian studies in North America. It gathers papers presented at the various study groups of the North American Kant Society, along with contributions from hosts, session chairs, and keynote speakers. Because of its broad and unique composition, it offers a sample of a whole generation of Kantian thought, ranging from recent PhDs, to up and coming young scholars, to some well-established and influential players in the field. (...)
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  5. On the Interest in Beauty and Disinterest.Nick Riggle - 2016 - Philosophers' Imprint 16:1-14.
    Contemporary philosophical attitudes toward beauty are hard to reconcile with its importance in the history of philosophy. Philosophers used to allow it a starring role in their theories of autonomy, morality, or the good life. But today, if beauty is discussed at all, it is often explicitly denied any such importance. This is due, in part, to the thought that beauty is the object of “disinterested pleasure”. In this paper I clarify the notion of disinterest and develop two general strategies (...)
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  6. Sul gusto e sul giudizio di gusto.Francesca Brencio - 2013 - In M. Marchi & G. Di Renzo (eds.), Le declinazioni del gusto. Aracne.
  7. 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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  8. Teaching & learning guide for: Art, morality and ethics: On the moral character of art works and inter-relations to artistic value.Matthew Kieran - 2010 - Philosophy Compass 5 (5):426-431.
    This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...)
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  9. Nature, interthing intersubjectivity, and the environment: A comparative analysis of Kant and daoism.Ann A. Pang-White - 2009 - Dao: A Journal of Comparative Philosophy 8 (1):61-78.
    The Kantian philosophy, for many, largely represents the Modern West’s anthropocentric dominance of nature in its instrumental-rationalist orientation. Recently, some scholars have argued that Kant’s aesthetics offers significant resources for environmental ethics, while others believe that Kant’s flawed dualistic views in the second Critique severely undermine any environmental promise that aesthetic judgments may hold in Kant’s third Critique . This article first examines the meanings of nature in Kant’s three Critique s. It concludes that Kant’s aesthetic view toward sensible nature (...)
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  10. The Senses of the Sublime: Possibilities for a Non-Ocular Sublime in Kant's Critique of Judgment.C. E. Emmer - 2001 - In Volker Gerhardt, Rolf-Peter Horstmann & Ralph Schumacher (eds.), Kant Und Die Berliner Aufklärung: Akten des IX Internationalen Kant-Kongresses. New York: Walter de Gruyter. pp. 512-519.
    It might at first seem that the senses (the five traditionally recognized conduits of outer sense) would have very little to contribute to an investigation of Kant's aesthetics. Is not Kant's aesthetic theory based on a relation of the higher cognitive faculties? Much however can be revealed by asking to what degree sight is essential to aesthetic judgment (of beauty and the sublime) as Kant describes it in the 'Critique of Judgment.' Here the sublime receives particular attention.
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  11. Kant and fine art: an essay on Kant and the philosophy of fine art and culture.Salim Kemal - 1986 - New York: Oxford University Press.
    Integrating Kant's ideas on aesthetics and morality, Dr. Kemal explains how Kant's theories emphasize that art is critical to the development of culture and community goals. He clarifies Kant's often obscure efforts to justify artistic judgements and demonstrates Kant's claim that they have their own necessity. Containing explanations of many difficult terms present in Kant's Critique of Judgment, this study is a valuable guide to understanding Kant's association of beauty and morality.
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  12. The harmony of reason: a study in Kant's aesthetics.Francis X. J. Coleman - 1974 - [Pittsburg]: University of Pittsburgh Press.
    Introduction The General Bearings of Kant's Third Critique The Critique of Judgment may be broadly viewed as a work of philosophical diplomacy in which Kant ...
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  13. Kant and Maritain on the nature of art.Manuel M. Davenport - 1972 - British Journal of Aesthetics 12 (4):359-368.
  14. Observations on the Feeling of the Beautiful and the Sublime.Johann Jacob Kanter, Johann Georg Hamann, Moses Mendelssohn & Edmund Burke - 1961 - Philosophical Books 2 (2):7-9.
    Contents \t\t\t\t\t \tTRANSLATOR'S INTRODUCTION \t\t1 \t \tNOTE ON THE TRANSLATION \t\t39 \t OBSERVATIONS ON THE FEELING OF THE BEAUTIFUL AND SUBLIME \t\t\t\t\t \tSECTION ONE: \t\t\t\t \t\tOf the Distinct Objects of the Feeling of the Beautiful and Sublime \t\t45 \tSECTION TWO: \t\t\t\t \t\tOf the Attributes of the Beautiful and Sublime.
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  15. Observations on the feeling of the beautiful and sublime.Immanuel Kant - 1960 - Berkeley,: University of California Press. Edited by Immanuel Kant.
    Kant's only aesthetic work apart from the Critique of Judgment , Observations on the Feeling of the Beautiful and Sublime gives the reader a sense of the personality and character of its author as he sifts through the range of human responses to the concept of beauty and human manifestations of the beautiful and sublime. Kant was fifty-eight when the first of his great Critical trilogy, the Critique of Pure Reason , was published. Observations offers a view into the mind (...)
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