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Immanuel Kant, Critique of Judgement, Translated by Werner S. Pluhar, Hackett Publishing Co., 1987, ISBN 0-87220-025-6; Immanuel Kant, Critique of the Power of Judgment, Edited by Paul Guyer, translated by Paul Guyer and Eric Mathews, Cambridge and New York: Cambridge University Press, 2000. The Cambridge Edition of the Works of Immanuel Kant.
In 1781, Immanuel Kant declared that Baumgarten's aesthetics could never contain objective rules, laws, or principles of natural or artistic beauty. The Germans are the only people who presently (1781) have come to use the word aesthetic[s] to designate what others call the critique of taste. They are doing so on the basis of a false hope ...
(A judgment of this form would be logical, not aesthetic.) Nature, in Kant's aesthetics, is the primary example for beauty, ranking as a source of aesthetic pleasure above art, which he only considers in the last parts of the third Critique of the Aesthetic Judgment.
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.
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.
Kant further divides the Doctrine of Elements into the Transcendental Aesthetic and the Transcendental Logic, reflecting his basic distinction between sensibility and the understanding. In the "Transcendental Aesthetic" he argues that space and time are pure forms of intuition inherent in our faculty of sense.
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 ...
Kant gives his first definition of an end in Critique of Aesthetic Judgement: “an end is the object of a concept [i.e. an object that falls under a concept] insofar as the latter [the concept] is regarded as the cause of the former [the object] (the real ground of its possibility).”(§10/220/105). [5] Kant characterises an end as a one ...