Table Of Content~ KANT’s
AESTHETIC |
THEORY
Donald W. Crawford
Immanuel Kant’s Critique of Judg-
ment has experienced increasing
attention in recent years, that
attention centering especially on
Kant’s aesthetic theory. His work
in this area, however—despite its
richness in suggestive ideas—has
long remained obscure and con-
fusing to scholars. Now, Donald
W. Crawford has answered the
need for a careful and insightful
exegesis, aiding both scholars
and students to a clearer under-
standing of one of Kant’s most
important arguments.
In these pages, Crawford provides
a thorough exposition of Kant’s
transcendental deduction of the
judgment of taste, dividing the
argument into five stages. Typical
in Crawford’s concise illumination
is his drawing of the close connec-
tion between beauty and the good
in Kant’s system, and the impor-
tance of this connection for
justifying the element of universal
obligation to agree that Kant finds
to be imputed in the judgment of
taste. In his analysis, Crawford
traces Kant’s aesthetic theory to
its roots in Kant’s other philo-
sophical views (especially his
epistemological thought) and he
gives careful consideration to
Kant as a formalist in aesthetics.
Crawford draws for us the extended
and complex argument that under-
lies the first half of Kant’s Critique
of Judgment. The elaboration of
his argument makes comprehen-
sible and unites many diverse
elements in Kant’s aesthetic theory.
It explains Kant’s unique attempt
to bridge the extremes of objecti-
vism (classicism) and subjectivism
(impressionism) in the philosophy
of art. Kant’s theory purports to
establish a valid base for our
judgment that something is beauti-
ful, in order that such judgments
may become universal and not
merely subjective reports of what
one likes. The details of this argu-
ment are carefully presented.
Crawford finds that Kant must
Kant's Aesthetic Theory
KANT’S
AESTHETIC
THEORY
Donald W. Crawford
Published 1974
The University of Wisconsin Press
Box 1379, Madison, Wisconsin 53701
The University of Wisconsin Press, Ltd.
70 Great Russell Street, London
Copyright © 1974
The Regents of the University of Wisconsin System
All rights reserved
First printing
Printed in the United States of America
For LC CIP information, see the colophon
ISBN 0-299-06510-3
Publication of this book was made possible
in part by a grant from the
Andrew W. Mellon Foundation
1097A Y
9K
Contents
Preface
References to Kant’s Critiques
1 Introduction
1.1 Problems in a Study of Kant’s Aesthetic Theory 3
1.2 The Critique of Judgment in Kant’s Philosophical System 7
1.3 The Faculty of Judgment 20
1.4 The Judgment of Taste 23
1.5 Argument of the “Critique of Aesthetic Judgment” 26
2 Kant’s Analysis of the Judgment of Taste
2.1 The Judgment of Taste Is Aesthetic 29
2.2 The Judgment of Taste Is Disinterested 37
2.3 Implications of the Analysis 54
3 Kant’s Deduction of Judgments of Taste
3.1 Empirical and Transcendental Deductions 58
3.2 The Empirical Deduction: Disinterestedness 61
3.3 The Antinomy of Taste 63
3.4 Structure of the Transcendental Deduction 66
3.5 The Transcendental Deduction—Stage I: Key to the
Critique of Taste 69
4 Aesthetic Perception and the Cognitive Faculties
4.1 The Transcendental Deduction—Stage II: The Harmony
of the Cognitive Faculties in Free Play 75
4.2 Aesthetic and Cognitive Perception 78
5 Kant’s Aesthetic Formalism
5.1 The Transcendental Deduction—Stage III: Formal
Purposiveness 92
5 5.2 Form, Content, and the Experience of the Beautiful 96
5.3 The Epistemological Basis for Kant’s Aesthetic
Formalism 101
5.4 Secondary Qualities in the Experience of the Beautiful 106
5.5 Formal Purposiveness and Representation in Art 111
5.6 Art as the Expression of Aesthetic Ideas 118
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CONTENTS
~~
A Common Sense and the Supersensible 125
6.1 The Transcendental Deduction—Stage IV: A Common
Sense 125
6.2 Aesthetics and the Supersensible 133
Aesthetics and Morality 142
7.1 Interest in the Beautiful 142
7.2 The Transcendental Deduction—Stage V: Aesthetics
and Morality 145
Kant’s Aesthetic Theory and Art Criticism 160
8.1 Criticism and Appreciation 160
8.2 Criticism and Creativity 162
8.3 Reason-Giving in Kant’s Aesthetic Theory 164
8.4 Kant’s Analysis of the Arts 171
8.5 Conclusion 176
Bibliography 181
Index 185
