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  1. Kant and the Harmony of the Faculties: A Non-Cognitive Interpretation.Apaar Kumar - 2018 - Kantian Review 23 (1):1-26.
  • El -conceptualismo de Kant y los juicios de gusto.Matias Oroño - 2017 - Con-Textos Kantianos 6:93-105.
    Hay una tendencia dentro del debate sobre el conceptualismo y el no-conceptualismo kantiano a pasar por alto la estética de Kant. El objetivo central de este artículo es ofrecer un análisis sobre la interpretación no-conceptualista de Heidemann en torno a la teoría kantiana de los juicios de gusto. En primer lugar, se discuten los argumentos que Heidemann ofrece acerca del carácter cognitivo de los juicios de gusto. En segundo lugar, se analiza el supuesto no-conceptualismo implicado en la experiencia estética de (...)
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  • Kant e la formazione dei concetti.Alberto Vanzo - 2012 - Verifiche.
    How do we form concepts like those of three, bicycle and red? According to Kant, we form them by carrying out acts of comparison, reflection and abstraction on information provided by the senses. Kant's answer raised numerous objections from philosophers and psychologists alike. "Kant e la formazione dei concetti" argues that Kant is able to rebut those objections. The book shows that, for Kant, it is possible to perceive objects without employing concepts; it explains how, given those perceptions, we can (...)
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  • بررسی تبییین کانت از قوای تخیل و فاهمه در نقدهای اول و سوم.Mohammad Bagher Ghomi - 2010 - Zehn 41 (11):109-129.
    بررسی تبییین کانت از قوای تخیل و فاهمه در نقدهای اول و سوم.
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  • Kant and Abstractionism About Concept Formation.Alberto Vanzo - 2017 - In Stefano Di Bella & Tad M. Schmaltz (eds.), The Problem of Universals in Early Modern Philosophy. Oxford University Press. pp. 305-323.
    This chapter outlines Kant’s account of empirical concept formation and discusses two objections that have been advanced against it. Kant holds that we form empirical concepts, such as colour concepts, by comparing sensory representations of individuals, identifying shared features, and abstracting from the differences between them. According to the first objection, we cannot acquire colour concepts in this way because there is no feature that all and only the instances of a given colour share and the boundary between colours is (...)
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  • The Materiality of Narrative Spaces: A Theatre Semiotics Perspective Into the Teaching of Physics.Panagiotis Pantidos, Kostas Valakas, Evangelos Vitoratos & Kostantinos Ravanis - 2010 - Semiotica 2010 (182):305-325.
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