Synopsis
It has been said that Kant probably never saw a great painting or piece of sculpture; indeed, this is quite likely, inasmuch as he spent his entire life in and around Königsberg in East Prussia. It is also clear that he had no great appreciation of music and that the only art form with which he had an extensive familiarity was literature. Nevertheless, this did not prevent him from producing what is generally regarded as one of the most important contributions to aesthetics in the history of modern thought. This is contained in the Critique of the Aesthetic Power of Judgment, which is the first part of the Critique of the Power of Judgment (or, in some English versions, the Critique of Judgment) of 1790. Unfortunately, however, this work is almost as forbidding to the uninitiated as it is rewarding to those able to penetrate its almost legendary obscurity.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Quatrième de couverture
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.
Revue de presse
"As an overall assessment, then, this is undoubtedly one of the most interesting and meticulous "guides" to Kant′s aesthetic theory. Even though Wenzel clearly adopts a slightly different approach to Kant′s aesthetic theory than this reviewer, this book is probably the best introductory volume currently available." Elisabeth Shellekens, The Journal of Aesthetics and Art Criticism
"In sum, I highly recommend this book to students and scholars with some familiarity with Kant and the Critique of Aesthetic Judgment. This book will surely deepen their understanding of Kant." Kenneth F. Rogerson, Notre Dame Philosophical Reviews
Wenzel s book is an invaluable aid for all serious students of Kant s third Critique. The reconstruction of arguments is clear and concise; the annotated bibliography is remarkably knowledgeable and helpful. Karl Ameriks, University of Notre Dame
This volume will be indispensable to any new reader of Kant′s third Critique who seeks illumination of its key concepts, insights into its philosophical context, and guidance for further study. Eckart Förster, Johns Hopkins University
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
