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Kant described the relationship between these finer feelings and humanity. The feelings are not totally separate from each other. Beauty and the sublime can be joined or alternated. Kant claimed that tragedy, for the most part, stirs the feeling of the sublime. Comedy arouses feelings for beauty.
In Kant's Transcendental Idealism, Henry E. Allison proposes a new reading that opposes, and provides a meaningful alternative to, Strawson's interpretation. [14] Allison argues that Strawson and others misrepresent Kant by emphasising what has become known as the two-worlds reading (a view developed by Paul Guyer). This—according to Allison ...
Immanuel Kant [a] (born Emanuel Kant; 22 April 1724 – 12 February 1804) was a German philosopher and one of the central Enlightenment thinkers. Born in Königsberg, Kant's comprehensive and systematic works in epistemology, metaphysics, ethics, and aesthetics have made him one of the most influential and controversial figures in modern Western philosophy.
For Kant, beauty does not reside inside an object, but is defined as the pleasure that stems from the ″free play″ of imagination and understanding inspired by the object — which as a result we will call beautiful. Such pleasure is more than mere agreeableness, since it must be disinterested and free — that is to say independent from the ...
The central concept of Kant's analysis of the judgment of beauty is what he called the ″free play″ between the cognitive powers of imagination and understanding. [2] We call an object beautiful, because its form fits our cognitive powers and enables such a ″free play″ (§22) the experience of which is pleasurable to us.
Kant proposes that the European nations were tending towards statehood in a federation characterized by a universalist and cosmopolitan moral culture—a historical end-state also approached (albeit at a slower pace) by those inferior non-European societies, defined as they still were by the embrace of faith.
Burke's concept of sublimity was an antithetical contrast to the classical conception of the aesthetic quality of beauty being the pleasurable experience that Plato described in several of his dialogues, e. g. Philebus, Ion, Hippias Major, and Symposium, and suggested that ugliness is an aesthetic quality in its capacity to instill intense ...
Kant also denied that the consequences of an act in any way contribute to the moral worth of that act—his reasoning being (highly simplified for brevity) that the physical world is outside our full control, and thus we cannot be held accountable for the events that occur in it.