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Kant on Judgment Routledge Philosophy GuideBook to Kant on Judgment “This is a superb treatment of Kant’s third Critique in its entirety – in depth, in careful analysis, and in understanding in a way not articu- lated by others of the integration of Kant’s aesthetic theory with the rest of his philosophy.” Donald W. Crawford, Emeritus Professor of Philosophy, University of California, Santa Barbara Kant’s Critique of Judgment is one of the most important texts in the his- tory of modern aesthetics. This GuideBook discusses the third Critique section by section, and introduces and assesses: • Kant’s life and the background of the Critique of Judgment • The ideas and text of the Critique of Judgment, including a critical explanation of Kant’s theories of natural beauty • The continuing relevance of Kant’s work to contemporary philosophy and aesthetics. This GuideBook is an accessible introduction to a notoriously difficult work and will be essential reading for students of Kant and aesthetics. Robert Wicks is Associate Professor of Philosophy at the University of Auckland, New Zealand. ROUTLEDGE PHILOSOPHY GUIDEBOOKS Edited by Tim Crane and Jonathan Wolff, University College London Plato and the Trial of Socrates Thomas C. Brickhouse and Nicholas D. Smith Aristotle and the Metaphysics Vasilis Politis Rousseau and The Social Contract Christopher Bertram Plato and the Republic, Second Edition Nickolas Pappas Husserl and the Cartesian Meditations A.D. Smith Kierkegaard and Fear and Trembling John Lippitt Descartes and the Meditations Gary Hatfield Hegel and the Philosophy of Right Dudley Knowles Nietzsche on Morality Brian Leiter Hegel and the Phenomenology of Spirit Robert Stern Berkeley and the Principles of Human Knowledge Robert Fogelin Aristotle on Ethics Gerard Hughes Hume on Religion David O’Connor Leibniz and the Monadology Anthony Savile The Later Heidegger George Pattison Hegel on History Joseph McCarney Hume on Morality James Baillie Hume on Knowledge Harold Noonan Kant and the Critique of Pure Reason Sebastian Gardner Mill on Liberty Jonathan Riley Mill on Utilitarianism Roger Crisp Wittgenstein and the Philosophical Investigations Marie McGinn Spinoza and the Ethics Genevieve Lloyd Heidegger and Being and Time, Second Edition Stephen Mulhall Locke on Government D.A. Lloyd Thomas Locke on Human Understanding E.J. Lowe Derrida on Deconstruction Barry Stocker Routledge Philosophy GuideBook to Kant on Judgment Robert Wicks First published 2007 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016 This edition published in the Taylor & Francis e-Library, 2007. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Routledge is an imprint of the Taylor & Francis Group, an informa business © 2007 Robert Wicks All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Wicks, Robert, 1954– Routledge philosophy guidebook to Kant on judgement / Robert Wicks. p. cm. -- (Routledge philosophy guidebooks) Includes bibliographical references and index. 1. Kant, Immanuel, 1724–1804. Kritik der Urteilskraft. 2. Judgment (Logic) 3. Judgment (Aesthetics) 4. Aesthetics. 5. Teleology. I. Title. B2784.W53 2006 121--dc22 2006020182 ISBN 0-203-64297-X Master e-book ISBN ISBN10: 0-415-28110-5 (hbk) ISBN13: 978-0-415-28110-2 (hbk) ISBN10: 0-415-28111-3 (pbk) ISBN13: 978-0-415-28111-9 (pbk) ISBN10: 0-203-64297-X (ebk) ISBN13: 978-0-203-64297-9 (ebk) “ . to take an immediate interest in natural beauty is always the sign of a good soul . ” (§42) “ . no human reason can ever hope to understand the generation of even a tiny blade of grass from merely mechanical causes.” (§77) “There is a God in the human soul. The question is whether he is also in nature.” (Opus Postumum, 22: 120) CONTENTS PREFACE AND ACKNOWLEDGMENTS ix A NOTE ON THE ENGLISH TRANSLATIONS OF THE CRITIQUE OF THE POWER OF JUDGMENT xiii Introduction 1 A guide to the entire third Critique 1 Kant’s philosophical style 3 The historical composition of the Critique of the Power of Judgment 8 Eighteenth-century aesthetic theory prior to Kant 11 1 The pleasure in pure beauty (§§1–22; §§30–40) 15 The first logical moment: judgments of pure beauty are aesthetic and disinterested (§§1–5) 18 The second logical moment: judgments of pure beauty are grounded upon a universal feeling of approval (§§6–9) 29 The third logical moment: judgments of pure beauty reflect upon how an object’s configuration appears to have been the result of an intelligent design (§§10–17) 45 The fourth logical moment: the universal feeling of approval that grounds judgments of pure beauty carries the force of necessity (§§18–22) 76 viii contents The Deduction (Legitimation) of Judgments of Pure Beauty (§§30–40) 81 2 The sublime and the infinite (§§23–29) 94 Sublimity is subordinate to beauty 94 The infinite magnitude of the mathematically sublime 100 The overwhelming power of the dynamically sublime 105 3 The fine arts and creative genius (§§41–54) 112 Artistic beauty vs. natural beauty 112 Kant’s theory of genius 122 Aesthetic ideas and the beauty of fine art 127 Aesthetic ideas and natural beauty 134 The division of the fine arts 136 4 Beauty’s confirmation of science and morality (§§55–60) 144 The antinomy of taste 144 Aesthetic ideas, genius, and the supersensible substrate of nature 158 Aesthetic ideas, genius, and the supersensible substrate of the human personality 163 The unitary idea of the supersensible 164 The subjectivity of the a priori principle of judgment 166 Beauty as a symbol of morality 170 Crossing the “incalculable gulf ” between nature and morality 176 Beauty as a symbol of scientific completeness 181 5 Living organisms, God, and intelligent design (§§61–91) 184 Natural purposes (§§61–68) 184 The compatibility of science and morality (§§69–78) 209 The moral argument for God’s existence (§§79–91) 233 Conclusion: the music of the spheres and the idealization of reason 257 NOTES 262 BIBLIOGRAPHY 273 INDEX 280 PREFACE AND ACKNOWLEDGMENTS The dates 1790 and 1970 are easy to memorize. Prior to the 1970s, the bulk of English-language scholarship devoted to Kant’s philos- ophy was focussed mainly on his theory of knowledge, ethics, and historical relationships between Kant and other philosophers. Works addressing Kant’s aesthetic theory were relatively few, con- stituting only a small neighborhood within the wider array of books and articles about Kant and his influence. Up until the 1970s among English-language publications, for instance, there was only one typically consulted, full-length study of Kant’s third Critique – A Commentary on Kant’s Critique of Judgment. This was written in 1938 by H. W. Cassirer, the son of Ernst Cassirer (1874 – 1945). Cassirer’s book was reprinted in 1970, and after the reappear- ance of his study, scholarly attention to Kant’s aesthetics developed dramatically with the publication of Donald W. Crawford’s Kant’s Aesthetic Theory (1974), Francis X. Coleman’s The Harmony of Reason: A Study of Kant’s Aesthetics (1974), Paul Guyer’s Kant and the Claims of Taste (1979), and Eva Shaper’s Studies in Kant’s Aesthetics (1979). These landmark publications stimulated three decades of serious attention to Kant’s aesthetics – decades within which some of the most refined Kant scholars contributed, and x preface and acknowledgements continue to contribute, to our understanding of Kant’s theories of beauty and fine art.1 From the standpoint of the general reader, introductory philoso- phy students interested in Kant’s aesthetics, aestheticians who spe- cialize in areas other than Kant, not to mention philosophy professionals and academics who focus upon other thematic spe- cialties, the number of introductory studies on Kant’s aesthetics that include an exposition of the book’s second half – a segment that does not obviously concern art and beauty – presently com- pares with the condition of scholarship in Kant’s aesthetics as a whole prior to 1970. To many of those who are not Kant scholars, Kant’s Critique of the Power of Judgment (1790) largely remains a work whose name might now be well known, but whose detailed contents from beginning to end, still need to be clarified and explained in an accessible exposition. This is the purpose of the present work. This guide to Kant’s third Critique aims to stay close to the text while remaining intellectually approachable. The third Critique‘s own sequence of exposition is respected fairly rigidly, and the com- mentary and explanation follows the internal logic of the Critique itself from beginning to end. At the same time, Kant’s broader pur- poses are set forth during the exposition to help establish an inte- grated vision of the book as a whole. The leading idea is to show, while remaining focussed on Kant’s third Critique, how it fits into his primary philosophical project of coordinating his theory of sci- entific knowledge with this theory of moral behavior, for it is clear that Kant’s primary philosophical interest is in philosophically coordinating what scientifically happens to be, with what morally ought to be. He aims to align to the best extent possible, facts with values, and actualities with ideals. His key works aim to define those ideals as steadfastly as possible.
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