Academic literature on the topic 'Kant ; Kantian aesthetics'
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Journal articles on the topic "Kant ; Kantian aesthetics"
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Kormin, Nikolai Aleksandrovich. "I. Kant: perfection within the structure of the aesthetic field of metaphysics." Философия и культура, no. 3 (March 2021): 22–55. http://dx.doi.org/10.7256/2454-0757.2021.3.35612.
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The subject of this research is the interrelation between aesthetics and metaphysics as it is reflected in the Kantian transcendentalism. In the “Critique of Judgment”, Kant assumes that the representation of perfection does not correlate with such on the sense of delight; thus, in the first introduction to the “Critique of Judgment”, he is far from considering the solutions to the problem of interrelation between perfection and aesthetic sense of delight persuasive. However, the attitude towards perfection transforms in Kant's later works, the analysis of which demonstrates that the idea of perfection, in essence, is conceived as the method for founding the entire aesthetics, its initial category of the beautiful that coincides with the meaning of the aesthetic perfection the beauty is genuine. The metaphysics of perfection, contained in considered Kant’s work, offers a new perspective on the categorical apparatus of Kantian aesthetics, formed in the “Critique of Judgment”, and broadens the representation on Kantian aesthetics as part of transcendental metaphysics. The concept of perfection implies various aspects of metaphysical research, retaining its immanent qualities in the aesthetics. In predication as an act of modern aesthetic expression, it is difficult to determine any stages and structures that can correlate specifically to perfectionism. The question concerning the field of such correlations remains controversial, inclusive of modern Russian philosophy.
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PODOKSIK, EFRAIM. "NEO-KANTIANISM AND GEORG SIMMEL'S INTERPRETATION OF KANT." Modern Intellectual History 13, no. 3 (December 15, 2014): 597–622. http://dx.doi.org/10.1017/s1479244314000663.
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This essay explores the development of Georg Simmel's interpretation of Immanuel Kant's philosophy in the context of neo-Kantianism and its preoccupation with the question of unity in modern diversity. It argues that the neo-Kantian movement can be divided into two periods: in the first, unity was addressed with regard to Kant's epistemology; in the second period, the main issue was the overall coherence of Kantian teaching. Simmel, who belonged to the younger generation of neo-Kantians, absorbed the conclusions of the previous generation that purged Kantian epistemology from its metaphysical foundations related to the noumenal world. Yet he did not share the views of his peers who considered Kant to be the philosopher of cultural plurality. On the contrary, he argued that Kant's system is thoroughly intellectualistic, and that ethics, aesthetics and religion within it are subordinated to logic. At the same time, his own philosophy presupposed cultural plurality akin to that of other neo-Kantians. In other words, Simmel abandoned Kant in order to develop his own version of neo-Kantianism.
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Mathäs, Alexander. "Keeping Narcissism at Bay: Kant and Schiller on the Sublime." Konturen 3, no. 1 (December 28, 2010): 19. http://dx.doi.org/10.5399/uo/konturen.3.1.1371.
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This essay considers the sublime as a veiled form of narcissism. Both narcissism and the sublime test and reveal the limits of the concept of the self and both can be viewed as attempts to transcend the borders of the self. Yet while narcissism has been defined as a “failure of spiritual ascent” (Hadot), the sublime has been used to transcend the limitations of the self by pointing to its infinite potential. The essay explores how the sublime in Immanuel Kant’s and Friedrich Schiller’s aesthetics relies on narcissistic impulses by creating a male inner self and protecting it from the stigma of vanity. I propose that their use of this aesthetic category helped objectify an essentially subjectivist aesthetics. Yet while Schiller follows Kant in deriding the sensual aspects of human nature as egotistical and amoral, Schiller’s dramas also challenge some of the Kantian premises. When Schiller’s protagonists sacrifice lives in the service of ethical ideas, the sublime’s oppressive spirit reveals itself.
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GUYER, PAUL. "WHAT HAPPENED TO KANT IN NEO-KANTIAN AESTHETICS? COHEN, COHN, AND DILTHEY1." Philosophical Forum 39, no. 2 (June 2008): 143–76. http://dx.doi.org/10.1111/j.1467-9191.2008.00289.x.
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Contreras Gallegos, Diana Gloria. "El espacio en cuanto forma de los fenómenos y la tesis de la receptividad: mutua implicación." Revista de Estudios Kantianos 4, no. 2 (October 27, 2019): 270. http://dx.doi.org/10.7203/rek.4.2.14005.
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Mi objetivo es hacer notar que existe un nexo de mutua implicación entre dos tesis kantianas: la tesis de la receptividad (nuestro conocimiento depende de que seamos afectados por los objetos) y la tesis del espacio en cuanto forma de los fenómenos. Un tratamiento completo de la tesis de la receptividad implica el idealismo trascendental de Kant en torno al espacio. Desde mi lectura, ello en absoluto afecta al realismo empírico kantiano. Para mostrar lo anterior, exploro aquí la segunda consecuencia ("b) a la que Kant arriba tras haber presentado sus argumentos en favor de la naturaleza a priori e intuitiva del espacio en la Estética Trascendental.
Palabras clave: espacio, forma de la intuición, receptividad, idealismo trascendental, realismo empírico
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My purpose in this paper is to point out that there is a mutual implication between two Kantian thesis: the Receptivity Thesis (our knowledge depends on being affected by objects) and the thesis of the space at a form of the phenomena; so that, a full treatment of the receptivity thesis implies Kant's transcendental idealism of space. On my reading this doesn't compromise Kant's empirical realism. In order to show this I explore here the second consequence ("b") that Kant arrives after he shows his arguments in favour of the space in the Transcendental Aesthetics.
Keywords: space, form of intuition, receptivity, transcendental idealism, empirical realism
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D'Oro, Giuseppina. "Beauties of Nature and Beauties of Art: On Kant and Hegel's Aesthetics." Hegel Bulletin 17, no. 01 (1996): 70–86. http://dx.doi.org/10.1017/s0263523200003165.
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This paper is an attempt to sketch the general framework of Kant and Hegel's Aesthetics, which are dealt respectively in sections I and II. The first section considers Kant's stated aims in the introduction to the Critique of Judgment, his location of judgments of taste within the problematic of reflective judgment, his treatment of reflective aesthetic judgments in the analytic of the beautiful and the distinction between objective reality and subjective universal validity. The second section provides a sketch of Hegel's division of artistic beauty into symbolic, classical and romantic art in the attempt to explain how Hegel's restriction of the subject matter of aesthetics to fine art, may shed light on his critique of Kantian ‘subjectivism’. Kant's discussion of aesthetics is located within the problematic of reflective judgment in general, that is, within a discussion of the suitability of nature for cognition. Reflective judgments are first contrasted with determinant judgments and then divided into two kinds, aesthetic and teleological. The distinction between aesthetic and teleological reflection, captures the distinction between a kind of pleasure which arises from the conformity or harmony of imagination and the understanding, and a kind of pleasure which arises from the conformity or harmony of the understanding with reason. The fact that pleasure arises in reflective judgments in general, and is not an exclusive feature of aesthetic reflection, is not transparent from Kant's introduction, but is suggested by the claim that although the acknowledgment that the various empirical laws of nature are amenable to systematic categorization, no longer gives rise to pleasure, this is simply due to the fact that the repeated experience of the systematic unity of empirical laws, is no longer an occasion for surprise: It is true that we no longer notice any decided pleasure in the comprehensibility of nature, or in the unity of its divisions into genera and species, without which the empirical concepts, that afford us our knowledge of nature in its particular laws, would not be possible. Still it is certain that the pleasure appeared in due course, and only by reason of the most ordinary experience being impossible without it, has it become gradually fused with simple cognition, and no longer arrests particular attention.
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Presto, Jenifer. "The Aesthetics of Disaster: Blok, Messina, and the Decadent Sublime." Slavic Review 70, no. 3 (2011): 569–90. http://dx.doi.org/10.5612/slavicreview.70.3.0569.
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In this article, Jenifer Presto argues that the 1908 Messina-Reggio Calabria earthquake had an impact on Aleksandr Blok no less significant than that which the 1755 Lisbon earthquake had on writers of the Enlightenment and proceeds to demonstrate how it shaped Blok's aesthetics of catastrophe. This aesthetics can best be termed the “decadent sublime, ” an inversion of the Kantian dynamic sublime with its emphasis on bourgeois optimism. Following Immanuel Kant, Blok acknowledges the fear and attraction that nature's forces can inspire; however, unlike Kant, he insists that modern man remains powerless in the face of nature, owing to his decadence—a decadence endemic to European civilization. The decadent sublime is manifested in a host of Blok's writings, ranging from “The Elements and Culture” to Lightning Flashes of Art and The Scythians; it is intensely visual and is indebted to images of ruin by artists such as Giovanni Battista Piranesi and Luca Signorelli.
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Vella, Daniel. "The Ludic Muse: The Form of Games as Art." CounterText 2, no. 1 (April 2016): 66–84. http://dx.doi.org/10.3366/count.2016.0040.
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Taking as its basis Nancy's essay ‘Why Are There Several Arts And Not Just One?’, this paper makes a case for understanding games as constituting art works bearing a specifically ludic form. It draws on aesthetic theory and philosophy – particularly Kant, Heidegger, Gadamer, and Nancy – in order to theorise the particular aesthetic potential inherent to this form, and the challenges it poses to existing concepts of art and aesthetic engagement. The paper will argue that the player's relation to a game, in contrast to the aesthetic relation as theorised in post-Kantian aesthetics, invokes an active, purposive disposition – and, moreover, that it is this active, purposive disposition itself that is brought forth into presentation by the ludic work. The conclusion reached is that the ludic aesthetic work establishes a gameworld as a sphere of existential praxis for the player, within which she lives a being-in-the-gameworld, which, in being inscribed into the unity of the game as an object distinct from the player, is itself externalised as an object of her aesthetic contemplation.
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Lanigan, Richard L. "Immanuel Kant on the philosophy of communicology: The tropic logic of rhetoric and semiotics." Semiotica 2019, no. 227 (March 5, 2019): 273–315. http://dx.doi.org/10.1515/sem-2017-0112.
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AbstractThe article consists of a brief biographical account of Immanuel Kant’s life and career, followed by a discussion of his basic philosophy, and a brief discussion of his pivotal point in the history of Rhetoric and Communicology. A major figure in the European Enlightenment period of Philosophy, hisCollected Writingswere first published in 1900 constituting 29 volumes. He wrote three major works that are foundational to the development of Western philosophy and the human sciences. Often just referred to as the “ThreeCritiques” informally, the First, the Second, and the Third. These are respectively:The Critique of Pure Reasonfocused on issues in logic, The Critique of Practical Reasonrelating ethical guidelines, andThe Critique of Judgmentexploring issues of aesthetics. He is most famous for his philosophy of transcendental idealism. This version of idealism argues that in logic statements areanalytic(subject and predicate are the same; no new information) orsynthetic(predicate differs from the subject; new information is constituted). He further argues that statements area priori(before experience) ora posteriori(a result of experience). Models of rhetoric (tropic logic), phenomenological methodology, and the contemporary Perspectives Model of interpersonal communicology are included as the Kantian legacy in the US. Notes provide a guide to edition and philological issues in the Kantian corpus, especially for the hermeneutics ofVorstellung(‘presentation’) versusDarstellung(‘representation’).
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Omar Scheck, Daniel. "La herencia kantiana en la estética de Jean Marie Schaeffer: autoteleología, despragmatización y consecuencias para la acción." Thémata Revista de Filosofía, no. 63 (2021): 82–107. http://dx.doi.org/10.12795/themata.2021.i63.06.
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En este trabajo se desarrolla un enfoque del hecho estético entendido como un proceso experiencial y relacional, no centrado en las producciones artísticas, ni en los objetos materiales en general. En ese marco, se intenta mostrar la conexión y el parentesco entre ciertos elementos de la teoría de la experiencia estética de Schaeffer y la concepción del juicio estético de Kant. Se establece un paralelo entre la concepción de la experiencia estética como un proceso autoteleológico y despragmatizado, sostenido como tal por una interacción particular entre cognición, emociones y placer, propuesto por Schaeffer; y las tesis kantianas sobre el juego libre y desinteresado de las facultades que postula el principio trascendental de la facultad de juzgar. Hacia el final, se sugiere que debería contemplarse la injerencia de un componente moral en el complejo entramado del hecho estético. Palabras clave: hecho estético, proceso relacional, bucle homeodinámico, subrepción y desinterés, afectividad y moralidad
Dissertations / Theses on the topic "Kant ; Kantian aesthetics"
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James, Michael. "Reflections and elaborations upon Kantian aesthetics." Uppsala : Stockholm, Sweden : Academia Ubsaliensis ; Distributor, Almqvist & Wiksell International, 1987. http://catalog.hathitrust.org/api/volumes/oclc/18255569.html.
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McGuinn, Jacob. "To reversal : aesthetics and poetics from Kant to Adorno, Blanchot, and Celan." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30719.
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This thesis reads radical indeterminacy into the reflective judgements of Kant's Critique of the Power of Judgement through points of connection between Kant's aesthetics and the philosophies and writing of Theodor Adorno and Maurice Blanchot. These re-situate the 'ends' of Kantian aesthetics in the historical situation of the 1960s and 1970s. In turn, this historicising of Kantian aesthetics reinterprets its original content. Such double reading - from Kant forwards, and back to Kant - is configured through what I call 'reversal': the indeterminacy of aesthetic reflection calls for a reverse 'reading' of itself which is not self-defeatingly determined by the aesthetic. Kant thus gives us the vocabulary for re-reading his aesthetics of reflection, and from this other indeterminacies of reflection, despite his attempt to organise and explain reflective relations through consistently with philosophical form through judgement. To read Kant outside his or any philosophy's economy, the task demanded by Adorno's theory and Blanchot's writing, asks for poetic readers and writers such as their near-contemporary, Paul Celan. They understand Celan's poetry as making legible how Kant's aesthetic might be thought reflectively, thus showing that the indeterminacy Kant attributes to reflection can be aesthetically experienced without being effaced by the philosophical judgement implying that indeterminacy. This turn back, the turn of verse, forms the hinge between Adorno's and Blanchot's dialectical and political thinking, allowing the common sense, the un-institutionalised 'we' Kant thinks ratifies aesthetic judgement, to remain negative or 'unavowable'. Aesthetics still structures the reading of poetry, but such poetry makes the indeterminate implications of Kantian aesthetics legible. 'Disconnection' becomes the organising principle for reflection and politics, implied by but now freed from aesthetic judgement, made visible by a poetry of 'reversal'. We conclude by finding the development of these ideas in two major elegists of Celan, Geoffrey Hill and Jeremy Prynne.
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Mueller, Laura Joy. "Transcendental sensus communis: Reflective Foundations of Cognition in Kantian Epistemology." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1036.
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Pre-cognitive experience is important to Kant's epistemology, but for decades, the scholarship tended to leave this aspect aside. Pre-cognitive experience must be reintegrated, and several important works have made progress toward this goal. Some scholars maintain that the distinction between the A- and B- editions of the Critique of Pure Reason largely relates to the role of pre-cognitive experience in Kant's system. I offer an account of what Kant calls the "obscure functions of understanding," drawing from the third Critique, the Anthropology, and other writings in which Kant discusses pre-cognitive experience. I argue that the key to integrating pre-cognitive experience into Kantian epistemology lies in the proper analysis of sensus communis, or social feeling. Reflective judgment provides the logical structure by which both social feeling and the experience of the sublime come to be synthesized with cognitive experience. The result of my argument is a deepened and enhanced understanding of autonomy (which pervades the entire architectonic).
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Donnelly, Nora. "Kant in the classroom : an exegetical commentary on Kant's aesthetic philosophy together with a critique of a Kantian model of aesthetic education." Thesis, University of Ulster, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296401.
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Lima, Luís Aurélio Spósito. "Duas possíveis perspectivas do sujeito kantiano." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/8361.
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Previous issue date: 2008-10-30The present work will study two possible perspectives regarding the Kantian view. We will analyze the possible approximation of the humanist Kantian view and the relativist individualism present in this society. Then we will analyze the appropriation made by Hannah Arendt of the Kantian aesthetic judgment, considering such judgment from the point of view of the whole mankind. We shall study the Introduction and the first half of Immanuel Kant s Critique of Judgment . Then, we will analyze the appropriation by Hannah Arendt of said judgment by studying her Lectures on Kant's Political Philosophy ; in this book, Arendt uses the reflective judgment to lay the basis for a judgment in which the corner stone is the observation of a particular event from the point of view of the whole of humanity. Such judgment is only possible when employed the broaden thought
O presente trabalho estudará duas possíveis perspectivas do sujeito kantiano. Analisaremos a possível aproximação entre o sujeito kantiano humanista e o individualismo relativista presente em nossa sociedade. Depois analisaremos a apropriação realizada por Hannah Arendt do juízo estético kantiano, tendo em vista um julgamento do ponto de vista de toda a humanidade. Trata-se de uma perspectiva humanista do sujeito kantiano, que entende possível o seu resgate para a pós-modernidade. Estudaremos a introdução e a primeira metade da Crítica da Faculdade do Juízo de Immanuel Kant. Depois analisaremos a apropriação realizada por Hannah Arendt do juízo reflexivo, a partir de um estudo de suas Lições sobre a Filosofia Política de Kant . Nesta obra, Arendt aproveitará do juízo reflexivo para lançar bases a um julgamento que tenha como ponto central a observação de um acontecimento particular do ponto de vista de toda a humanidade. Tal julgamento é possível apenas a partir do pensamento alargado
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Guidotti, Mirella [UNESP]. "Zweckmässigkeit ohne Zweck: ideias kantianas presentes na estética de Goethe." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/123315.
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A tese investiga as afinidades de ideias entre a Crítica da Faculdade do Juízo de Kant, e o pensamento estético de Goethe, abordando os elementos presentes nos textos que o escritor produziu sobretudo a partir de 1786, ano em que realiza a famosa viagem à Itália e espécie de marco zero na construção de sua estética. Pelo conceito kantiano de finalidade sem fim [Zweckmässigkeit ohne Zweck], um dos termos decisivos de sua Terceira Crítica, pretende-se apreciar a concepção segundo a qual a obra de arte não seria redutível a uma explicação ou dedução em uma ciência do Belo, detentora que é de valor intrínseco, avessa a qualquer finalidade que não seja ela própria. Por finalidade sem fim, entende-se, pois, a independência de julgamento do objeto de bela arte face a outras instâncias, sejam elas morais, históricas ou filosóficas, não cabendo instrumentalizá-la no sentido de qualquer finalidade que seja exterior a ela, uma vez que nenhum discurso exterior é capaz de traduzir a verdade do texto poético. Nesse sentido, a formulação representa uma ruptura com a tradição estética predominante em séculos anteriores. A arte, para Goethe como para Kant, constitui, no limite, um campo inexprimível. Em Goethe, a arte produz seu próprio mundo, suas próprias verdades, e por isso mesmo não deve ser julgada senão a partir de suas leis intrínsecas, conceito que abriga também, ainda que com traje específico, a ideia de sua intraduzibilidade. Desde os anos 1990, essa ideia vem adquirindo especial importância para os estudos de Goethe, valendo salientar que mesmo o Goethe maduro recorre a Kant e, em especial, à ideia da autonomia da arte. Na última parte deste trabalho, tendo em consideração os pressupostos teóricos acima arrolados, procede-se à análise crítica de seu último romance, As afinidades eletivas [Die Wahlverwandtschaften], com uma metodologia que se mostra apropriada para a obra em apreço ...
This thesis investigates the affinities between the ideas of Kant’s Critique of Judgment and Goethe´s aesthetic thought, by dealing with aspects in Goethe´s texts from 1786 on, when Goethe made his renowned journey to Italy, a landmark in the construction of his aesthetics. Through the concept of purposiveness without a purpose [Zweckmässigkeit ohne Zweck], one of the key terms of Kant´s Third Critique, it is intended to explore the aesthetic concept, which states that the artwork ist not reducible to an explanation or deduction in a science of beauty. The value of art should lie in itself; the art has an intrinsic value, not projected for any purpose than itselt. Through the notion of purposiveness without a purpose one should undestand the independency of the judgment of an art object in regard to other spheres, whether moral, historical or philosophical, not instrumentalizing thereby the literary text to any outside purposes, since no external speech is able to translate the truth of the poetic text. In this sense, the term relates the moment of rupture with the normative aesthetic tradition prevalent in previous centuries, as the sphere of art is to both, Goethe and Kant, an area that remains inexpressible. For Goethe, art is also a domain that creates its own world, its own truths, and in this sense should be judged only from its intrinsic rules. The idea of the untranslatability of the art manifests, though in his own way, also in Goethe. From the 90´s on, this idea reaches considerable importance to the poet and even the mature Goethe appeals to Kant and specially to the idea of the autonomy of art. Here, the last Goethe´s novel Die Wahlverwandtschaften is analyzed according to the theoretical premises discussed in the first part of this thesis: the novel´s critical analysis intends thereby to incorporate the concept of the art as an untranslatable domain. We argue that this way of critical analysis is suitable for the ...
Books on the topic "Kant ; Kantian aesthetics"
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Savile, Anthony. Kantian aesthetics pursued. Edinburgh: Edinburgh University Press, 1993.
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The Kantian aesthetic: From knowledge to the avant-garde. New York: Oxford University Press, 2010.
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Marques, António. Organismo e sistema em Kant: Ensaio sobre o sistema kantiano. Lisboa: Editorial Presença, 1987.
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Donnelly, Nora. Kant in the classroom: An exegetical commentary on Kant's aesthetic philosophy together with a critique of a Kantian model of aesthetic education. [s.l: The author], 1993.
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Cosmological Aesthetics Through The Kantian Sublime And Nietzschean Dionysian. University Press of America, 2014.
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Kantian Aesthetic: From Knowledge to the Avant-Garde. Oxford University Press, 2013.
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The Kantian Sublime: From Morality to Art (Oxford Philosophical Monographs). Oxford University Press, USA, 1991.
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Beiser, Frederick C. Neo-Kantian Writings in Marburg, 1880–1889. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198828167.003.0009.
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This chapter describes Cohen’s writings on philosophy in the 1880s, specifically his work on epistemology and aesthetics. It analyzes Cohen’s Das Princip der Unendliche Methode where Cohen advocates an analysis of sensibility into intelligible units called infinitesimals. This marks the beginning of his break with Kant’s dualism between understanding and sensibility. One section considers the second edition of Kants Theorie der Erfahrung, which brought many changes in his evolving philosophy. A final section deals with Cohen’s first foray into the field of aesthetics, his book Kants Begründung der Aesthetik. Cohen’s early aesthetics is interpreted as an attempt to reinstate classical aesthetic values against romanticism.
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Gorodeisky, Keren. Rationally Agential Pleasure? A Kantian Proposal. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190225100.003.0009.
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This chapter argues that, on Kant’s account, aesthetic pleasure is an exercise of rational agency insofar as, when proper, (1) it involves consciousness of its ground (the reasons for having it) and thus of itself as properly responsive to its object, and (2) actually feeling this pleasure involves its endorsement as an attitude to have. I claim that seeing this clearly requires that we divest ourselves of the following dilemma: either pleasures are the noncognitive, passive ways through which we are affected by objects or they are cognitive states by virtue of the theoretical beliefs or practical desires they involve. On my reading of Kant, this dilemma is false. Aesthetic pleasure is neither passive, nor theoretically or practically cognitive, and yet, it is an exercise of rational agency by virtue of belonging to a domain of rationality that is largely overlooked in the history of philosophy: aesthetic rationality.
Book chapters on the topic "Kant ; Kantian aesthetics"
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Tinguely, Joseph J. "Kantian Quarrels." In Kant and the Reorientation of Aesthetics, 119–55. 1 [edition]. | New York : Routledge, 2017. | Series: Routledge studies in eighteenth-century philosophy ; 14: Routledge, 2017. http://dx.doi.org/10.4324/9781315112695-5.
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Tinguely, Joseph J. "Kantian Meta-aesthetics and the Neglected Alternative." In Kant and the Reorientation of Aesthetics, 157–83. 1 [edition]. | New York : Routledge, 2017. | Series: Routledge studies in eighteenth-century philosophy ; 14: Routledge, 2017. http://dx.doi.org/10.4324/9781315112695-6.
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Tinguely, Joseph J. "The Implicit Affection between Kantian Judgment and Aristotelian Rhetoric." In Kant and the Reorientation of Aesthetics, 97–118. 1 [edition]. | New York : Routledge, 2017. | Series: Routledge studies in eighteenth-century philosophy ; 14: Routledge, 2017. http://dx.doi.org/10.4324/9781315112695-4.
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Drees, Meredith Trexler. "Moving Beyond Murdoch: Kantian Religion as Moral Empowerment." In Aesthetic Experience and Moral Vision in Plato, Kant, and Murdoch, 201–47. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79088-2_8.
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Ameriks, Karl. "On Some Reactions to “Kant’s Tragic Problem”." In Kantian Subjects, 207–13. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841852.003.0013.
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Nietzsche describes “Kant’s tragic problem” as a matter of making things seem “relative” and thereby giving art a “new dignity.” What Nietzsche means by “tragedy” here is not a matter of pain or ethical conflict but rather the impact of modern science and Kant’s Critical philosophy, which teaches that our theoretical knowledge is limited in principle to phenomena and does not reach unconditioned reality. This is not a form of skepticism or nihilism, but it does imply that the search for such knowledge can be considered secondary to other human interests. This chapter argues that this position also fits well the outlook of the aesthetic approach of Kant and the Early German Romantics. To make this case, it argues against suggestions, coming from a Hegelian direction, by Frederick Beiser and Robert Pippin, that the Kantian aesthetics and Romantic philosophy are overly subjective.
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Shapshay, Sandra L. "Subtle Scripture for an Invisible Church." In The Paideia Archive: Twentieth World Congress of Philosophy, 158–65. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia1998124.
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I argue for an interpretation of Kant's aesthetics whereby the experience of the beautiful plays the same functional role in the invisible church of natural religion as Scripture does for the visible churches of ecclesiastical religions. Thus, I contend, the links that Kant himself implies between the aesthetic and the moral (in the third Critique and the Religion) are much stronger than generally portrayed by commentators. Indeed, for Kant, experience of the beautiful may be necessary in order to found what Kant views as the final end of morality — the ethical community — since human moral psychology requires embodiments of moral ideas. Finally, I seek to modify Martha Nussbaums' argument in Poetic Justice (1995) for the increased use of the literary imagination as a means for improving public moral reasoning in this country, with the Kantian insight that aesthetic autonomy is the key to any aesthetic-moral link.
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Kahn, Victoria. "Modern Literariness." In The Trouble with Literature, 95–122. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198808749.003.0004.
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This chapter explores the meaning of literariness in the aftermath of Kantian aesthetics. It focuses on the work of Søren Kierkegaard and J. M. Coetzee. It argues that, despite the strong formal differences between the texts of Kant, Kierkegaard, and Coetzee, all are engaged in a conversation about the kinds of belief we address to things that we make, and all three contribute to the construction of a specifically modern, formalist idea of literariness. This modern idea of literariness represents a declension from the heroic idea of poetic making characteristic of the early modern period.
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Lehman, Robert S. "Order." In Impossible Modernism. Stanford University Press, 2016. http://dx.doi.org/10.11126/stanford/9780804799041.003.0005.
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The book’s fourth chapter reads Walter Benjamin’s earliest programmatic writings in light of early-twentieth-century debates over the legacy of Kantianism. And it treats in particular Benjamin’s attempt to replace Kant’s transcendental philosophy—Kant’s ostensibly complete description of the conditions of human cognition—with what Benjamin refers to as a “doctrine of orders,” a system of interlinked but non-identical structures of knowledge derived from linguistics, theology, aesthetics and other domains. It finds Benjamin taking seriously Kant’s claim that human experience is constitutively finite and expanding this notion of constitutive finitude to include the Kantian transcendental itself, leaving the latter open to transformation through its encounters with a material, historical outside. Although references to Kant are rare in Benjamin’s later writings, a modified version of Kant’s philosophy—this is the claim of the chapter—is the foundation for Benjamin’s later critique of historicism.
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Hare, John. "Kant, Aesthetic Judgement, and Beethoven." In Theology, Music, and Modernity, 42–65. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0003.
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This chapter explores Kant’s conception of the relation of the beautiful and the sublime to freedom and to moral theology. It then turns to Beethoven’s conception of the sublime, and illustrates this by an analysis of the slow movement of his early piano sonata Op. 2, No. 2, and an analysis of the first movement of the Eroica. The thesis of the chapter is that a Kantian ‘optimistic’ account of the sublime fits these pieces better than some other accounts of the sublime that the chapter describes, namely ‘the uncanny sublime’, ‘the authoritarian sublime’ and ‘the solipsistic sublime’. The chapter ends with a brief remark about the relation between Kantian freedom and the Christian faith.
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Varden, Helga. "Introduction." In Sex, Love, and Gender, 1–18. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198812838.003.0001.
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Many philosophers—Kantians or not—consider formulating an applied theory of sex, love, and gender to be an undertaking that is neither particularly difficult nor particularly important. In addition, that there has not yet been a comprehensive Kantian philosophical account of sex, love, and gender is perhaps not terribly surprising. After all, Kant views sexual activity as inherently morally problematic, and ethically permissible only as heterosexual procreative sexual activity within the legal confines of marriage. And in presenting these views, he makes many sexist and heterosexist assertions. For non-Kantian scholars working within feminist philosophy or the philosophy of sex and love, Kant’s philosophy consequently has not stood out as a particularly interesting or useful resource for understanding human diversity when it comes to sex, love, and gender. Also, Kant’s statements about sex, love, and gender are dispersed throughout his practical and aesthetic-teleological works. For a long time, no Kant (or any other) scholar found it philosophically worthwhile to engage these aspects of Kant’s writings, let alone to take up the somewhat daunting task of gathering together and theorizing as a whole Kant’s complex, yet not explicitly spelled-out, ideas on sex, love, and gender before reconstructing a philosophically more persuasive theory....