Kants »Kritik der Urteilskraft« und die Philosophie der Aufklärung

2010 ◽  
Vol 55 (1) ◽  
pp. 9-23
Author(s):  
Joachim Küpper
Keyword(s):  
18Th Century ◽  
Aesthetic Theory ◽  
Critique Of Judgment ◽  
The Third ◽  
The Sublime ◽  
The Aesthetic ◽  
Aesthetic Ideas

Der Aufsatz diskutiert die Frage nach der Relation von Kants ästhetischer Theorie zur Philosophie der Aufklärung anhand zweier zentraler Komplexe der Kritik der Urteilskraft: Zur Analytik des Erhabenen wird vertreten, daß sich aus Kants Argumenten heraus die Auffassung entwickeln konnte, die Erfahrung des (spezifisch modernen) Kunstschönen sei ein Vehikel, den Menschen mit einem Bewußtsein seiner selbst als rationalem Wesen auszustatten. Zum Komplex der ›ästhetischen Ideen‹ wird argumentiert, daß sich bei Kant der Gedanke von der Erfahrung des Kunstschönen als einer Kompensation des Rationalitätsdrucks der im 18. Jahrhundert einsetzenden Moderne entwickelt. This paper seeks to examine the relation between Kant’s aesthetic theory and the philosophy of Enlightenment. My study will focus on two central aspects from the Critique of Judgment: In connection with the Analytic of the Sublime, I will argue that Kant’s discussion of the concept enabled the development of the opinion that experiencing the specifically modern artistic beauty works as a means to equip us with an awareness of ourselves as beings equipped with reason. The second aspect I want to discuss is that of the aesthetic ideas. I will show that in the Third Critique, the idea of experiencing artistic beauty functions as a compensation for the pressure of rationality that sets in together with modernity in the 18th century.

How Does an Aesthetic Object Happen? Emergence, Disappearance, Multiplicity

2018 ◽  
Vol 12 (4) ◽  
pp. 478-498 ◽  
Author(s):  
Varvara Kobyshcha
Keyword(s):  
Ethnographic Study ◽  
Land Art ◽  
Aesthetic Theory ◽  
Gestalt Theory ◽  
Aesthetic Object ◽  
The Third ◽  
Plastic Arts ◽  
First Case ◽  
The Aesthetic ◽  
Social Phenomenology

In studying visual and plastic arts, social researchers tend to assume that an aesthetic object is pre-given to a viewer who does not participate in the process of the object’s becoming. They problematise the aesthetic status of an artwork, but not its objectness. This article shows that audience perception, considered as interaction and situated practice, does not merely define the meanings and emotions attached to a certain object, but plays a constitutive role in the object’s physical state and its very existence as an object, i.e. as an integrated unity extracted from its surroundings and affording a direct, intensive encounter. Synthesising the conceptual resources of Hennion’s pragmatics of taste, Simmel’s aesthetic theory, gestalt theory, and social phenomenology, I explain various ways an object in the situation of perception happens and achieves a certain mode of existence or fails to happen and disappears. The article is based on three empirical examples derived from the ethnographic study of the open-air land art/architectural festival ‘Archstoyanie’. The first case illustrates how an object is extracted from the environment and the festival’s infrastructure; the second, how the visitors destroy the incomplete boundaries of an object so that it dissolves into the surroundings; and the third, how an object maintains its integrity despite its inner complexity and multiple centres that attract the visitor’s attention.

Coleridge as Literary Critic: Biographia Literaria and Essays on the Principles of Genial Criticism

2012 ◽  
Author(s):  
Raimonda Modiano
Keyword(s):  
Aesthetic Theory ◽  
Literary Critic ◽  
Critique Of Judgment ◽  
Opium Addiction ◽  
The Aesthetic

This article examines Samuel Taylor Coleridge's career as a literary critic, focusing on his Biographia Literaria and Essays on the Principles of Genial Criticism. It explains that Biographia Literaria is Coleridge's most controversial, most widely read and most provocative work, which he wrote after his battle with opium addiction. The article suggests that Essays on the Principles of Genial Criticism was based on Immanuel Kant's Critique of Judgment and on the aesthetic theory of Richard Payne Knight, whom Coleridge considered as a serious rival in aesthetics.

Sublime Visions: Piranesi and his Carceri Prints

2017 ◽  
Author(s):  
Gloria Bell
Keyword(s):  
Quality Of Experience ◽  
18Th Century ◽  
Aesthetic Theory ◽  
Ancient Rome ◽  
Work Of Art ◽  
Philosophical Concept ◽  
The Sublime ◽  
Gothic Arch ◽  
Architectural Spaces

This paper examines the philosophical concept of the sublime and its impact in the work of the artist Giovanni Battista Piranesi. The main focus of the paper is Piranesi’s Carceri series, created during the period of 1740 – 1760 in Rome. Although Dionysius Longinus wrote of the sublime several centuries earlier, this concept became popular in 18th century aesthetic theory, and Piranesi had access to the writings of Longinus and 18th-century followers of his ideas. According to Longinus’ theory, creating a sublime work of art required daring and great thinking. The sublime was a quality of experience meant to move the soul to a higher realm. Piranesi attempted to emulate this quality in his own works by invoking the grandeur of ancient Rome. Piranesi was surrounded by ancient ruins and he was actively involved in archaeological digs. He wrote on the wonder of observing the ruins of Rome, “these speaking ruins have filled my spirit”. At the same time, Piranesi was not only surrounded by classical concepts; the motif of the gothic arch, which conveys the idea of architecture reaching up to heaven, also plays a role in his prints and their evocation of the sublime. His techniques with etching, composition, and depiction of light show his creativity, skill, and ambition, consistent with Longinus’ ideas. The iconography of the Carceri prints, especially Plates XIII, XIV, XVI, expresses Piranesi’s interest in the sublime through imaginative compositions, relating tiny figures to lofty architectural spaces, and through his demonstrated pride in ancient Rome.

scholarly journals Marc-Antoine Laugier’s aesthetic postulates of architectural theory

Spatium ◽  
2010 ◽  
pp. 46-50
Author(s):  
Irena Kuletin-Culafic
Keyword(s):  
18Th Century ◽  
Historical Context ◽  
Aesthetic Theory ◽  
Architectural Theory ◽  
The Enlightenment ◽  
Decorative Element ◽  
Integrative Process ◽  
Aesthetic Aspect ◽  
The Aesthetic ◽  
Radical Character

Views on architecture that hold a significant position in architectural theory are the ones by Marc-Antoine Laugier, a French theoretician from the 18th century. The research on his architectural theory that have been carried out so far are quite stereotypical and concern Laugier?s concept of primitive hut as his only significant contribution to architectural theory. It is well-known that the concept of primitive hut plays an important role in Laugier?s theory and it is what actually maintained his reputation up to now. However, by singling out this concept as an independent one, one actually neglects all the other aspects of Laugier?s theory. The aim of this paper is to present multidimensionality of Laugier?s architectural aesthetics by crossing the borders of architecture and viewing Laugier?s ideas in cultural, philosophical, religious and historical context, as well as applying the integrative process and considering the spiritual paths of the enlightenment movement in the mid-18th century. A special attention is paid to considering the aesthetic aspect which represents the gist and an inevitable part of Laugier?s architectural theory. His aesthetic theory is important in forming the classicist style, and despite its radical character, it influenced many architects in France and the rest of Europe. We may see Laugier as one of the first modernists considering his structuralist logic of the constructive circuit of architecture and aesthetic modesty of decoration. Laugier?s functionalist attitude that the constructive circuit should at the same time represent a decorative element of architecture confirms the thesis that modernist approach has its roots in the 18th century.

scholarly journals Operationalising the Sublime: Remediation of the Horokiwi Quarry

2021 ◽  
Author(s):  
Shaun Rosier
Keyword(s):  
Design Research ◽  
Aesthetic Experience ◽  
18Th Century ◽  
Architectural Discourse ◽  
Dominant Form ◽  
The Sublime ◽  
Spatio Temporal ◽  
The Aesthetic ◽  
The Relationship ◽  
Early 18Th Century

<p>Landscape designers have been fixated on the aesthetic category of the sublime ever since its emergence in the early 18th century, yet the concept has tended to escape the grasp of many of those who have grappled with its complexities. The capacity of the sublime to overwhelm a body is attractive to designers but tends to be seen as difficult to represent, and therefore design with. This thesis examines the sublime as an aesthetic experience that is fundamental to how landscape designers engage with their medium. It traces the relationship between the sublime and the discipline from the 18th-century to the dominant form of contemporary systems-based designing. The challenge of engaging with the pre-existing is central to landscape design practices yet has received little attention throughout the past two decades. Responding to this deferral from aesthetics by contemporary landscape architectural discourse and practice, the thesis unpacks the works of several designer-thinkers who establish a community of practice for exploring the aesthetic relationship to the pre-existing landscape. In order to operationalise the sublime, the thesis proposes a design model based on Gilles Deleuze’s notions of intensity, problematics, affects, and assemblage – one that is closer to the 18th century theorists – as a productive means through which designers both represent and adjust its operations. This model is explored through a practice-led design research project. The Horokiwi Quarry in Wellington, New Zealand acts as a testbed for developing and documenting design techniques suited to the sublime. This study seeks to give expression – re-present and experience – the affectual dimensions of sublime encounters discovered within the Horokiwi Quarry. In this, drawings and other forms of representation are required to explicate and later modify the spatio-temporal relations that give rise to the sublime.</p>

scholarly journals Debate on sublime in the end of 18th century: Burke, Kant, Schiller

2009 ◽  
Vol 20 (1) ◽  
pp. 143-158
Author(s):  
Dragana Jeremic-Molnar ◽  
Aleksandar Molnar
Keyword(s):  
French Revolution ◽  
18Th Century ◽  
The Political ◽  
Old Regime ◽  
Third Way ◽  
The Third ◽  
The Sublime ◽  
The Relationship

In the article the authors are examining three positions within the 18th Century aesthetic discussion on the sublime - Edmund Burke's, Immanuel Kant's and Friedrich Schiller's. They are also trying to reconstruct the political backgrounds of each of this theoretical positions: old regime conservatism (Burke), republican liberalism (Schiller) and romantic longing for the 'third way' (Kant). The most sophisticated and mature theory of sublime is found in Schiller's aesthetic works, especially in those following his disappointment in French Revolution, in which the relationship between sublime and paradoxes of historical violence is most thoroughly reflected.

scholarly journals Operationalising the Sublime: Remediation of the Horokiwi Quarry

2021 ◽  
Author(s):  
Shaun Rosier
Keyword(s):  
Design Research ◽  
Aesthetic Experience ◽  
18Th Century ◽  
Architectural Discourse ◽  
Dominant Form ◽  
The Sublime ◽  
Spatio Temporal ◽  
The Aesthetic ◽  
The Relationship ◽  
Early 18Th Century

<p>Landscape designers have been fixated on the aesthetic category of the sublime ever since its emergence in the early 18th century, yet the concept has tended to escape the grasp of many of those who have grappled with its complexities. The capacity of the sublime to overwhelm a body is attractive to designers but tends to be seen as difficult to represent, and therefore design with. This thesis examines the sublime as an aesthetic experience that is fundamental to how landscape designers engage with their medium. It traces the relationship between the sublime and the discipline from the 18th-century to the dominant form of contemporary systems-based designing. The challenge of engaging with the pre-existing is central to landscape design practices yet has received little attention throughout the past two decades. Responding to this deferral from aesthetics by contemporary landscape architectural discourse and practice, the thesis unpacks the works of several designer-thinkers who establish a community of practice for exploring the aesthetic relationship to the pre-existing landscape. In order to operationalise the sublime, the thesis proposes a design model based on Gilles Deleuze’s notions of intensity, problematics, affects, and assemblage – one that is closer to the 18th century theorists – as a productive means through which designers both represent and adjust its operations. This model is explored through a practice-led design research project. The Horokiwi Quarry in Wellington, New Zealand acts as a testbed for developing and documenting design techniques suited to the sublime. This study seeks to give expression – re-present and experience – the affectual dimensions of sublime encounters discovered within the Horokiwi Quarry. In this, drawings and other forms of representation are required to explicate and later modify the spatio-temporal relations that give rise to the sublime.</p>

Deconstruction as Critique of Ideology: Paul de Man’s Reading of The Critique of Judgment

1970 ◽  
Vol 11 ◽  
Author(s):  
Sonia Arribas
Keyword(s):  
Transcendental Philosophy ◽  
Critique Of Judgment ◽  
Paul De Man ◽  
Separate Spheres ◽  
The Sublime ◽  
The Aesthetic ◽  
De Man ◽  
Critique Of Ideology

ResumenEn este artículo se lleva a cabo una reconstrucción de la deconstrucción que realiza Paul de Man de la célebre distinción kantiana entre la filosofía transcendental y la metafísica, tal y como ésta es expuesta en la Crítica del Juicio. En lugar de considerar que pertenecen a dos esferas separadas, en el artículo se muestra cómo, según de Man, se da una transición entre ellas que sólo se puede explicar bajo la forma de un cortocircuito tropológico o lingüístico que Kant mismo realiza, pero de manera inconsciente. También se pone de relieve que la noción kantiana de lo sublime, escondida bajo la categoría de lo esct Ttético, cumple la función ideológica de reprimir la constitución inherentemente lingüística de todo conocimiento.Palabras clave Crítica, deconstrucción, estética, ideologÍaAbstractThis article carefully reconstructs Paul de Man’s deconstruction of Kant’s distinction between transcendental philosophy and metaphysics, as the latter appears in The Critique of Judgment. Instead of posing these two as belonging to two separate spheres, the paper shows how, according to de Man, there is a transition between them that can only be accounted for in terms of a tropological or linguistic trick that Kant himself realizes, yet unaware of it. The paper also discusses that Kant’s notion of the sublime has an ideological function disguised under the category of the aesthetic, and which amounts to a denial of the inherently linguistic constitution of all knowledge.Key wordsCritique, deconstruction, aesthetics, ideology

Kant’s Account of the Sublime as Critique

Kant Yearbook ◽  
2019 ◽  
Vol 11 (1) ◽  
pp. 101-120
Author(s):  
Rachel Zuckert
Keyword(s):  
Cognitive Abilities ◽  
Mystical Experience ◽  
Human Cognition ◽  
Critique Of Judgment ◽  
Extensive Discussion ◽  
The Sublime ◽  
Cognitive Access ◽  
Artistic Representation ◽  
Human Understanding ◽  
The Aesthetic

Abstract Kant’s account of the sublime in the Critique of Judgment has been extremely influential, prompting extensive discussion of the psychology, affect, moral significance, and relevance to artistic representation of the sublime on his provocative view. I focus instead on Kant’s account of the mathematical sublime in connection to his theoretical critical project, namely his attempt to characterize human cognitive powers and to limit human pretensions to knowledge of the supersensible. I argue, first, that his account of the psychology of the sublime is designed to explain not just its affective character (its displeasure-pleasure), but also to address challenges concerning the coherence of an experience of something as transcending one’s cognitive abilities. Thereby, I argue moreover, Kant provides an alternative, demystifying account of mystical experiences, in which humans might take themselves to intuit that which is beyond human understanding or reason, and thus to claim that they have special cognitive access to the supersensible, transcending the limits Kant claims to establish for human cognition. Kant’s account of the mathematical sublime is not merely so reductive of mystical experience, however; it also, I suggest, describes the aesthetic of Kantian critique itself.

Konstitutive Aspekte der Ästhetik im Sprachkunstwerk und ihre Behandlung als Übersetzungsproblem

Babel ◽  
1992 ◽  
Vol 38 (1) ◽  
pp. 10-27
Author(s):  
Karl Eckhart Heinz
Keyword(s):  
Communication Theory ◽  
18Th Century ◽  
Aesthetic Theory ◽  
Stefan George ◽  
Translation Practice ◽  
Form Part ◽  
Alexander Gottlieb Baumgarten ◽  
Verse Form ◽  
The Aesthetic ◽  
Aesthetic Values

In translating elements of language the question that is very often raised is how to deal with the aesthetic features, especially if they form part of a work of poetry. Aesthetic theory, since its emancipation from philosophy by Alexander Gottlieb Baumgarten in the 18th century, has developed our knowledge about the performance of aesthetic features; but in translation practice these aesthetic aspects are for the most part still being neglected. With translations of poetry, for example, the aspects of verse form and verse content of the original work of art are taken into account solely for the purpose of representing them in another language, disregarding the aesthetic values to which, from the time of their invention, their author owed his fame. Even in translations by poets of the work of colleagues, an understanding of the author's special aesthetic inventions is found to be lacking; here the translating — or "re-composing" (Stefan George) — process usually produces the aesthetics due to the interpreter's own composing attitudes. The article gives an introduction to aesthetic theory as a component of communication theory, and offers some examples of aesthetic structures in poetical works and in translations of them, as well as an example of representation of these structures in translated texts.

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