In the third Critique Kant details an aesthetic operation of judgment that is surprising considering how judgment functioned in the first Critique. In this book, I defend an understanding of Kant’s theory of Geschmacksurteil as detailing an operation of the faculties that does not violate the cognitive structure laid out in the first Critique. My orientation is primarily epistemological, elaborating the determinations that govern the activity of pure aesthetic judging that specify it as a "bestimmte" type of judgment without transforming it into "ein bestimmendes Urteil". I focus on identifying how the logical functions from the table of judgments operate in the pure aesthetic judgment of taste to reveal "the moments to which this power of judgment attends in its reflection" (CPJ, 5:203). In the course of doing so, a picture emerges of how the world is not just cognizable in a Kantian framework but also charged with human feeling, acquiring the inexhaustible, inchoate meaningfulness that incites "much thinking" (CPJ, 5:315). The universal communicability of aesthetic pleasure serves as the foundation that grounds robust intersubjective relations, enabling genuine connection to others through a shared a priori feeling.

In the third Critique Kant details an aesthetic operation of judgment that is surprising considering how judgment functioned in the first Critique. In this book, I defend an understanding of Kant’s theory of Geschmacksurteil as detailing an operation of the faculties that does not violate the cognitive structure laid out in the first Critique. My orientation is primarily epistemological, elaborating the determinations that govern the activity of pure aesthetic judging that specify it as a "bestimmte" type of judgment without transforming it into "ein bestimmendes Urteil". I focus on identifying how the logical functions from the table of judgments operate in the pure aesthetic judgment of taste to reveal "the moments to which this power of judgment attends in its reflection" (CPJ, 5:203). In the course of doing so, a picture emerges of how the world is not just cognizable in a Kantian framework but also charged with human feeling, acquiring the inexhaustible, inchoate meaningfulness that incites "much thinking" (CPJ, 5:315). The universal communicability of aesthetic pleasure serves as the foundation that grounds robust intersubjective relations, enabling genuine connection to others through a shared a priori feeling.

Immanuel Kant was one of the most significant philosophers of the modern age. Historical Dictionary of Kant and Kantianism, Second Edition contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on key terms of Kant’s philosophy, Kant’s major works and cover his most important predecessors and successors, concentrating especially on the relation of these thinkers to Kant himself. This book is an excellent resource for students, researchers, and anyone wanting to know more about Immanuel Kant.

Organized around eight core themes in aesthetics today, this book uncovers the complex development of Kant's aesthetic theory. It will be useful to advanced students and scholars in fields across the humanities and studies of the arts.

Although they were not written by Kant himself, the transcripts of his lectures constitute an important source for philosophical research today. Some of the contributions presented in this volume discuss the authenticity and significance of these transcripts, for example the status of Kant's lectures on logic and anthropology, while others shed light on the historical formation of specific writings, for instance the texts on the philosophy of religion. The contributions provide new insights into Kant's philosophy, that, if looking at Kant's published writings alone, we would not be able to gain. In a number of cases, a critical analysis of Kant's lectures gives us a better understanding of his published works. Thus his lectures on metaphysics shed new light on his Critique of Pure Reason, while the lecture on natural law is a valuable source for the understanding of his published legal writings.

The growing exploration of political life from an aesthetic perspective has become so prominent that we must now speak of an “aesthetic turn” in political thought. But what does it mean and what makes it an aesthetic turn? Why now? This diverse and path-breaking collection of essays answers these questions, provoking new ways to think about the possibilities and debilities of democratic politics. Beginning from the premise that politics is already “aesthetic in principle,” the contributions to The Aesthetic Turn in Political Thought from some of the world's leading political theorists and philosophers, disclose a distinct set of political problems: the aesthetic problems of modern politics. The aesthetic turn in political thought not only recognizes that these problems are different in kind from the standard problems of politics, it also recognizes that they call for a different kind of theorizing – a theorizing that is itself aesthetic. A major contribution to contemporary theoretical debates, The Aesthetic Turn in Political Thought will be essential reading to anyone interested in the interdisciplinary crossroads of aesthetic and politics.

In An Introduction to Kant’s Aesthetics, Christian Wenzel discusses and demystifies Kant’s Critique of the Power of Judgment, guiding the reader each step of the way and placing key points of discussion in the context of Kant’s other work. Explains difficult concepts in plain language, using numerous examples and a helpful glossary. Proceeds in the same order as Kant’s text for ease of reference and comprehension. Includes an illuminating foreword by Henry E. Allison. Offers twenty-six further-reading sections, commenting briefly on books and articles from the English, German, and French, that are relevant for each topic Provides an extensive bibliography and a chapter summarizing Kant's main points.

In this collection of essays Béatrice Longuenesse considers the three aspects of Kant's philosophy, his epistemology and metaphysics of nature, his moral philosophy and his aesthetic theory, under one unifying standpoint: Kant's conception of our capacity to form judgements. She argues that the elements which make up our cognitive access to the world - what Kant calls the 'human point of view' - have an equally important role to play in our moral evaluations and our aesthetic judgements. Her discussion ranges over Kant's account of our representations of space and time, his conception of the logical forms of judgements, sufficient reason, causality, community, God, freedom, morality, and beauty in nature and art. Her book will appeal to all who are interested in Kant and his thought.

This book presents a solution to the problem known in philosophical aesthetics as the paradox of ugliness, namely, how an object that is displeasing can retain our attention and be greatly appreciated. It does this by exploring and refining the most sophisticated and thoroughly worked out theoretical framework of philosophical aesthetics, Kant’s theory of taste, which was put forward in part one of the Critique of the Power of Judgment. The book explores the possibility of incorporating ugliness, a negative aesthetic concept, into the overall Kantian aesthetic picture. It addresses a debate of the last two decades over whether Kant's aesthetics should allow for a pure aesthetic judgment of ugliness. The book critically reviews the main interpretations of Kant’s central notion of the free play of imagination and understanding and offers a new interpretation of free play, one that allows for the possibility of a disharmonious state of mind and ugliness. In addition, the book also applies an interpretation of ugliness in Kant’s aesthetics to resolve certain issues that have been raised in contemporary aesthetics, namely the possibility of appreciating artistic and natural ugliness and the role of disgust in artistic representation. Offering a theoretical and practical analysis of different kinds of negative aesthetic experiences, this book will help readers acquire a better understanding of his or her own evaluative processes, which may be helpful in coping with complex aesthetic experiences. Readers will gain unique insight into how ugliness can be offensive, yet, at the same time, fascinating, interesting and captivating.

A wide-ranging and original interpretation of Kant's Critique of Judgment.