'beauty has purport and significance only for human beings, for beings at once animal and rational' In the Critique of Judgement (1790) Kant offers a penetrating analysis of our experience of the beautiful and the sublime, discussing the objectivity of taste, aesthetic disinterestedness, the relation of art and nature, the role of imagination, genius and originality, the limits of representation and the connection between morality and the aesthetic. He also investigates the validity ofour judgements concerning the apparent purposiveness of nature with respect to the highest interests of reason and enlightenment. The work profoundly influenced the artists and writers of the classical and romantic period and the philosophy of Hegel and Schelling. It has remained a central point of reference from Schopenhauer and Nietzsche through to phenomenology, hermeneutics, the Frankfurt School, analytical aesthetics and contemporary critical theory. J. C. Meredith's classic translation has been revised in accordance with standard modern renderings and provided with a bilingual glossary. This edition also includes the important 'First Introduction' that Kant originally composed for the work.
Critique of Judgement (Oxford World's Classics)
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About the Author
Nicholas Walker is a freelance translator whose translations include work by Adorno, Heidegger, Habermas, Goethe and others; he has published widely on Hegel as well as Heidegger. He was formerly Junior Research Fellow at Magdalene College, Cambridge (1991-4).
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Format:Paperback
The Critique of the Power of Judgment (the 3rd Critique) is the most important work in Modern philosophical aesthetics. The Guyer and Pluhar editions are to be preferred to that of Bernard, as the first two have more extenisve notes, and better translations, including of the First Introduction.
The 3rd Critique presents a vision of beauty, sublimity, and art that avoids reduction of them to them to the biological, a la Nietzsche or Freud. Instead, Kant describes the *justification* of reflective aesthetic judgments in terms of the conditions for using jugment, stressing the contemplative and harmonious character of the experience of beauty. Beauty is linked to cognitive and moral betterment; sublimity, a secondary subject, is discussed more purely in terms of it connection with morality.
The work is difficult; however, there is no substitute for close reading of the whole work. (Certainly not Schiller, who goes far beyond Kant in claiming beauty and art as foundational for knowledge). The 3rd Critique is still very contemporary in its import, including its theory of disinterestedness, which is compatible with intelligent accounts of affect.
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Format:Paperback
This is the root of modern (is there any other?) aesthetic. Kant's third critique completes the circle of the trascendental philosphy; perhaps this is the most impotant book of the Königsberg philosopher beacuse it draws a bridge between pure and practical reason.
0 of 1 people found the following review helpful
Format:Paperback
Kant is by far one of the hardest philosophers to understand. Perhaps the toughest part is that Kant ruminates for several pages on the same subject. If the reader lets go and takes the reading with a trance-like state, then the reading is not so hard to understand. Another suggestion: read the first part of the sentence and skip all the commas, and read the very last part of the sentence; then go back and read the whole sentence including all the phrases in between the main clause. This will open up the eyes to understanding all the tangents Kant tends to take. A must must must read for those who want to understand the philosophical development of "man and nature" and its progressive development to our post-structural times. Enjoy the pleasure ... or pain of reading this wonderful book.
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