INDEX 181 and happiness, 25 and ideal of beauty, 73–4 ideas or concepts of, 103–4, 107, 116–17, 122, 145, 152 and the sublime, 107, 110 and the supersensible, 44–5, 123, 145, 155 see also idea reflection, 29, 51, 52, 64, 65, 116–17 in accordance with rules, 134–6 aesthetic versus cognitive, 15, 40–1, 61, 84, 103, 130–1 aesthetic versus moral, 58, 74, 85, 104, 113–14, 117–18 and logical functions of judging, 12, 14–16, 18, 54 reflecting (or reflective) judgment (reflektierendes Urteil), 2, 8, 65, 153 see also concepts, determinate versus indeterminate; power of judgment relation between judgments, 36–7 between us and the world around us, 2, 9, 34, 68, 77–8, 111, 123 category of, 10, 54 representation (Vorstellung; Lat. repraesentatio), 153 respect for nature, 114 Rind, Miles, 39 Romanticism, German, 147 rule-following problem, the, 134 rules (Regeln), 33–4, 101, 116, 154 in art, 78–9, 95–6, 98–9 and exemplarity, 78–80, 99 and genius, 79, 98–9, 134, 144, 152 and judgment of taste, 2, 5, 16, 27, 33, 67 in mathematics, 31, 133–7 and symbolism, 116 see also concepts; power of judgment, gives rules to itself; subsumption satisfaction (Wohlgefallen), 19–27, 154 in the agreeable, 21, 23–6, 48 in the beautiful, 5, 15, 20, 23–6, 40–1, 48, 64, 87, 89 disinterested, see disinterestedness in the good, 21, 23–26 and interest, 10, 15–16, 19, 29–30 summary of Kant’s concept of, 142 three kinds of, 21, 23–6, 142 see also feeling; pleasure Saville, Anthony, 52, 86, 93, 105 schematism, 37, 67, 90 contrasted to symbolism, 116, 140, 146 Schelling, Friedrich Wilhelm Joseph, 146–7 Schiller, Friedrich von, 30, 113, 146–7 Schlapp, Otto, 101 Schlegel, August Wilhelm, 147 Schlegel, Friedrich, 147 Schleiermacher, Friedrich Daniel Ernst, 147 Schopenhauer, Arthur, 147–8 science (Naturwissenschaft), 45, 124, 133 science (Wissenschaft), 133 aesthetics versus, 5–6, 133–4, 137, 139 beautiful, 4, 133 sensation (Empfindung), 5–6, 24, 40, 60, 65, 88, 154 communicability of, 61 contrasted to feeling (Gefühl), 5–6, 40 matter and form of, 63–4 see also feeling; pleasure sensibility (Sinnlichkeit), 45, 86, 107, 124, 139, 154 sensus communis, 81–5, 86, 144 in Aristotle, 82, 85 and the deduction of judgments of taste, 87, 92 and exemplary necessity, 79–81 and free play, 83–5 and morality, 84–5 versus understanding, 82–3 Shaftesbury, Anthony Ashley Cooper, 21, 141 Shier, David, 132
182 INDEX singularity of intuition and judgment, 29, 36–45 society (Gesellschaft), 52, 86, 115, 146 see also culture Strub, Christian, 132 subjective universality (subjektive Allgemeingültigkeit), 11, 31–3, 35, 37–8, 78, 85 sublime (das Erhabene), the, 40–1, 106–11, 112–13 contrasted to the beautiful, 12, 40–1, 91, 106, 110, 112 deduction of, 91 dynamical and mathematical, 108–10, 112–13 list of examples of, 106–7 and morality, 91–2, 107, 110 and purposiveness, 110–11 singularity of judgment about, 42–3 summary of Kant’s concept of, 144 subsumption (Subsumtion), 155 of imagination under understanding, 89–90 of intuition under concept, 40–2, 62, 80, 88–90, 116 see also concepts; judgments; power of judgment; rules supersensible, the (das Übersinnliche), 44–5, 58–9, 126–7, 155 and aesthetic ideas, 101, 103–4 and the antinomy, 121, 145, 149 and the dialectic, 120, 122 and God, 124, 145 and humanity, 45, 123, 145 summary of Kant’s concept of, 145 symbol, 102, 119 in art, 94–5, 118, 145 beauty as, see beauty contrasted to schema, 116–17, 140 synthesis of imagination, 88–9, 110 mathematical and dynamical, 108, 110 rules of, 154 in the sublime, 110 synthetic judgment, 155 systematicity in nature, 45, 65 talent (Talent) and genius, 101, 133–4, 136, 139, 144, 152 in mathematics and the sciences, 133–4, 139 taste (Geschmack), see judgment of taste teleology, 155 and aesthetics, 8, 59, 111 and animation, 56, 88 and the supersensible, 123–4, 145 Tetens, Johann Nicolas, 81 Tolstoy, Leo, 148 tone, see color and tone Tonelli, Giorgio, 59, 65 transcendental, 155 freedom, 104 idealism, 116, 120, 127 logic, 18, 18, 35–9 philosophy, 11–12, 29–30, 36, 38, 47, 87, 120, 123, 125 versus empirical, 18, 29–30, 56, 87 truth, 1, 49 Tuschling, Burkhard, 126–7 ugliness, 1, 41, 111, 128–32, 132 understanding (Verstand), 156 in art, see art concepts of, 8, 40, 62, 91, 116, 122 and imagination, 7, 9, 40, 42, 49–51, 62–4, 88–9, 92, 122, 131, 138, 152 intuitive, 124, 126–7 versus reason, 122, 153 versus sensus communis, 82–3, 85, 154–5 see also categories; cognitive faculties; free play; logical functions of judging; rules; sensibility; sensus communis; subsumption
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AN INTRODUCTION TO KANT’S AESTHET
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An Introduction to Kant’s Aesthet
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Contents Foreword by Henry E. Allis
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Correspondances La Nature est un te
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FOREWORD ix nature of art. Although
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Acknowledgments Several people have
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ABOUT THIS BOOK xiii At the end of
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Introduction The Aesthetic Dimensio
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INTRODUCTION 3 in the judgment of t
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INTRODUCTION 5 Baumgarten does not
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INTRODUCTION 7 or a painting, we ca
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INTRODUCTION 9 analysis of the judg
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INTRODUCTION 11 relation “quality
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INTRODUCTION 13 The “Moments” o
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INTRODUCTION 15 sections that lead
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INTRODUCTION 17 Critique in order t
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1 Disinterestedness: First Moment D
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DISINTERESTEDNESS: FIRST MOMENT 21
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DISINTERESTEDNESS: FIRST MOMENT 23
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DISINTERESTEDNESS: FIRST MOMENT 25
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2 Universality: Second Moment The A
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UNIVERSALITY: SECOND MOMENT 29 sing
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UNIVERSALITY: SECOND MOMENT 31 Furt
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UNIVERSALITY: SECOND MOMENT 33 the
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UNIVERSALITY: SECOND MOMENT 35 cruc
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UNIVERSALITY: SECOND MOMENT 37 univ
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UNIVERSALITY: SECOND MOMENT 39 (all
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UNIVERSALITY: SECOND MOMENT 41 sugg
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UNIVERSALITY: SECOND MOMENT 43 conc
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UNIVERSALITY: SECOND MOMENT 45 of t
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UNIVERSALITY: SECOND MOMENT 53 his
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PURPOSIVENESS: THIRD MOMENT 55 fina
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PURPOSIVENESS: THIRD MOMENT 57 ever
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PURPOSIVENESS: THIRD MOMENT 59 and
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PURPOSIVENESS: THIRD MOMENT 61 “m
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PURPOSIVENESS: THIRD MOMENT 63 Kant
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PURPOSIVENESS: THIRD MOMENT 65 Greg
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PURPOSIVENESS: THIRD MOMENT 69 it n
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PURPOSIVENESS: THIRD MOMENT 73 righ
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PURPOSIVENESS: THIRD MOMENT 75 othe
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4 Necessity: Fourth Moment Exemplar
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NECESSITY: FOURTH MOMENT 79 techniq
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NECESSITY: FOURTH MOMENT 81 offer m
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NECESSITY: FOURTH MOMENT 83 whoever
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NECESSITY: FOURTH MOMENT 85 judgmen
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NECESSITY: FOURTH MOMENT 87 And bec
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NECESSITY: FOURTH MOMENT 89 agreeab
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NECESSITY: FOURTH MOMENT 91 familia
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NECESSITY: FOURTH MOMENT 93 princip
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FINE ART, NATURE, AND GENIUS 95 the
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FINE ART, NATURE, AND GENIUS 97 All
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FINE ART, NATURE, AND GENIUS 99 The
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FINE ART, NATURE, AND GENIUS 101 Fu
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FINE ART, NATURE, AND GENIUS 103 (s
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FINE ART, NATURE, AND GENIUS 105 of
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BEYOND BEAUTY 107 ening, and they m
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BEYOND BEAUTY 109 the same” every
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BEYOND BEAUTY 111 the beautiful has
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BEYOND BEAUTY 113 the text (even of
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BEYOND BEAUTY 115 The fact that nat
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BEYOND BEAUTY 117 dance with laws i
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BEYOND BEAUTY 119 sibility that the
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BEYOND BEAUTY 121 contradictory sta
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BEYOND BEAUTY 123 arises from the a
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BEYOND BEAUTY 125 supersensible bei
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BEYOND BEAUTY 127 tion of Kant’s
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TWO CHALLENGES 129 judgments of tas
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