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The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...) |
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The analogy between gustatory taste and critical or aesthetic taste plays a recurring role in the history of aesthetics. Our interest in this article is in a particular way in which gustatory judgments are frequently thought to be analogous to critical judgments. It appears obvious to many that to know how a particular object tastes we must have tasted it for ourselves; the proof of the pudding, we are all told, is in the eating. And it has seemed just as (...) |
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This paper explores the possibility of developing a hybrid version of dispositional theories of aesthetic values. On such a theory, uses of aesthetic predicates express relational second-order dispositional properties. If the theory is not absolutist, it allows for the relativity of aesthetic values. But it may be objected to on the grounds that it fails to explain disagreement among subjects who are not disposed alike. This paper explores the possibility of adapting recent proposals of hybrid expressivist theories for moral predicates (...) |
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Predicates of taste, such as ‘fun’ and ‘tasty’, have received considerable attention in recent debates between contextualists and relativists, with considerations involving disagreement playing a central role. Considerations involving disagreement have been taken to present a problem for contextualist treatments of predicates of taste. My goal is to argue that considerations involving disagreement do not undermine contextualism. To the extent that relativism was supposed to be motivated by contextualists being unable to deal with disagreement, this motivation is lacking. The argument (...) |
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ABSTRACTEvaluative aesthetic discourse communicates that the speaker has had first-hand experience of what is talked about. If you call a book bewitching, it will be assumed that you have read the book. If you say that a building is beautiful, it will be assumed that you have had some visual experience with it. According to an influential view, this is because knowledge is a norm for assertion, and aesthetic knowledge requires first-hand experience. This paper criticizes this view and argues for (...) |
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