Extracts From ‘Analytic of Aesthetic Judgment’ and ‘Dialectic of Aesthetic Judgment’, Critique of Judgment

2017 ◽  
pp. 3-39
Author(s):  
Immanuel Kant
Keyword(s):  
Aesthetic Judgment ◽  
Critique Of Judgment

Introduction to Eighteenth-Century Aesthetic

Philosophy ◽  
1934 ◽  
Vol 9 (34) ◽  
pp. 157-167
Author(s):  
Senator B. Crock
Keyword(s):  
Eighteenth Century ◽  
Immanuel Kant ◽  
Aesthetic Judgment ◽  
Critique Of Judgment ◽  
Rapid Sequence ◽  
Dominant Feature ◽  
The Aesthetic

The dominant feature of eighteenth-century aesthetic is the inquiry and discussion concerning the theory of “taste.” There is material or bibliographical evidence of this in the rapid sequence of treatises, essays, inquiries, observations, and controversies on this subject, extending from the close of the seventeenth to the last years of the eighteenth century, and bearing the names, in France, of Dacier, Bellegarde, Bouhours, Rollin, Seran de la Tour, Trublet, Formey, Bitaubé, Marmontel, and, still more eminent, of Montesquieu, Voltaire, d’Alembert; in England, of Addison, Hume, Gerard, Home, Burke, Priestley, Blair, Beattie, Percival, Reid, Alison; in Italy, of Muratori, Calepio, Pagano, Corniani; in Germany, of Thomasius, J. U. König, Bodmer, A. von Schlegel, Wegelin, Heyne, Herz, Eberhard, J. C. König, and, by German influence in Hungary, Szardahely; and, greatest of all, Immanuel Kant, whoseCritique of Judgmentconsists in the main of a critique of the aesthetic judgment of taste.

‘A stranger to consciousness …’ – Lyotard and the Sublime1

Sublime Art ◽  
2017 ◽  
pp. 48-108
Author(s):  
Stephen Zepke
Keyword(s):  
Practical Reason ◽  
A Priori ◽  
Reflective Judgment ◽  
Aesthetic Judgment ◽  
Critique Of Judgment ◽  
Heuristic Function ◽  
The Sublime ◽  
Book Collecting ◽  
Conditions Of Possibility ◽  
Original Interpretation

Lyotard’s Lessons on the Analytic of the Sublime is a book collecting his ‘unpolished’ (1994: ix) lecture notes on sections 23–29 of Kant’s Critique of Judgment. As such, they modestly present themselves as an ‘explication de texte’ while in fact being a highly original interpretation of Kant’s concept of the sublime that focuses on and indeed exemplifies the heuristic function of reflective aesthetic judgment. For Kant this judgment is neither legislating nor provable, and so is excluded from the realms of both pure and practical reason, but as a result Kant hopes it can unite the faculties by revealing the transcendental conditions of an object’s particularity beyond its a priori conditions of possibility. Reflective judgment ‘endeavours’, Lyotard tells us, ‘to “discover” a generality or a universality in them [particular objects] which is not that of their possibility but of their existence’.

Psychological Limits in Percy Shelley's Prefaces

Romanticism ◽  
2018 ◽  
Vol 24 (2) ◽  
pp. 158-168
Author(s):  
Merrilees Roberts
Keyword(s):  
Aesthetic Experience ◽  
Adam Smith ◽  
Psychological Trauma ◽  
Aesthetic Judgment ◽  
The Self ◽  
Critique Of Judgment ◽  
Liminal Space ◽  
Moral Behaviour ◽  
Mental Operations ◽  
Indirect Relationship

The prefaces to Shelley's poems are generally seen as an important addendum to understanding the complex narratorial personae in the poems they accompany; to pull these textual edges into the centre of enquiry allows for consideration of the unique perspectives on ethics and aesthetics that they offer. I argue that Shelley's prefaces conflate Sympathy conceived of as a personal and morally accountable emotional reflex, such as found in the thought of Adam Smith, and sympathy conceived as the abstract, disinterested aesthetic judgment of Kant's Critique of Judgment. This conflation casts the sensitivity of the poet as both a faculty of judgment which forges an only indirect relationship to moral concerns, and, paradoxically, as something requiring explicitly moral behaviour. This tension engenders a psychological trauma which makes the idea of ‘the self’ a contested, liminal space that marks the edges of Shelley's understanding of the mental operations that occur in aesthetic experience.

scholarly journals The problem of aesthetic judgment: Perspectives of aesthetics

2013 ◽  
Vol 24 (3) ◽  
pp. 5-22
Author(s):  
Una Popovic
Keyword(s):  
Aesthetic Judgment ◽  
The Other ◽  
Critique Of Judgment ◽  
Philosophical Thought ◽  
The One ◽  
Critical Project

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.

British Women Amateur Filmmakers

2018 ◽  
Author(s):  
Annamaria Motrescu-Mayes ◽  
Heather Norris Nicholson
Keyword(s):  
Postcolonial Studies ◽  
Extensive Study ◽  
Aesthetic Judgment ◽  
Visual Anthropology ◽  
Gender History ◽  
Remote Communities ◽  
Visual Narratives ◽  
And Gender ◽  
British Commonwealth ◽  
Film Making

In the rapidly growing study of amateur film, this groundbreaking book addresses the development of British women's amateur visual practice. Drawing upon social and visual anthropology, imperial and postcolonial studies and British, Commonwealth and gender history, the authors explore how women in Britain and overseas, used the evolving technologies of moving imagery to create visual stories about their lives and times. Locating the making, watching and sharing of women's recreational film-making against wider societal, technological and ideological changes, British Women Amateur Filmmakers discloses how women from varied backgrounds negotiated changing lifestyles, attitudes and opportunities as they created first personal visual narratives about themselves and the world around them. Using non-fictional films and animations, the authors invite readers to view films through different interpretative lens and provide detailed contexts for their case-studies and survey of over forty women amateur filmmakers. Whether in remote communities, suburban homes, castles, missionary or diplomatic enclaves, or simply travelling as intrepid sightseers, women filmed their companions, other people and their surroundings, not only as observers but often displaying agency, autonomy and aesthetic judgment during decades when careers, particularly after marriage, were often denied in film and other professions. Research across Britain on films in private hands and specialist archives, interviews and extensive study of the Institute of Amateur Cinematographers (IAC's) collections enable the authors to reposition an activity once thought of as overwhelmingly male and middle class.

The Genesis of Kant's Critique of Judgment. John H. Zammito

1995 ◽  
Vol 67 (1) ◽  
pp. 206-209
Author(s):  
Robert S. Leventhal
Keyword(s):  
Critique Of Judgment
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