An Introduction to Kant's Aesthetics Core Concepts and Problems

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Edition: 1st
Format: Hardcover
Pub. Date: 2005-10-14
Publisher(s): Wiley-Blackwell
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Summary

Kant's Critique of the Power of Judgment is one of the most important and enduring contributions to philosophical aesthetics. It is also notoriously difficult. In An Introduction to Kant's Aesthetics, Christian Wenzel discusses and demystifies this seminal work, guiding the reader each step of the way, placing key points of discussion in the context of Kant's other work. The starting point of Kant's aesthetics, and Wenzel's treatment, is the observation that aesthetic judgments seem to hover uneasily between subjective and objective domains. On the one hand, there appear to be standards of taste, such that aesthetic judgments demand some kind of consensus; on the other hand, there simultaneously seem to exist no specific rules governing what is beautiful. Beginning with this premise, Kant delineates four moments of aesthetic judgment, considers the question of the beautiful, the sublime, and the ugly, and from this groundwork creates a new philosophical theory that reveals the essence of taste, and much else, about human nature besides. Wenzel artfully guides readers through Kant's work with thoroughness and clarity, making Kant's aesthetics accessible to newcomers and more rewarding for those returning to the subject.

Author Biography

Christian Helmut Wenzel is Associate Professor at the National Chi Nan University in Taiwan. He is the author of The Problem of Subjective Universality of the Judgment of Taste in Kant,published in German (2000).

Table of Contents

Foreword viii
Henry E. Allison
Acknowledgments xi
About This Book xii
Note on the Translation xiv
Introduction 1(1)
The Aesthetic Dimension Between Subject and Object
1(3)
The Meaning of ``Aesthetic''
4(4)
Categories as a Guide
8(5)
The ``Moments'' of a Judgment of Taste
13(6)
Disinterestedness: First Moment
19(8)
Disinterestedness as a Subjective Criterion
19(4)
Three Kinds of Satisfaction: Agreeable, Beautiful, Good
23(4)
Universality: Second Moment
27(27)
The Argument from Self-Reflection: Private, Public, Universal
27(4)
Subjective Universality
31(4)
A Case of Transcendental Logic
35(4)
Singular ``but'' Universal
39(7)
How to Read Section 9
46(8)
Purposiveness: Third Moment
54(23)
Purpose without Will, Purposiveness without Purpose
54(6)
Purposiveness and Form: Charm versus Euler
60(5)
Of ``Greatest Importance'': Beauty and Perfection
65(4)
Beauty: Free, Dependent, and Ideal
69(8)
Necessity: Fourth Moment
77(17)
Exemplary Necessity
77(4)
Kant's Interpretation of the sensus communis
81(5)
The Deduction
86(8)
Fine Art, Nature, and Genius
94(12)
Fine Art and Why It Must Seem like Nature
94(4)
Genius and Taste
98(3)
Genius and Aesthetic Ideas
101(5)
Beyond Beauty
106(22)
The Sublime
106(7)
Beauty as the Symbol of Morality
113(7)
The Analytic, the Dialectic, and the Supersensible
120(8)
Two Challenges
128(13)
Can Kant's Aesthetics Account for the Ugly?
128(5)
Can there be Beauty and Genius in Mathematics?
133(8)
Summary and Overview
141(8)
Before Kant
141(1)
Kant's Aesthetics
142(4)
After Kant
146(3)
Glossary 149(8)
Bibliography 157(14)
Index 171

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