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Rachel Zuckert
Northwestern University
  1.  66
    Kant on Beauty and Biology: An Interpretation of the 'Critique of Judgment'.Rachel Zuckert - 2007 - Cambridge University Press.
    Kant's Critique of Judgment has often been interpreted by scholars as comprising separate treatments of three uneasily connected topics: beauty, biology, and empirical knowledge. Rachel Zuckert's book interprets the Critique as a unified argument concerning all three domains. She argues that on Kant's view, human beings demonstrate a distinctive cognitive ability in appreciating beauty and understanding organic life: an ability to anticipate a whole that we do not completely understand according to preconceived categories. This ability is necessary, moreover, for human (...)
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  2. The Purposiveness of Form: A Reading of Kant's Aesthetic Formalism.Rachel Zuckert - 2006 - Journal of the History of Philosophy 44 (4):599-622.
    Rachel Zuckert - The Purposiveness of Form: A Reading of Kant's Aesthetic Formalism - Journal of the History of Philosophy 44:4 Journal of the History of Philosophy 44.4 599-622 Muse Search Journals This Journal Contents The Purposiveness of Form: A Reading of Kant's Aesthetic Formalism Rachel Zuckert In the "critique of aesthetic judgment," Kant claims that when we find an object beautiful, we are appreciating its "purposive form." Many of Kant's readers have found this claim one of his least interesting (...)
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  3.  43
    Awe or Envy: Herder Contra Kant on the Sublime.Rachel Zuckert - 2003 - Journal of Aesthetics and Art Criticism 61 (3):217–232.
    I present and evaluate Johann Gottfried Herder's criticisms of Kant's account of the sublime and Herder's own theory of the sublime, as presented in his work, Kalligone. Herder's account and criticisms ought to be taken seriously, I argue, as (respectively) a non-reductive, naturalist aesthetics of the sublime, and as illuminating the metaphysical, moral, and political presuppositions underlying Kant's (and Burke's) accounts of the sublime.
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  4.  63
    A New Look at Kant's Theory of Pleasure.Rachel Zuckert - 2002 - Journal of Aesthetics and Art Criticism 60 (3):239–252.
    I argue (contra Guyer et al.) that in the Critique of Judgment Kant espouses a formal, intentional theory of pleasure, and reconstruct Kant's arguments that this view can both identify what all pleasures have in common, and differentiate among kinds of pleasure. Through his investigation of aesthetic experience in the Critique of Judgment, I argue, Kant radically departs from his views about pleasure as mere sensation in the Groundwork and the Critique of Practical Reason, and provides a view of pleasure (...)
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  5. Boring Beauty and Universal Morality: Kant on the Ideal of Beauty.Rachel Zuckert - 2005 - Inquiry: An Interdisciplinary Journal of Philosophy 48 (2):107 – 130.
    This paper argues that Kant 's account of the "ideal of beauty " in paragraph 17 of the Critique of Judgment is not only a plausible account of one kind of beauty, but also that it can address some of our moral qualms concerning the aesthetic evaluation of persons, including our psychological propensity to take a person's beauty to represent her moral character.
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  6.  93
    Kant's Rationalist Aesthetics.Rachel Zuckert - 2007 - Kant-Studien 98 (4):443-463.
    It is quite standard, even banal, to describe Kant's project in the Critique of Pure Reason [KrV] as a critical reconciliation of rationalism and empiricism, most directly expressed in Kant's claim that intuitions and concepts are two distinct, yet equally necessary, and necessarily interdependent sources of cognition. Similarly, though Kant rejects both the rationalist foundation of morality in the concept of perfection and that of the empiricists in feeling or in the moral sense, one might broadly characterize Kant's moral philosophy (...)
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  7.  1
    The Purposiveness of Form: A Reading of Kant's Aesthetic Formalism.Rachel Zuckert - 2006 - Journal of the History of Ideas 44:599-622.
    Rachel Zuckert - The Purposiveness of Form: A Reading of Kant's Aesthetic Formalism - Journal of the History of Philosophy 44:4 Journal of the History of Philosophy 44.4 599-622 Muse Search Journals This Journal Contents The Purposiveness of Form: A Reading of Kant's Aesthetic Formalism Rachel Zuckert In the "critique of aesthetic judgment," Kant claims that when we find an object beautiful, we are appreciating its "purposive form." Many of Kant's readers have found this claim one of his least interesting (...)
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  8.  11
    Adaptive Naturalism in Herder’s Aesthetics.Rachel Zuckert - 2015 - Graduate Faculty Philosophy Journal 36 (2):269-293.
    I discuss an apparent tension between two aspects of Johann Gottfried Herder’s aesthetic theory: his emphasis on and endorsement of art’s cultural embeddedness and historical variation, and his reliance on natural norms of artistic value. I propose that Herder’s essay, “Shakespeare,” suggests a possible resolution to this tension, a position I call “adaptive naturalism.” On this view, aesthetic value comprises a work’s capacity to promote the exercise of human natural capacities in harmony with the (natural or social) environment. Thus such (...)
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  9.  26
    Expressivism and Aesthetics.Rachel Zuckert - 2006 - Graduate Faculty Philosophy Journal 27 (2):1-24.
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  10.  31
    Sculpture and Touch: Herder's Aesthetics of Sculpture.Rachel Zuckert - 2009 - Journal of Aesthetics and Art Criticism 67 (3):285-299.
    I present and analyze J.G. Herder’s aesthetics of sculpture, as an art form directed toward and appreciated by the sense of touch. I argue that Herder is unsuccessful in his attempt so to define sculpture, but his account is nonetheless fruitful, both in making salient and explaining signal aspects of sculptural appreciation and criticism and, more broadly and quite innovatively, in proposing an aesthetics of touch, even an embodied aesthetics.
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  11.  6
    Expressivism and Aesthetics.Rachel Zuckert - 2006 - Graduate Faculty Philosophy Journal 27 (2):1-24.
    Following suggestions of Isaiah Berlin, Charles Taylor articulates a central doctrine of late 18th century and 19th century German philosophy: “expressivism,” viz., the view that the most valuable human life is one of (self-) expression. This conception has historical roots, Taylor argues, in Rousseau’s proto-Romantic celebration of natural authenticity and in Herder’s theistic naturalism, and has had considerable influence on and appeal both philosophically and in the broader culture. Taylor suggests that this doctrine both draws from philosophical aesthetics, and explains (...)
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  12.  12
    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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  13.  14
    Kant's Account of Practical Fanaticism.Rachel Zuckert - 2010 - In Benjamin Lipscomb & James Krueger (eds.), Kant's Moral Metaphysics: God, Freedom, and Immortality. De Gruyter. pp. 291.
    Many seventeenth- and eighteenth-century philosophers of the Enlightenment, such as Hobbes, Spinoza, Locke, Shaftesbury, Hume, Voltaire, and Diderot, criticized religious doctrines not only because (or when) such doctrines comprised unfounded claims to knowledge, but also because they inspired fanaticism, ensuing in sectarian violence, persecution, torture, and war. In this paper, I attempt to reconstruct Kant’s position, as part of this Enlightenment project: he too repeatedly and pejoratively characterizes various forms of belief in or behavior guided by religious (or other) conceptions (...)
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  14.  27
    Kames's Naturalist Aesthetics and the Case of Tragedy.Rachel Zuckert - 2009 - Journal of Scottish Philosophy 7 (2):147-162.
    In this essay, I discuss Kames' aesthetic theory, as presented in his essay, ‘Our Attachment to Objects of Distress’ (concerning the problem of tragedy), and in Elements of Criticism. I argue that Kames' (non-)response to the problem of tragedy – that we find tragedies painful (not pleasing), yet are ‘attracted to them through the workings of the “blind instinct” of sympathy’ – is intended to call the standard formulation of the problem of tragedy (‘why do we find such painful things (...)
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  15.  14
    After Herder: Philosophy of Language in the German Tradition, by Michael N. Forster. [REVIEW]Rachel Zuckert - 2013 - European Journal of Philosophy 21 (S1):E7--E12.
  16.  24
    Review: Gasche, The Idea of Form: Rethinking Kant's Aesthetics[REVIEW]Rachel Zuckert - 2003 - Notre Dame Philosophical Reviews 2003 (6).
  17.  4
    Kant's Rationalist Aesthetics.Rachel Zuckert - 2007 - Kant-Studien 98 (4):443-463.
    It is quite standard, even banal, to describe Kant's project in the Critique of Pure Reason [KrV] as a critical reconciliation of rationalism and empiricism, most directly expressed in Kant's claim that intuitions and concepts are two distinct, yet equally necessary, and necessarily interdependent sources of cognition. Similarly, though Kant rejects both the rationalist foundation of morality in the concept of perfection and that of the empiricists in feeling or in the moral sense, one might broadly characterize Kant's moral philosophy (...)
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  18.  14
    Living with Nietzsche. [REVIEW]Rachel Zuckert - 2005 - Review of Metaphysics 59 (2):453-454.
  19.  4
    Gerard, Kames, Alison, and Stewart.Rachel Zuckert - 2012 - In Timothy M. Costelloe (ed.), The Sublime: From Antiquity to the Present. Cambridge University Press. pp. 64.
    This essay concerns the theories of the sublime proposed by Alexander Gerard, Henry Home (Lord Kames), Archibald Alison, and Dugald Stewart. All four thinkers, I argue, aim to provide a philosophical account of the unity of the concept of the sublime, i.e., to respond to the question: what might all objects, art works, etc. that have been identified as sublime (or “grand”) in the philosophical, literary, art-theoretical, and rhetorical tradition have in common? Yet because they find the objects called “sublime” (...)
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  20.  3
    After Herder: Philosophy of Language in the German Tradition, by Michael N. Forster. Oxford: Oxford University Press, 2010, Xii + 482 Pp. ISBN 13: 978‐0‐19‐922811‐9 Hb £52.50. [REVIEW]Rachel Zuckert - 2013 - European Journal of Philosophy 21 (S1):E7-E12.
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  21.  3
    Organisms and Metaphysics: Kant’s First Herder Review.Rachel Zuckert - 2014 - In Eric Watkins & Ina Goy (eds.), Kant's Theory of Biology. De Gruyter. pp. 61-78.
    John Zammito, among others, argues that in his review of J.G. Herder’s Ideas, Kant criticizes Herder as a dogmatic metaphysician hypocritically: these criticisms themselves rest on dogmatic metaphysical grounds, viz. an insistence of the distinction of human beings (as souls or rational free agents) from the rest of nature, a commitment to “dead” matter and the like. Against this interpretation, I argue that Kant’s criticism of Herder is grounded not in metaphysical commitments, but in epistemological concerns articulated in the Critique (...)
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  22.  9
    Review: Ameriks, Interpreting Kant's Critiques[REVIEW]Rachel Zuckert - 2004 - Notre Dame Philosophical Reviews 2004 (5).
  23.  5
    Hegel on Philosophy in History.James Kreines & Rachel Zuckert (eds.) - 2017 - Cambridge, UK: Cambridge University Press.
    In this volume honouring Robert Pippin, prominent philosophers such as John McDowell, Slavoj Žižek, Jonathan Lear, and Axel Honneth explore Hegel's proposals concerning the historical character of philosophy. Hegelian doctrines discussed include the purported end of art, Hegel's view of human history, including the history of philosophy as the history of freedom, and the nature of self-consciousness as realized in narrative or in action. Hegel scholars Rolf-Peter Horstmann, Sally Sedgwick, Terry Pinkard, and Paul Redding attempt to vindicate some of Hegel's (...)
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  24. Andreas Rahmatian, Ed., Lord Kames: Selected Writings.Rachel Zuckert - 2018 - Journal of Scottish Philosophy 16 (2):200-204.
  25. Purposiveness, Time, and Unity: A Reading of "the Critique of Judgment".Rachel Zuckert - 2000 - Dissertation, The University of Chicago
    I propose a unified reading of Kant's third critical work, The Critique of Judgment, as a sustained argument that "purposiveness without a purpose" is the a priori, transcendental principle of judgment, a "subjective" yet necessary condition for the practice of judging and for the possibility of experience. I argue that Kant's principle of purposiveness is a temporal-formal structure of the subject's judging activity, a structure of anticipation that unites present and past moments as "towards" the future. Such purposiveness is a (...)
     
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  26. The Aesthetics of Schelling and Hegel.Rachel Zuckert - 2010 - In Dean Moyar (ed.), The Routledge Companion to Nineteenth Century Philosophy. Routledge. pp. 165-194.
    This essay provides an overview of the philosophical aesthetics of Hegel and Schelling. Hegel and Schelling understand art to be a central human activity, one that models, rivals, or even supersedes the accomplishments of philosophy. This exalted status attributed to art rests upon a novel conception of art as a distinctive metaphysical and cognitive achievement: art presents the Absolute, ultimate being, in sensible or finite form. Their theories of art are the source, in the history of aesthetics, of the influential (...)
     
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