critique of judgement
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KantTRANSCRIPT
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Critique of Judgement
Cadeleña
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Immanuel KantImmanuel Kant, (born April 22, 1724, Königsberg, Prussia [now Kaliningrad, Russia]—died February 12, 1804, Königsberg), German philosopher whose comprehensive and systematic work in epistemology (the theory of knowledge), ethics, and aesthetics greatly influenced all subsequent philosophy, especially the various schools of Kantianism and idealism.
Kant was one of the foremost thinkers of the Enlightenment and arguably one of the greatest philosophers of all time. In him were subsumed new trends that had begun with the rationalism (stressing reason) of René Descartes and the empiricism (stressing experience) of Francis Bacon. He thus inaugurated a new era in the development of philosophical thought.
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• Kant showed a great aptitude for study at an early age. He first attended the Collegium Fredericianum and then enrolled at the University of Königsberg (where he would spend his entire career) in 1740, at the age of 16 He studied the philosophy of Gottfried Leibniz and Christian Wolff under Martin Knutzen, a rationalist who was also familiar with developments in British philosophy and science and who introduced Kant to the new mathematical physics of Isaac Newton.
• Kant's major work, the Critique of Pure Reason (Kritik der reinen Vernunft, 1781), aimed to explain the relationship between reason and human experience. Kant published other important works on ethics, religion, law, aesthetics, astronomy, and history. These included the Critique of Practical Reason (Kritik der praktischen Vernunft, 1788), the Metaphysics of Morals (Die Metaphysik der Sitten, 1797), which dealt with ethics, and the Critique of Judgment (Kritik der Urteilskraft, 1790), which looks at aesthetics and teleology.
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Critique of Judgementaka
The Third Critique
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• Is arguably the most important and the most influential work in the whole history of Aesthetics. It was published in 1790.
• The book is divided into two main sections, the Critique of Aesthetic Judgment and the Critique of Teleological Judgment
• It has 91 subsections
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Book I. Analytic of the Beautiful
• Divided into four moments• Quality or Disinterested Pleasure• Quality or Universal Pleasure• Relation or the Form of
Purposiveness• Modality or Necessary Pleasure
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Quality or Disinterested Pleasure
1)A judgment of taste is aesthetic2)The liking that determines a
judgment of taste is devoid of all interest
3)A liking from the agreeable is connected with interest
4)A liking for the good is connected with interest
5)Comparison of the three different liking
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Definition of the Beautiful drawn from the First Moment.
Taste is the ability to judge an object, by means of a liking or disliking devoid of all interest. The object of such liking is called beautiful
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Keypoints
• Judgment of taste is aesthetic• A judgment of taste is devoid of
all interest• Three different kinds of liking• Agreeable – GRATIFIES us• Beautiful – what we just LIKE• Good – what we ESTEEM
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Quality or Universal Pleasure
6) The beautiful is that which, apart from concepts, is represented as the Object of a universal delight.
7) Comparison of the beautiful with the agreeable and the good by means of the above characteristic.
8) In a judgment of taste the universality of delight is only represented as subjective.
9) Investigation of the question of the relative priority in a judgment of taste of the feeling of pleasure and the estimating of the object.
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Definition of the Beautiful drawn from the Second Moment.
Beautiful is what, without a concept, is liked universally
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Keypoints• Everyone has its own taste• The universality of the liking is
subjective• Judgments of taste are based on
the feelings of pleasure; they cannot be proven since they are not based on concepts or rules
• Judgment results in pleasure
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Relation or the Form of Purposiveness
11) A judgment of taste is based on nothing but the form of purposiveness of an object
13) A pure judgment of taste is independent of charm and emotion
14) Elucidation by examples16) A judgment of taste by which we declare
an object beautiful under the condition of a determinate concept is not pure
17) On the ideal of beauty
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Definition of the Beautiful Derived from this Third Moment.
Beauty is an object’s form of purposiveness insofar in the object without the presentation of the purpose
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Keypoints• Not influenced by CHARM and
EMOTION• Aesthetic judgments can be divided
into:–Empirical – asserts that an object is agreeable or disagreeable
– Judgments of sense
–Pure – asserts that it is beautiful– Judgments of taste
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• Two kinds of beauty–Free beauty – does not presuppose
a concept of what the object is meant to be (self-subsistent)–Accessory beauty – does
presuppose (conditioned beauty)
• When we judge free beauty then our judgment of taste is PURE
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Modality or Necessary Pleasure
18) What the modality of a judgment taste is
19) The subjective necessity that we attribute to a judgment of taste is conditioned
22) The necessity of the universal assent that we think in a judgment taste is a subjective necessity that we present as objective by presupposing a common sense
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Definition of the Beautiful drawn from the Fourth Moment.
Beautiful is what without a concept is cognized as the object of a necessary liking
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Keypoints• The fourth aspect of the
judgment of taste is its modality: and that is necessity.
• The necessity is not indisputably true, for no one who makes a judgment of taste can guarantee that all others will agree.
• The necessity or “obligatoriness”, implicit in the judgment of taste presupposes a “common sense”-the state of mind “resulting from the free play of our cognitive powers”.
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General Comment of the First Book
• Taste is the ability to judge an object [reflectively] in reference to free lawfulness of the imagination; this free lawfulness is not in relation to any one determinate law, but is a lawfulness without law.
• If imagination is compelled to follow a law, the liking is not beautiful but for the good. And the judgment is not made by taste.
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Book II. Analytic of the Sublime
• Mathematically Sublime
• Dynamically Sublime
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23)Transition from the power of judging the beautiful to that of judging the sublime
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Similarities of The Beautiful and The
Sublime - they are both pure aesthetic judgments - they are both reflective judgments - they are both subjective judgments - they are both singular judgments - they refer to indeterminate concepts. - they raise claim to universal agreement
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Differences
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On the Mathematically Sublime
25)Explication of the term sublime
26)On estimating the magnitude of natural things, as we must for the idea of the sublime
27)On the quality of liking in our judging of the sublime
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Dynamically Sublime
28)On nature as a might
29)On the modality of a judgment about the sublime in nature
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Deduction of Pure Aesthetical Judgments
40)On taste as a kind of Sensus Comminus
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Keypoints• We call sublime what is absolutely
large• Acts performed by imagination:–Comprehension - putting together
several representations –Apprehension - the immediate awareness
of an individual representation
• The feeling that it is beyond our ability to attain to an idea is RESPECT
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• Might is an ability that is superior to great obstacles.• Dominance if it is superior even to the
resistance of something that itself possesses might.• The dynamically sublime is a complex
feeling consisting of some negative and some pleasurable emotions. The negative emotions could be of two kinds that could coincide or coexist: • Fear• Insignificance
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Bibliography
• http://oll.libertyfund.org/titles/1217• http://www.protevi.com/john/Cjlect/• http://web.calstatela.edu/faculty/jgarret/560/notes-cj.pdf• http://www.uri.edu/personal/szunjic/philos/subl.htm• https://
ebooks.adelaide.edu.au/k/kant/immanuel/k16ju/contents.html
• http://plato.stanford.edu/entries/kant-aesthetics/#2.7• http://www.iep.utm.edu/kantaest/• http://www.britannica.com/EBchecked/topic/311398/
Immanuel-Kant