Kant and Hegel on the End and Means of Fine Art. From an A-Historical to a Historical Conception of Art

Reiter, Aviv

doi:10.1515/hgjb-2017-0107

Cited by 4 publications

(3 citation statements)

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“…24 Zinkin (2018) claims that the aim of reflective judgment quite generally is the attainment of what she calls cognitive depth. 25 For development of this comparison see, Reiter (2017). 26 Halper (2020:865) and Meld Shell (2022:26-27) make this point very clearly.…”

Section: Endnotesmentioning

confidence: 98%

Kant's missing analytic of artistic beauty

Reiter,

Geiger

2023

European J of Philosophy

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The Analytic of the Beautiful in Kant's Critique of Aesthetic Judgment is a text of unparalleled importance in the history of philosophical aesthetics. Its main claims are adopted by some and rejected by others. A significant number of responses, of both kinds, take the Analytic to apply to all experiences of beauty—most notably, to the beauty of both nature and fine art. Our principal claim is that this assumption is mistaken. The analysis in the misleadingly titled Analytic of the Beautiful applies paradigmatically to judgments of natural beauty. The experience of the beauty of most artworks is different and requires a separate analysis. We detail the modifications required in all four moments of the Analytic and thereby explicate the experience of artistic beauty. This reveals that Kant holds an interesting and historically consequential account of the experience of artistic beauty, which is significantly different from the experience of natural beauty. The analysis further reveals that despite these significant differences, the experiences are both species of a single genus.

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Section: Endnotesmentioning

confidence: 98%

Kant's missing analytic of artistic beauty

Reiter,

Geiger

2023

European J of Philosophy

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“…Two of the most remarkable examples of literary works aviv reiter 10 Kant's main concern appears to be the permanent or unchanging rules in the different arts. For more on Kant's theory of the unchanging means or techniques of artistic production, see Reiter (2017).…”

Section: Notesmentioning

confidence: 99%

“…12This notion of abstracting academic rules from an original work of art is one of the few places in which Kant appears to refer to changing academic rules and thus to historical schools. For more on this subject, see again Reiter (2017). For a perspicuous and detailed discussion of the different senses in which a work of art can serve as an example, emphasizing in particular the complex notion of exemplary originality, see Gammon 1997.…”

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Kant on Fine Art, Genius and the Threat of Private Meaning

Reiter

2018

Kantian rev.

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Wittgenstein’s private language argument claims that language and meaning generally are public. It also contends with our appreciation of artworks and reveals the deep connection in our minds between originality and the temptation to think of original meaning as private. This problematic connection of ideas is found in Kant’s theory of fine art. For Kant conceives of the capacity of artistic genius for imaginatively envisioning original content as prior to and independent of finding the artistic means of communicating this content to others. This raises the question of whether we can conceive of art as both original and meaningful without succumbing to privacy.

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Kant on Aesthetic Ideas, Rational Ideas and the Subject-Matter of Art

Geiger

2021

The Journal of Aesthetics and Art Criticism

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The notion of aesthetic ideas is of great importance to Kant's thinking about art. Despite its importance, he says little about it. He characterizes aesthetic ideas as representations of the imagination and says that the gift of artistic genius is the inscrutable capacity to envision them. Furthermore, they are counterparts of rational ideas. Works of art thus sensibly present rational ideas; the pleasure they occasion is a consequence of the enriching process of reflection upon the wealth of content they sensibly present. The purpose of this article is to ask whether all rational ideas have aesthetic ideas as counterparts, and so can be presented in art, or whether only some do and which. The answer should reveal what, for Kant, is the subject-matter of art. I argue that for Kant art is concerned with the range and variety of human freedom as well as with its highest fulfillment in morality.

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Kant and Hegel on the End and Means of Fine Art. From an A-Historical to a Historical Conception of Art

Cited by 4 publications

References 0 publications

Kant's missing analytic of artistic beauty

Kant's missing analytic of artistic beauty

Kant on Fine Art, Genius and the Threat of Private Meaning

Kant on Aesthetic Ideas, Rational Ideas and the Subject-Matter of Art

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