The Supersensible in Kant’s «Critique of Judgment» (American University Studies)

In this close analysis of Immanuel Kant's aesthetics in his Critique of Judgment , Dr. Julie N. Books explains why Kant fails to provide a convincing basis for his desired necessity and universality of our aesthetic judgments about beauty. Drawing upon her extensive background in the visual arts, art history, and philosophy, Dr. Books provides a unique discussion of Kant's supersensible, illuminating how it cannot justify his a priori nature of our aesthetic judgments about beauty. She uses examples from the history of art, including paintings by Michelangelo, Caravaggio, Rubens, and Constable, to support her views. This book will make a significant addition to courses on the philosophy of Kant, aesthetics, philosophy of art, metaphysics, the history of Western philosophy, ethics, psychology, and art history. Cover Table of Contents Illustrations Acknowledgments Introduction 1. Judgments about Beauty, the Sublime, and the Agreeable 2. Kant’s Four Moments of Judgments about Beauty and How Aesthetic Judgments Are Synthetic A Priori Judgments 3. Hume’s Views and How Standards of Taste and Beauty Vary 4. The Supersensible, the Nature of Aesthetic Judgments, and the Faculty of Common Sense 5. The Failure of the Supersensible 6. Motives for the Supersensible Conclusion Notes Bibliography Judgments About Beauty, The Sublime, And The Agreeable -- Kant's Four Moments Of Judgments About Beauty And How Aesthetic Judgments Are Synthetic A Priori Judgments -- Hume's Views And How Standards Of Taste And Beauty Vary -- The Supersensible, The Nature Of Aesthetic Judgments, And The Faculty Of Common Sense -- The Failure Of The Supersensible -- Motives For The Supersensible. Julie N. Books. Includes Bibliographical References. An analysis of Immanuel Kant's aesthetics in his Critique of Judgment. It explains why Kant fails to provide a convincing basis for his desired necessity and universality of our aesthetic judgments about beauty. It uses examples from the history of art, including paintings by Michelangelo, Caravaggio, and Constable, to support the author's views.