Kant's Theory of Taste: a Reading of the Critique of Aesthetic Judgment
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Taste in Appearance: Self, Cultivated Dispositions, and Cultural Capital Yoo Jin Kwon Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2007 Taste in appearance: self, cultivated dispositions, and cultural capital Yoo Jin Kwon Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Marketing Commons, Social Psychology Commons, and the Social Psychology and Interaction Commons Recommended Citation Kwon, Yoo Jin, "Taste in appearance: self, cultivated dispositions, and cultural capital" (2007). Retrospective Theses and Dissertations. 15977. https://lib.dr.iastate.edu/rtd/15977 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Taste in appearance: Self, cultivated dispositions, and cultural capital by Yoo Jin Kwon A dissertation submitted to the graduate faculty in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Major: Textiles and Clothing Program of Study Committee: Mary Lynn Damhorst, Major Professor Lulu Rodriguez Joseph Kupfer Jean Parsons Susan Torntore Iowa State University Ames, Iowa 2007 Copyright © Yoo Jin Kwon, 2007. All rights reserved. UMI Number: 3259501 Copyright 2007 by Kwon, Yoo Jin All rights reserved. UMI Microform 3259501 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 ii TABLE OF CONTENTS ABSTRACT............................................................................................................................. -
March 2017 17Th a Religious Holiday
The Rocket Review Raritan High School’s Official Newspaper 39.6 million people claim to have Irish heritage, The Day of the Irish 127 million people will celebrate the holiday. That By: Thomas Grady is 7 times greater than Ireland’s population! March is a month full of holidays, but one that In Ireland, on the other hand, they did see St. stands out is St. Patrick’s Day. Every March 17th, Patrick’s Day as a religious holiday. In the 1970’s all of America celebrates their Irish heritage. the government would close the pubs in Ireland Though not a national holiday, many people take so they could get the people to go to church and off from work and studies to embrace the Irish pray for St. Patrick. But since the mid-90’s the spirit. The day of St. Pat’s isn’t really a celebra- government made it a joyous holiday, giving it a tion in Ireland, it’s more of a solemn affair. multi day festival in the capital of Dublin. They have festivals, dances, and a parade. Not only Ireland’s patron saint is recognized in America does this happen in Dublin, it happens all around because of Irish immigrants who made March Ireland. Careful because in the first paragraph, 2017 March 17th a religious holiday. The man for whom St. you state that it is serious in Ireland. Patrick’s Day is named was born into an aris- In closing, when you see March 17th coming up tocratic family in Roman Britain around the end in the calendar, grab your leprechaun hat, lucky of the fourth century. -
TEST YOUR TASTE Featuring a “Class Experiment” and “Try Your Own Experiment” TEACHER GUIDE
NEUROSCIENCE FOR KIDS http://faculty.washington.edu/chudler/neurok.html OUR CHEMICAL SENSES: TASTE TEST YOUR TASTE Featuring a “Class Experiment” and “Try Your Own Experiment” TEACHER GUIDE WHAT STUDENTS WILL DO · predict and then determine their ability to identify food samples by taste alone (holding the nose) and then by taste plus smell · collect all class data on identifying food samples and calculate the percentage of correct and incorrect answers for each method (with and without smell) · list factors that affect our ability to identify substances by taste · discuss the functions of the sense of taste · draw a simple diagram of the neural “circuitry” from the taste receptors to the brain · learn how to design experiments that include asking specific questions, defining control conditions, and changing one variable at a time · devise their own experiments to extend the study of the sense of taste SUGGESTED TIMES for these activities: 45 minutes for discussing background concepts and introducing the activities; 45 minutes for the “Class Experiment;” and 45 minutes for “Try Your Own Experiment.” 1 SETTING UP THE LAB Supplies For the Introduction to the Lab Activities Taste papers: control papers sodium benzoate papers phenylthiourea papers Source: Carolina Biological Supply Company, 1-800-334-5551 (or other biological or chemical supply companies) For the Class Experiment Food items, cut into identical chunks, about one to two-centimeter cubes. Food cubes should be prepared ahead of time by a person wearing latex gloves and using safe preparation techniques. Store the cubes in small lidded containers, in the refrigerator. Prepare enough for each student group to have containers of four or five of the following items, or seasonal items easily available. -
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Top 1089 Index Good Short Total Song 1 133 0 133 MARSHMELLO & ANNE-MARIE - FRIENDS 2 130 0 130 RUDIMENTAL/JESS GLYNNE, MACKLEMORE & DAN CAPLEN - THESE DAYS 3 125 0 125 JUSTIN TIMBERLAKE/CHRIS STAPLETON - SAY SOMETHING 4 92 0 92 REA GARVEY - IS IT LOVE? 5 91 0 91 LIAM PAYNE/RITA ORA - FOR YOU 6 89 0 89 ZEDD/MAREN MORRIS, GREY - THE MIDDLE 7 88 0 88 TOM WALKER - LEAVE A LIGHT ON 8 87 0 87 LOST FREQUENCIES/ZONDERLING - CRAZY 9 85 0 85 LUIS FONSI/DEMI LOVATO - ÉCHAME LA CULPA 10 83 0 83 BQL - PTICA 11 83 0 83 SHAWN MENDES - IN MY BLOOD 12 81 0 81 CALVIN HARRIS/DUA LIPA - ONE KISS 13 80 0 80 ROBIN SCHULZ/MARC SCIBILIA - UNFORGETTABLE 14 80 0 80 VANILLAZ/Feat. MZKA - SULTANS OF SWING 15 79 0 79 DUA LIPA - IDGAF 16 78 0 78 BAZZI - MINE 17 73 0 73 DAVID GUETTA/SIA - FLAMES 18 68 0 68 NICO SANTOS - ROOFTOP 19 56 0 56 ALYA - DOBRO JUTRO ZIVLJENJE 20 53 0 53 ED SHEERAN - PERFECT 21 52 0 52 NICKELBACK - SONG ON FIRE 22 52 0 52 HUGO HELMIG - PLEASE DON'T LIE 23 51 0 51 AXWELL & INGROSSO - MORE THAN YOU KNOW 24 51 0 51 OFENBACH/NICK WATERHOUSE - KATCHI 25 51 0 51 MAROON 5/SZA - WHAT LOVERS DO 26 51 0 51 LAUV - I LIKE ME BETTER 27 51 0 51 CLEAN BANDIT/JULIA MICHAELS - I MISS YOU 28 50 0 50 NICKELBACK - HOME 29 50 0 50 PINK - BEAUTIFUL TRAUMA 30 50 0 50 IMAGINE DRAGONS - THUNDER 31 50 0 50 OFENBACH - BE MINE 32 50 0 50 CHARLIE PUTH - ATTENTION 33 50 0 50 KYGO/JUSTIN JESSO - STARGAZING 34 49 0 49 BRUNO MARS/CARDI B - FINESSE (REMIX) 35 49 0 49 DJ KHALED/RIHANNA & BRYSON TILLER - WILD THOUGHTS 36 49 0 49 ARMIN VAN BUUREN/JOSH CUMBEE - SUNNY DAYS 37 49 0 49 IMAGINE DRAGONS - WHATEVER IT TAKES 38 48 0 48 RITA ORA - ANYWHERE 39 48 0 48 PORTUGAL. -
Taste and Other Senses: Reconsidering the Foundations of Aesthetics
TASTE AND OTHER SENSES: RECONSIDERING THE FOUNDATIONS OF AESTHETICS Carolyn Korsmeyer ABSTRACT The sense of taste has served as a governing metaphor for aes- thetic discernment for several centuries, and recent philosophical perspectives on this history have invited literal, gustatory taste into aesthetic relevance. This paper summarizes the disposition of taste in aesthetics by means of three stories, the most recent of which considers food in terms of aesthetics and its employment in works of art. I conclude with some reflections on the odd position that taste has achieved in the postmodern art world, and I make a case for the often unnoticed role that bodily senses have in the apprehension of art. KEYWORDS Taste, Sense, Experience, Food, Aesthetic, Art There is a mild insult in English that is sometimes directed at a per- son of low cultural sensibilities: “Your taste is all in your mouth.” As an insult it is pretty tame, but the philosophical assumptions that give it wit run deep. First is the recognition that “taste” refers both to the mouth sense and to aesthetic preferences. Second is the im- plicit recognition of the old sense hierarchy that considers the bod- ily senses of taste, touch, and smell inferior to the distance senses of vision and hearing. It also plays upon the idea that the notion of good taste can take on a snobbish aspect. Thus this little insult cap- tures aspects of three stories about taste that will shape my reflec- tions on the ways that reference to this sense permeates aesthetics. APPROACHES TO TASTE: THREE STORIES The first and most familiar story concerns the foundation of mod- ern aesthetics during the Eighteenth Century, the so-called “centu- ry of taste,” during which time taste provides not only a metaphor but the very conceptual framework for philosophical investigations of beauty.1 I begin by reviewing this well-known account in some detail because it contains contestable points to reconsider later. -
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Postmodernism: Theorising Fragmentation and Uncertainty
Chapter contents Friedrich Nietzsche 213 Bauman as postmodernist 234 `Gloss' and `disclaimers' in the What is a modern person? 237 writings of Jean-FrancËois The modern identity 238 Lyotard 217 Bauman: the critique of life Lyotard, The DiffeÂrend: in the postmodern condition 243 Phrases in Dispute (1988) 219 Deleuze and Guattari 244 Critique of Lyotard 221 Jean Baudrillard (1929± Richard Rorty 223 present) 259 Zygmunt Bauman 226 Gianni Vattimo (1936±present) 262 The creation of a Critiques of postmodernism 265 postmodernist 229 In conclusion: living in the Bauman as modernist 230 postmodern condition 270 Postmodernism: Theorising Fragmentation 6 and Uncertainty By the end of this chapter you should: · have a critical understanding of · be familiar with the key the notions of postmodernism and postmodern writers: Lyotard, postmodernity; Bauman, Baudrillard, Vattimo, · appreciate the signi®cance of Deleuze and Guattari, Rorty, and Nietzsche to postmodern Fish; theorising; · be aware of some of the central critiques of postmodernism: Sokal, Habermas, Giddens, Philo, Kellner. Friedrich Nietzsche riedrich Nietzsche (1844±1900) invented many of the central ideas and concepts which postmodern- F ism raises about the foundations of society. In particular, Nietzsche's anti-foundationalist ideas, built upon the assumption that `God is dead', together with his refusal to privilege his own position, have in¯uenced most of the postmodern writers that we shall review in this chapter. According to Anthony Giddens: `Nietzsche offers a refuge for those who have lost their modernist illusions without relapsing into complete cynicism or apathy' (Giddens, 1995: 261). Nietzsche attempted to undermine the foundations of truth, morality, science, identity and religion. -
Summary: Hume, “Of the Standard of Taste” (1760)
Summary: Hume, “Of the Standard of Taste” (1760) Introduction Hume, being a good empiricist, observes that there is great variation in judgments of taste. “The great variety of Taste, as well as of opinion, which prevails in the world, is too obvious not to have fallen under every one's observation.” [¶1] But we also find widespread agreement in judgments of taste about certain works of art and artists. “The same Homer, who pleased at Athens and Rome two thousand years ago, is still admired at Paris and at London. All the changes of climate, government, religion, and language, have not been able to obscure his glory.” [¶11] So we seem at the outset to have a contradiction on our hands. There seems to be a good deal of anecdotal evidence for cases where judgments of taste vary and where they agree. How do we sort this out? 1. Can we reconcile disagreements of taste? If so, how? Note that Hume is looking for a way to reconcile the experience of aesthetic objects, not just the testimony about them. The goal is a standard for appropriate or true judgments of taste. “It is natural for us to seek a Standard of Taste; a rule, by which the various sentiments of men may be reconciled...” [¶6] 2. What makes a JT true or false? Are there rules that determine, in any given instance, whether one’s JT is correct? I say Mozart’s Grand Partita is beautiful, you say it’s not. Where do we go from there? Hume’s view seems to be that there must be standards of taste to explain the cases of universal or near universal agreement about particular things, but they must allow for impediments to correct application in order to account for variations and inconsistencies. -
Does Wine Have a Place in Kant's Theory of Taste?1
Does Wine Have a Place in Kant’s Theory of Taste?1 Rachel Cristy, Princeton University Kant’s own answer to my title question is “no.” One can make of a wine the merely subjective judgment that it is agreeable, never the universally valid judgment that it is beautiful. Here is Kant’s only remark on wine in the Critique of the Power of Judgment: With regard to the agreeable, everyone is content that his judgment, which he grounds on a private feeling, and in which he says of an object that it pleases him, be restricted merely to his own person. Hence he is perfectly happy if, when he says that sparkling wine from the Canaries is agreeable, someone else should improve his expression and remind him that he should say “It is agreeable to me”; and this is so not only in the case of the taste of the tongue, palate, and throat, but also in the case of that which may be agreeable to someone’s eyes and ears. (KU §7, 5: 212) Here is Kant’s explanation for why wine can’t be judged beautiful: “Aesthetic judgments can be divided into empirical and pure. The first are those which assert agreeableness or disagreeableness, the second those which assert beauty of an object… the former are judgments of sense (material aesthetic judgments), the latter (as formal) are alone proper judgments of taste” (§14, 5: 223). Not only flavors and aromas, but also “mere color, e.g., the green of a lawn” and “mere tone…say that of a violin” are relegated to judgments of agreeableness, because they “have as their ground merely the matter of the representations, namely mere sensation” (§14, 5: 224). -
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Artist Title Count PURPLE DISCO MACHINE FEAT. MOSS KENA & THEFIREWORKS KNOCKS 92 LEONY FADED LOVE 83 ONEREPUBLIC RUN 82 ATB FT. TOPIC & A7S YOUR LOVE 81 JUSTIN BIEBER FT. DANIEL CAESAR PEACHES 81 COLDPLAY HIGHER POWER 80 IMAGINE DRAGONS FOLLOW YOU 80 OLIVIA RODRIGO GOOD 4 YOU 80 REGARD X TROYE SIVAN X TATE MCRAE YOU 79 ALVARO SOLER MAGIA 74 RITON X NIGHTCRAWLERS FRIDAY 74 LOST FREQUENCES RISE 70 JONAS BLUE FT. AVA SOMETHING STUPID 69 THE WEEKND SAVE YOUR TEARS 69 KUNGS NEVER GOING HOME 68 ED SHEERAN BAD HABITS 68 JUSTIN WELLINGTON FEAT. SMALL JAM IKO IKO 67 MAJESTIC X BONEY M. RASPUTIN 67 ROBIN SCHULZ FT. FELIX JAEHN & ALIDA ONE MORE TIME 66 RAG'N'BONE MAN ALL YOU EVER WANTED 64 DUA LIPA LOVE AGAIN 63 JOEL CORRY FT. RAYE & DAVID GUETTA BED 63 JASON DERULO & NUKA LOVE NOT WAR 62 MEDUZA FT. DERMOT KENNEDY PARADISE 59 AVA MAX MY HEAD & MY HEART 58 DUA LIPA WE'RE GOOD 57 MARTIN GARRIX FEAT. BONO & THE EDGE WE ARE THE PEOPLE 57 JOEL CORRY HEAD AND HEART 56 CALVIN HARRIS FT. TOM GRENNAN BY YOUR SIDE 56 DOJA CAT FEAT. SZA KISS ME MORE 56 PINK ALL I KNOW SO FAR 54 OFENBACH FT. LAGIQUE WASTED LOVE 53 PINK + WILLOW SAGE HART COVER ME IN SUNSHINE 53 MALARKEY SHACKLES (PRAISE YOU) 50 MASTER KG FT. NOMCEBO JERUSALEMA 49 SIA & DAVID GUETTA FLOATING THROUGH SPACE 48 SUPER-HI & NEEKA FOLLOWING THE SUN 48 ALVARO SOLER FT. CALI Y EL DANDEE MANANA 44 MARCO MENGONI MA STASERA 42 AVA MAX EVERYTIME I CRY 41 TATE MCRAE YOU BROKE ME FIRST [LUCA SCHREINER41 REMIX] MAROON 5 LOST 40 OFENBACH & QUARTERHEAD HEAD SHOULDERS KNEES & TOES 38 PS1 FT. -
Coca Cola Company
OUR JOURNEY FORWARD 2015 ANNUAL REVIEW IN THIS ANNUAL REVIEW YOU’LL DISCOVER MILESTONES ALONG OUR JOURNEY— ontents C OF LE B A T ACCOMPLISHMENTS AND MOMENTS WE ARE PROUD TO SHARE WITH YOU. 2 Letter to Shareowners 26 Business Profile 5 Selected Financial Data 27 The Coca-Cola System 6 Highlights 28 Management 8 Taste the Feeling 29 Board of Directors 10 Celebrating 100 Years of the Coca-Cola Bottle 30 Shareowner Information 12 Our Global Workforce 31 Reconciliation of GAAP and Non-GAAP 14 Sustainability Financial Measures 15 Five Strategic Actions 32 Company Statements 33 Coca-Cola Journey 1 “Such a nice feeling when you #GIFtheFeeling” @krmayank13 LETTER TO SHAREOWNERS My Fellow Shareowners: Our Journey Forward accelerated in 2015, as we continued to collaborate closely with many partners to reinvigorate growth, increase profitability and deliver greater long-term, sustainable value to our system and shareowners like you. In short, we accomplished what we set out to do in 2015. And I give tremendous credit to my Coca-Cola colleagues around the world. This Annual Review shares their stories, as well as the stories behind the strong partnerships that bring our business to life in more than 200 countries every day: • Partnerships with consumers, who turn to us for simple moments of refreshment, uplift and togetherness more than 1.9 billion times a day. • Partnerships across our worldwide bottling system, which makes our beverages and ensures they’re in stores and restaurants and ready for purchase. • Partnerships with our valued customers—all the shops, non-media marketing spending. And we realized new eateries, theaters, theme parks and other outlets that supply chain efficiencies. -
Cultures of Taste/Theories of Appetite: Eating Romanticism This Page Intentionally Left Blank Cultures of Taste/Theories of Appetite: Eating Romanticism
Cultures of Taste/Theories of Appetite: Eating Romanticism This page intentionally left blank Cultures of Taste/Theories of Appetite: Eating Romanticism Edited by Timothy Morton CULTURES OF TASTE/THEORIES OF APPETITE © Timothy Morton, 2004 All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. First published 2004 by PALGRAVE MACMILLAN™ 175 Fifth Avenue, New York, N.Y. 10010 and Houndmills, Basingstoke, Hampshire, England RG21 6XS Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 978-0-312-29304-8 ISBN 978-1-4039-8139-4 (eBook) DOI 10.1057/9781403981394 Library of Congress Cataloging-in-Publication Data Cultures of taste/theories of appetite / [edited] by Timothy Morton. p. cm. Includes bibliographical references and index. ISBN 978-0-312-29304-8 1. Food habits. 2. Food preferences. 3. Taste. 4. Appetite. 5. Food habits in literature. 6. Dinners and dining in literature. I. Morton, Timothy, 1968– GT2850.C86 2004 394.1Ј2—dc22 2003058081 A catalogue record for this book is available from the British Library. Design by Newgen Imaging Systems (P) Ltd., Chennai, India. First edition: January, 2004 10987654321 Contents List of Illustrations vii Acknowledgments ix Notes on Contributors xi Preface xv Introduction Consumption as Performance:The Emergence of the Consumer in the Romantic Period 1 Timothy Morton Part I Constructions, Simulations, Cultures 19 Chapter 1.