Download e-book for kindle: Aesthetics and Cognition in Kant's Critical Philosophy by Rebecca Kukla

By Rebecca Kukla

This 2006 quantity explores the connection among Kant's aesthetic idea and his serious epistemology as articulated within the Critique of natural cause and the Critique of the ability of Judgment.

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(Selections from The Republic, Sophist, Laws)
Artistic Inspiration
(Selections from Ion, Phaedrus)
The Love of Beauty
(Selections from Symposium)
Aristotle
What Is Art?
(Selections from Metaphysics, Nicomachean Ethics)
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Coming-to-Be and creative construction: Nature and Art
(Selections from components of Animals, Physics, and Metaphysics)
Translated by means of William Ogle, R. P. Hardie, and R. ok. Gaye
Standard of creative Goodness
(Selections from Nicomachean Ethics)
Translated by means of W. D. Ross
Beauty
(Selections from Metaphysics, Rhetoric)
Translated through W. D. Ross, W. Rhys Roberts
The Imitative artwork of Poetry
(Selections from Poetics, Rhetoric)
Translated via Ingram Bywater, W. Rhys Roberts
Theory of track
(Selections from Politics)
Translated by means of Benjamin Jowett
Plotinus
Ennead I, 6th Tractate: Beauty
Ennead V, 8th Tractate: at the highbrow Beauty
Selections from Ennead VI, 7th Tractate: Multiplicity of the Ideal-Forms
Selections from Ennead III, 8 Tractate: Nature, Contemplation, and the One
Translated by way of Stephen MacKenna
Augustine
Selections from De Ordine
Translated through Robert P. Russell
Selections from De Musica
Redaction and Translation through W. F. Jackson Knight
Marsilio Ficino
Selections from remark on Plato's Symposium
Translated by means of Sears Reynolds Jayne
Shaftesbury
Selections from features of guys, Manners, evaluations, instances . . .
Selections from moment Characters or the Language of Forms
Immanuel Kant
Selections from Critique of Judgment
Translated by means of J. H. Bernard
Friedrich Wilhelm Joseph von Schelling
Selections from process of Transcendental Idealism
Translated through Albert Hofstadter
Georg Wilhelm Friedrich Hegel
Selections from The Philosophy of good Art
Translated by way of F. P. B. Osmaston
Arthur Schopenhauer
Selections from the area as Will and Idea
Translated through R. B. Haldane J. Kemp
Friedrich Nietzsche
Selections from The delivery of Tragedy
Translated via Clifton P. Fadiman
Benedetto Croce
Selections from "Aesthetics" (Encyclopaedia Britannica, Fourteenth Edition)
John Dewey
Selections from artwork as Experience
Martin Heidegger
The starting place of the paintings of Art
Translated via Albert Hofstadter

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This 2006 quantity explores the connection among Kant's aesthetic idea and his serious epistemology as articulated within the Critique of natural cause and the Critique of the ability of Judgment.

Extra info for Aesthetics and Cognition in Kant's Critical Philosophy

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But if they are to be anything more than arbitrary subjective pleasures, they need some other tribunal of accountability, and the common aesthetic sense of the human community, presupposed by each judgment of taste, serves as this tribunal. Pure aesthetic judgments are not objectively valid, but they strive for subjective universal validity. For the purposes of my current narrative, this is significant because by now, the aesthetic has not only broken free of the regulative clutches of the understanding, but has, as it were, established its own governing court of law – or at least every judgment of taste imputes the possibility of such a tribunal to the community of sensuous, discursive agents.

Melissa Zinkin’s highly original essay proposes a theory of the nature and ground of the imaginative synthesis that proceeds free from determination by concepts in judgments of taste. She uses Kant’s brief account of intensive and extensive magnitudes in the Critique of Pure Reason to build a reading of Kant’s account of judgments of taste in the Critique of the Power of Judgment. Her thesis is that cognitive and aesthetic judgments operate upon fundamentally different forms of sensible intuition; whereas the intuitions we subsume under determinate concepts have extensive magnitude, it is intensive magnitudes that stimulate judgments of taste, and these cannot be captured by discursive concepts.

Wiener Logik, 24:904–5. 40 Hannah Ginsborg at a concept that would include the particular trees presented to us, but also exclude fruit trees and include wooden houses? It is hard to suppose any explanation for our privileging the tree-characterizing features other than that we are already in some sense representing the sample objects as trees, so that possession of the concept tree is already assumed from the start. Now it might be objected that this problem derives from the artificiality of the example.

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