Thematische Bibliographien / Kant`s critique of taste

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Zeitschriftenartikel zum Thema "Kant`s critique of taste"

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Grubor, Nebojsa. „Hermeneutics of taste Gadamer’s critique of Kant’s aesthetics in truth and method“. Theoria, Beograd 59, Nr. 3 (2016): 23–33. http://dx.doi.org/10.2298/theo1603023g.

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The Article explains Gadamer?s critique of Kant?s aesthetics in Truth and Method (1960). The paper first examines basics characteristics of Kant?s foundation of modern aesthetics (I). This is followed by consideration Gadamer?s interpretations of the process of the subjectivization of aesthetics in Kant?s Third Critique (II). Finally, it considers critique of abstraction aesthetic consciousness and conception of aesthetic differentiation as Gadamer?s attempt to through analysis of Kant?s theory of taste complete its own hermeneutics of art (III).
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Popovic, Una. „The problem of aesthetic judgment: Perspectives of aesthetics“. Filozofija i drustvo 24, Nr. 3 (2013): 5–22. http://dx.doi.org/10.2298/fid1303005p.

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This paper deals with the interpretation of Kant?s Critique of Judgment from the perspective of aesthetics. Our aim here is to show the immanent relationship between the two main motifs of this work: the analysis of traditional aesthetic problems, such as beauty and taste, on the one hand, and the systematical thinking, philosophy, and Kant?s critical project, on the other. This interpretation is developed in consideration of the prob?lem of aesthetics as a philosophical discipline, within which, for each of the motifs of Kant?s third critique it is shown how it redefines aesthetic into philosophical thought. Finally, the character of critical positioning of aesthetic problems in Kant is shown in light of the opening of the perspective of subjective universality as a theme that connects the two motifs of third critique, but also allows a different view in the domain of intersubjectivity.
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Pereira, Geraldo Adriano Emery. „A LEITURA ARENDTIANA DA FACULDADE DO JUÍZO KANTIANA“. Síntese: Revista de Filosofia 38, Nr. 121 (07.10.2011): 183. http://dx.doi.org/10.20911/21769389v38n121p183-210/2011.

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Este texto detém-se sobre um tema polêmico no contexto da obra da filósofa Hannah Arendt – a faculdade do juízo. A análise gira em torno da demonstração do modo como as peculiaridades da crítica do gosto kantiana são apropriadas por Arendt, numa leitura política desta faculdade. O artigo ensaia num primeiro momento uma apresentação do juízo de gosto; em seguida aponta os elementos que são apropriados por Arendt e sua leitura política. Deste modo se apresenta uma justificativa teórica para a apropriação arendtiana da faculdade do juízo de gosto kantiana, mostrando que, apesar de seu caráter “sui generis” ela é capaz de revelar aspectos importantes da própria realidade política.Abstract: This paper draws attention to a polemic subject in the context of the work of the philosopher Hannah Arendt – The faculty of judgement. The analysis brings into focus the way the characteristics of KantÊs critique of taste have been used by Arendt in a political interpretation of that faculty. After explaining the Kantian judgement of taste, the paper points out the elements which have been appropriated by Arendt and shows her political reading of them. It proposes so a theoretical justification of the Arendtian use of Kant´s analysis of judgement of taste, making clear that, in spite of its „sui generis‰ character, it is able to uncover important aspects of political reality itself.
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Sweet, Kristi. „Reflection: Its Structure and Meaning in Kant's Judgements of Taste“. Kantian Review 14, Nr. 1 (März 2009): 53–80. http://dx.doi.org/10.1017/s1369415400001345.

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When Kant announces in a letter to Reinhold that he has discovered a new domain of a priori principles, he situates these principles in a ‘faculty of feeling pleasure and displeasure’ (Zammito 1992: 47). And it is indeed in his Critique of Aesthetic Judgement, named in this letter the Critique of Taste, that we find his elucidation of the relation of the principle of purposiveness to the feeling of pleasure. The kinds of judgements in which our feelings are evaluated in accordance with a principle are what Kant names reflective judgements. And while reflective judgements emerge in the third Critique to include not only judgements of taste, but also judgements of the sublime and teleological judgements of nature, in this paper I will focus on the first, as the question of the relatedness of reflection to pleasure is most pronounced in this context. There is no consensus in Kant scholarship as to what the structure of reflective judgements is, as evidenced by the widely disparate views of those such as Guyer, Allison, Pippin, Ginsborg, Lyotard, and others.
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Dumler-Winckler, Emily. „Romanticism as Modern Re-Enchantment: Burke, Kant, and Emerson on Religious Taste“. Journal for the History of Modern Theology / Zeitschrift für Neuere Theologiegeschichte 22, Nr. 1 (01.01.2015): 1–22. http://dx.doi.org/10.1515/znth-2015-1001.

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AbstractThis essay traces the contours of a trans-Atlantic Romantic legacy of aesthetic, moral and religious taste from its inception in Edmund Burke, through its modifications by Immanuel Kant, to its culmination in Ralph Waldo Emerson’s Divinity School Address. In A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful Burke suggests that religious experience is an aspect of aesthetic and moral taste. Immanuel Kant follows suit in the Critique of Judgment, offering a distinct account of religious taste. Emerson alludes to yet significantly refines aspects of both accounts in his Divinity School Address. Whereas Kant and Burke’s variously stoic accounts depict good religious taste as an experience of alienation from God and from the world, Emerson’s religious agent cultivates a modern spirituality quite at home in the world. Adapting Burke’s re-enchanted moral psychology of taste, Emerson offers a distinctively religious, indeed Christian, form of this modern re-enchantment. Yet for Emerson, refined religious taste allows agents to recognize the full spectrum of normative demands in nature and thus to make a home of such a world.
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Rueger, Alexander. „Pleasure and Purpose in Kant’s Theory of Taste“. Kant-Studien 109, Nr. 1 (08.03.2018): 101–23. http://dx.doi.org/10.1515/kant-2018-0003.

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Abstract: In the Critique of Judgment Kant repeatedly points out that it is only the pleasure of taste that reveals to us the need to introduce a third faculty of the mind with its own a priori principle. In order to elucidate this claim I discuss two general principles about pleasure that Kant presents, the transcendental definition of pleasure from § 10 and the principle from the Introduction that connects pleasure with the achievement of an aim. Precursors of these principles had been employed by Kant and others in empirical psychology. But how can such principles of empirical psychology be transferred to transcendental philosophy? I suggest that Kant accomplishes this by deriving the connection of pleasure with achievement of an aim from the transcendental definition and the assumption that faculties have interests. I finally reconstruct § 11 as a ‘regressive argument’ from the peculiarities of the pleasure of taste to the need to acknowledge a new faculty.
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Otabe, Tanehisa. „An Iroquois in Paris and a Crusoe on a Desert Island: Kant’s Aesthetics and the Process of Civilization“. Culture and Dialogue 6, Nr. 1 (07.09.2018): 35–50. http://dx.doi.org/10.1163/24683949-12340040.

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Abstract In section 2 of Critique of the Power of Judgment (1790) Immanuel Kant refers to the Iroquois sachem declaring that what pleased him in Paris were cook-shops, not palaces. For Kant the sachem seems to be a barbarian ensnared by his appetite and incapable of disinterested pleasure. This essay, however, argues first that Kant, extracting this episode from “The History of New France” (1744) written by French Jesuit missionary Charlevoix, tacitly advocates the idea of the noble savage, thereby giving the Iroquois sachem the function of criticizing a luxurious civilization. Second, the essay shows that in the “General Remark on the Exposition of Aesthetic Reflective Judgments” Kant evaluates positively a castaway Crusoe as a person who withdraws from civilized society, conscious of the fact that society is far from being a moral ideal. The Iroquois sachem and the castaway Crusoe are examples that anticipate section 83 in the second part of his Critique of the Power of Judgment, which focuses on the role of the faculty of taste in the process of civilization, thereby incorporating into his whole system the theory of taste as expounded in the first part.
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Allison, Henry E. „Beauty and Duty in Kant's Critique of Judgement“. Kantian Review 1 (März 1997): 53–81. http://dx.doi.org/10.1017/s1369415400000066.

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At the end of §40 of the Critique of Judgement, after a discussion of the sensus communis and its connection with taste, Kant writes:If we could assume that the mere universal communicability as such of our feeling must already carry with it an interest for us (something we are, however, not justified in inferring from the character of a merely reflective power of judgment), then we could explain how it is that we require from everyone as a duty, as it were (gleichsam), the feeling in a judgment of taste. (5: 296; 162)
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Hahmann, Andree. „Kant’s Critical Argument(s) for Immortality Reassessed“. Kant Yearbook 10, Nr. 1 (04.10.2018): 19–41. http://dx.doi.org/10.1515/kantyb-2018-0002.

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AbstractKant’s postulate of the immortality of the soul has received strikingly little attention among Kant scholars, and only very few have regarded it positively. This is not surprising given the numerous problems associated with his argument. However, it is not the only argument for immortality that Kant offers in his critical philosophy. There is also a second argument that differs from the one furnished in the Second Critique and can be found both in the Critique of Pure Reason and later texts from the 1790s. Kant also addresses here many of the problems that interpreters have found with his postulate of immortality in both earlier and later texts. This paper considers the main difficulties associated with the postulate and proposes a coherent interpretation of Kant’s argument. I show that despite the apparent change in his approach to immortality Kant did not in fact substantially alter his position during his critical period.
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Romo, Vicente De Haro. „Reseña de Kant´s Critique of Spinoza, de O. Boehm“. Tópicos, Revista de Filosofía, Nr. 48 (08.06.2015): 265. http://dx.doi.org/10.21555/top.v0i48.683.

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En esta reseña, resumo el contenido y expongo la estructura del libro de Omri Boehm, Kant´s Critique of Spinoza, y evalúo los argumentos del autor para tratar de mostrar que en la Crítica de la razón pura el interlocutor de Kant es el filósofo judío.
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Dissertationen zum Thema "Kant`s critique of taste"

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Bhattacharya, Roy Ratnabali. „Kant`s critique of taste : with special reference to the concept of disinterestedness and its bearings on recent Indian thought“. Thesis, University of North Bengal, 1992. http://hdl.handle.net/123456789/40.

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Guo, Youle. „Kant's Conception of Life in the Critique of Judgment: Unity and Boundary“. Thesis, Boston College, 2020. http://hdl.handle.net/2345/bc-ir:108727.

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Thesis advisor: Susan Meld Shell
Thesis advisor: Nasser Behnegar
Kant’s conception of life is indispensable for understanding Kant’s aesthetics and could illustrate the underlying thread as well as the overall theme of the third Critique. Kant characterizes the principle of life with a power for self-action and self-determination, and this principle could be regarded as a special kind of causality or the third mode of determination. First, in Kant’s theory of the judgment of taste, his conception of life furnishes the judging subject’s transcendental aesthetic operation with a special internal causality, the causality, as Kant depicts, of lingering. Second, for Kant’s thoughts on beautiful art the notion of life, and its cognates as well, also bears those rich and concrete implications that would show how the principle of life, by which the mind is swinging, would manifest a basis for the unity of the self with the nature in the subjective condition of a creative artistic genius. Third, the judgment of the sublime as Kant develops runs into a moment of abruption of life, and by tracing the occurrence of this moment the light could thus be shed on the true condition of the unity, and the boundary as well, that is proper to the peculiar human way of living. By interpreting Kant’s conception and principle of life in such a way, I shall venture to show how the meaning of life, or indeed the meaning behind the peculiar condition of human life, is set out to show itself through the elaboration of the final completion of Kant’s critical enterprise
Thesis (MA) — Boston College, 2020
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Political Science
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MATTOSO, JÚLIA CASAMASSO. „REFLECTION AND FUNDAMENT: THE UNIVERSAL VALIDITY OF JUDGMENT OF TASTE IN KANT S AESTHETICS“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=18800@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A presente dissertação é uma investigação acerca da validade universal do juízo do belo, tratado por Kant na Critica da faculdade do juízo. Tal investigação se faz necessária para esclarecer a proposta kantiana sobre um juízo que é singular, fundado no sentimento de prazer, mas que ergue uma pretensão à validade universal. Para dar conta da universalidade do juízo do belo, a dissertação lida com as duas Introduções, a primeira e a publicada, e com a Analítica do belo. Ela procura explicitar as razões pelas quais Kant fundamenta o juízo do belo no sentimento de prazer. Esse sentimento envolve as faculdades cognitivas da imaginação e do entendimento, faculdades que, no caso do juízo do belo, estão como que num jogo livre. Esse jogo livre é possível porque o juízo acerca do belo é um juízo reflexivo, que não parte de conceitos, mas do singular dado e vai procurar um conceito para esse singular. Nesse sentido, justificar a validade universal do juízo do belo é o desafio principal e o objetivo da dissertação.
This dissertation is an investigation about the universal validity of the judgment of the beautiful, as treated by Kant in his Critique of Judgment. Such investigation is needed to clarify the Kantian proposal for this judgment that is singular and grounded on the feeling of pleasure, which raises a claim for its universal validity as well. To be able to manage the universality of the judgment of the beautiful, this work deals with the two Introductions, the first and the published one, and with the Analytic of the Beautiful. It seeks to explain the terms in which Kant grounds the judgment of the beautiful over the feeling of pleasure. In the case of the judgment of the beautiful the cognitive faculties of imagination and understanding are in a free play. This free play is possible because the judgment of the beautiful is a reflective judgment, which doesn t come from concepts but it actually must seek a concept for the singular given. In this sense, to justify the universal validity of the judgment of the beautiful is the main challenge and purpose of this dissertation.
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HINZ, KRISTINA. „CRITIQUE OF VIOLENCE, CRITIQUE OF PURE REASON: WALTER BENJAMIN S AND IMMANUEL KANT S CRITICAL ENTERPRISE IN COMPARISON“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=37088@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
PROGRAMA DE EXCELENCIA ACADEMICA
Em 1921, Walter Benjamin publicou, com apenas 28 anos, seu controverso ensaio Da crítica da violência, representando um acerto com o modelo republicano de governança e desenvolvimento à luz da Primeira Guerra Mundial. Identificando uma relação intrínseca e necessária entre autoridade legal e violência física, Da crítica da violência tem se tornado um texto altamente influente para a discussão de violência na política, inspirando teóricos tão diferentes como Carl Schmitt, Herbert Marcuse, Jurgen Habermas, Jacques Derrida e Giorgio Agamben. Esta dissertação de mestrado propõe uma leitura do ensaio benjaminiano que o entende primeiramente como resposta à filosofia crítica e política de Immanuel Kant. Discutindo os conceitos de crítica, política vis-à-vis violência e história nas obras dos dois autores, essa dissertação visa esclarecer as divergências e também paralelas nos pensamentos dos dois autores, argumentando que ambos autores defendem uma visão que considera a violência como o único meio para alcançar a liberdade.
In 1921, Walter Benjamin published, at the age of only 28, his controversial essay Critique of violence, representing an account on the republican model of governance and development in the light of the First World War. Identifying an intrinsic and necessary relationship between legal authority and physical violence, Critique of violence has become a highly influential text for the discussion on the role of violence in politics, inspiring theorists as different as Carl Schmitt, Herbert Marcuse, Jurgen Habermas, Jacques Derrida and Giorgio Agamben. This master thesis proposes a reading of Benjamin s essay which it comprehends primarily as an answer to the critical and political philosophy of Immanuel Kant. Discussing the concepts of critique, politics vis-à-vis violence, and history in the works of both authors, this master thesis has the goal to clarify the divergences but also the parallels within the thought of both authors, arguing that both authors defend a position which considers violence as the only means for achieving freedom.
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PEREIRA, DOUGLAS LUIZ. „IDEAS OF REASON, AESTHETIC IDEA AND BEAUTIFUL ART IN KANT`S CRITIQUE OF THE POWER OF JUDGEMENT“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13948@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
A partir da Crítica da Faculdade do Juízo, em especial da Crítica da faculdade de julgar estética, procuramos relacionar as idéias estéticas com as idéias da razão, propostas na Crítica da razão pura. Por meio da Crítica da razão pura procurou-se esclarecer o que Kant designou como idéia e, por meio da Crítica da faculdade do juízo, buscou-se esclarecer o elemento estético das idéias estéticas.
Based on the Critique of the Power of Judgement, especially the Critique of the Aesthetic Power of Judgement, I have tried to relate the aesthetic ideas to the ideas of reason, proposed in the Critique of Pure Reason. Through the Critique of Pure Reason, I have tried to clarify what Kant named as idea and, thorugh the Critique of the Power of Judgement, I have tried to clarify the aesthetic element of the aesthetic ideas.
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Kuen, Juang Jau, und 莊昭崑. „In kant''s aesthetic, the position of pleasure in the judgement of taste“. Thesis, 1995. http://ndltd.ncl.edu.tw/handle/00621112687682925986.

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Chung, Chen-Yu, und 鍾振宇. „A Study on the Concept of Thing in Itself in Kant''s "Critique of Pure Reason"“. Thesis, 1995. http://ndltd.ncl.edu.tw/handle/38449527074215897811.

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„THE PROBLEM OF FREEDOM IN THE CONTEXT OF THE LAW OF CAUSALITY IN KANT’S CRITIQUE OF PURE REASON“. Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606807/index.pdf.

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Anctil, Laura. „Slowing senses of aesthetics, science and the study of politics through Plato, Kant and Nietzsche“. Thesis, 2014. http://hdl.handle.net/1828/5653.

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Since the post-positivist turn in critical political theory, many scholars of political science have tried to reimagine the discipline through feminist, Marxist, and postcolonial critiques. However, even critical scholars often overlook that all forms of critique are aesthetic- as is the mainstream of political science that they criticize. Despite these proliferating critiques, much of political science is still shaped by a robust epistemological orientation towards scientific aspirations, which I describe as a scientific epistemic mode. The argument of this thesis is that the dominance of a scientific epistemic mode in political science orients this discipline erroneously against aesthetic receptivity and production. The relationship between political science and aesthetics is often characterized by affects of discomfort and shame, so that aesthetic qualities in research are associated with unscientific, and therefore illegitimate outcomes. The claim that aesthetics is not suited to the study of politics is longstanding, but not necessarily legitimate. Rather than conceive of aesthetics and science as essentially opposed, this thesis considers how this dualism can be understood as a discursive formation. The notion of aesthetics as a threat to science exists as far back as Plato’s Republic, where poetry is banished for the sake of philosophy. Contra Plato, Kant acknowledges aesthetics as a relevant epistemic mode in The Critique of Judgment, but determines aesthetics to be irreconcilable with a reason-based, scientific epistemology. Finally, in The Birth of Tragedy Nietzsche’s reading of Attic Tragedy suggests that, like the figures of Dionysus and Apollo, aesthetics and science can be thought of as two forces in a relation of productive antagonism rather than mutual exclusion or domination. In response to the naturalized, scientific epistemic mode in political science, an aesthetic epistemic mode acknowledges the fusion of aesthetics and science in the production of political analysis. Following Isabelle Stengers, this thesis tries to slow down the sense that aesthetics is inferior, excluded and dominated by science, suggesting that political science begin to cultivate a receptive awareness of its own aesthetic value. In making aesthetics a legitimate focus in political science, an aesthetic epistemic mode is practised by seeking out relevant questions rather than demanding immediate, “scientific” answers.
Graduate
0615
0422
anctil.laura@gmail.com
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Bücher zum Thema "Kant`s critique of taste"

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Kant and the claims of taste. 2. Aufl. Cambridge: Cambridge University Press, 1997.

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Paul, Guyer. Kant and the claims of taste. 2. Aufl. Cambridge: Cambridge University Press, 1997.

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Allison, Henry E. Kant's theory of taste: A reading of the critique of aesthetic judgment. New York: Cambridge Univ Press, 2001.

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Allison, Henry E. Kant's theory of taste: A reading of the Critique of aesthetic judgment. Cambridge: Cambridge University Press, 2001.

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Kant's theory of taste: A reading of the Critique of aesthetic judgment. Cambridge: Cambridge University Press, 2001.

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Meredith, James Creed. Kant S Critique of Aesthetic Judgement. Creative Media Partners, LLC, 2018.

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Meredith, James Creed. Kant S Critique of Aesthetic Judgement. Creative Media Partners, LLC, 2018.

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Meredith, James Creed. Kant S Critique of Aesthetic Judgement. Creative Media Partners, LLC, 2018.

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Company, MacMillan and. Commentary to Kant S to Critique of Pure Reason. Creative Media Partners, LLC, 2022.

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Allison, Henry E. Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment. Cambridge University Press, 2001.

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Buchteile zum Thema "Kant`s critique of taste"

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Crawford, Donald W. „Is There a Conflict Between Taste and Judgment in Kant’s Aesthetics?“ In Kant and Critique: New Essays in Honor of W.H. Werkmeister, 125–47. Dordrecht: Springer Netherlands, 1993. http://dx.doi.org/10.1007/978-94-015-8179-0_6.

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Banham, Gary. „The Deduction of Pure Aesthetic Judgments, Fine Art and the Antinomy of the Critique of Taste“. In Kant and the Ends of Aesthetics, 96–122. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230287600_6.

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Rajiva, Suma. „Rationalizing Taste: A Dialectic of Critique“. In Kant und die Berliner Aufklärung, herausgegeben von Volker Gerhardt, Rolf-Peter Horstmann und Ralph Schumacher. Berlin, Boston: DE GRUYTER, 2001. http://dx.doi.org/10.1515/9783110874129.1703.

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Dickie, George. „Taste and Purpose: Immanuel Kant“. In The Century of Taste, 85–122. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195096804.003.0005.

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Abstract The theory of taste Kant presents in his Critique of Judgment (1790)-known as the third Critique—is notoriously difficult to understand. The exposition of his theory is usually encountered as the so-called four moments from the beginning of the “Critique of Aesthetic Judgment” in the Critique of Judgment, and in this form it is, I believe, virtually impossible to understand. It is not just that his writing is so bad; he frequently just does not provide the information required for explaining why he draws the conclusions he does. For example, his conclusion that “beauty is an object’s form of purposiveness,” in the third-moment context in which he draws it, is baffling. This conclusion, by introducing the notion of purpose as an integral aspect of beauty, deviates sharply from the kind of conclusions that the other theorists of taste drew about the nature of beauty. (Hume does say that a critic ought to take account of an artist’s purposes, but he does not claim that such purpose is an integral aspect of beauty.) The notion of purpose (as perfection) plays a large role in the theories of Kant’s rationalist German predecessors such as Wolff and Baumgarten, but these theorists were not theorists of taste. The German rationalists were, no doubt, the historical source of Kant’s conception.
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Léveillé, Laure. „Faire fond(s)“. In La Critique de la raison pure de Kant, 277–86. Collège de France, 2022. http://dx.doi.org/10.4000/books.cdf.14034.

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Stroud, Barry. „The Synthetic A Priori in Strawson ‘s Kantianism“. In Strawson and Kant, 109–25. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199252824.003.0007.

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Abstract Kant ‘s ‘general problem of pure reason ‘ (B 19)was to be solved by following ‘a special science ‘ called ‘the critique of pure reason ‘ (A 11/B 24). It would examine the ‘sources and limits ‘ (A 12/B 25) of reason ‘s power, and ‘lay down the ... plan ‘ of what he called a ‘transcendental philosophy ‘ (A 13/B 27). Ideally, such a philosophy would account for all of human knowledge in so far as it is possible a priori, including even our knowledge of what is already contained in our concepts. But Kant ‘s Critique of Pure Reason-the book by that name-would not investigate such merely ‘ana lytic ‘ knowledge. It would go only as far as is needed for the examination of ‘knowledge which is a priori and synthetic ‘ (A 14/B 28). So the whole project, and the whole question to which Kant ‘s masterpiece is devoted, is ‘How are a priori synthetic judgements possible? ‘ (B 19).
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Stern, Robert. „On Strawson ‘s Naturalistic Turn“. In Strawson and Kant, 219–33. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199252824.003.0014.

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Abstract It is customary when considering Strawson ‘s philosophical outlook to categorize him as a Kantian, and understandably so: Strawson ‘s The Bounds of Sense is one of the most influential studies of Kant ‘s first Critique; his use of transcendental arguments in that work and in his earlier book Individuals is clearly inspired by Kant; and Strawson ‘s opposition to certain kinds of empiricism and anti-philosophical scientism (the former embodied for him by Ayer and the latter by Quine) appears to reflect Kant ‘s own hopes for his transcendental philosophy, as offering a ‘third way ‘ between these and a rationalistic traditional metaphysics. Above all, perhaps, it has been assumed that it is in relation to the problems posed by scepticism that Strawson is close to Kant, in attempting to undercut the sceptical position by showing that it rests on a questionable underlying assumption (for example, that inner sense is possible without outer sense, or that first-person experience is possible without experience of others), and that once the fallaciousness of this assumption is exposed, the sceptical position can be rebutted.
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Förster, Eckart. „Strawson on Aesthetic Judgement in Kant“. In Strawson and Kant, 185–204. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199252824.003.0012.

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Abstract In his recent ‘Intellectual Autobiography ‘ that opens the Library of Living Philosophers volume in his honour Sir Peter Strawson reviews, among other things, his various publications on Kant subsequent to The Bounds of Sense. In this context he writes: ‘More recently I paid tribute to his [i.e. Kant ‘s] insight into the nature of aesthetic judgement. ‘ This attention to Kant ‘s theory of beauty must be most welcome to anyone who, like myself, has learned greatly from Strawson ‘s brilliant reading of the first Critique and who shares his high esteem for the Critique of Aesthetic Judgement. Unfortunately, the mentioned tribute is exceedingly short and condensed, occurring as it does in the context of a book review.
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Rego, Pedro Costa. „17 The Purposiveness of Taste: An Essay on the Role of Zweckmässigkeit in Kant’s Critique of Aesthetic Judgment“. In Kant in Brazil, 305–20. Boydell and Brewer, 2012. http://dx.doi.org/10.1515/9781580467728-020.

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Kohl, Markus. „Freedom of Imagination and the “Autonomy of Taste”“. In Kant on Freedom and Rational Agency, 339–74. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198873143.003.0011.

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Abstract The final chapter examines whether Kant’s views on freedom of imagination in his aesthetics (in the Critique of the Power of Judgment) fit into his systematic doctrine of freedom. Kant’s account of the free imagination seems to disrupt his canonical account of freedom as a law-governed rational faculty, since he insists that imaginative freedom is a freedom from rational laws or concepts. The chapter shows that we can nevertheless regard freedom of imagination as a distinctive species of Kant’s generic notion of transcendental freedom. Like freedom of will and freedom of thought, imaginative freedom requires independence from determination by foreign natural causes. And, while our aesthetic activity must not be determined by intellectual laws and concepts, it is still loosely, indeterminately governed by such laws and concepts; hence it does not collapse into an arbitrary liberty of indifference. This interpretation is congenial to various core tenets of Kant’s aesthetics, especially to his view that aesthetic ideas play a central role in our creation and reception of beauty. The account of imaginative freedom developed here further explains how Kant’s aesthetics connects with his transcendental idealism, specifically with his claim that aesthetic ideas are grounded in our super-sensible faculties. The chapter concludes by suggesting that, with some leeway, we can regard our freedom of aesthetic imagination as exhibiting a special form of autonomy, the “autonomy of taste.”
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