Critique of Judgement

Cadeleña

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.

• 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.

Critique of Judgementaka

The Third Critique

• 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

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

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

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

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

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.

Definition of the Beautiful drawn from the Second Moment.

Beautiful is what, without a concept, is liked universally

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

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

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

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

• 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

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

Definition of the Beautiful drawn from the Fourth Moment.

Beautiful is what without a concept is cognized as the object of a necessary liking

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”.

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.

Book II. Analytic of the Sublime

• Mathematically Sublime

• Dynamically Sublime

23)Transition from the power of judging the beautiful to that of judging the sublime

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

Differences

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

Dynamically Sublime

28)On nature as a might

29)On the modality of a judgment about the sublime in nature

Deduction of Pure Aesthetical Judgments

40)On taste as a kind of Sensus Comminus

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

• 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

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/

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