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A summary of Critique of Judgment in Immanuel Kant's Selected Works of Immanuel Kant. Learn exactly what happened in this chapter, scene, or section of Selected Works of Immanuel Kant and what it means. Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans.
- Themes, Ideas, and Arguments
Philosophy as Critique. Kant’s three major volumes are...
- Critique of Pure Reason and Prolegomena to Any Future Metaphysics
A summary of Critique of Pure Reason and Prolegomena to Any...
- Context
Kant's three major works are often considered to be the...
- Themes, Ideas, and Arguments
Analysis. Summary. PDF Cite Share. In The Critique of Judgment, Immanuel Kant argues that self-interest is not relevant to making aesthetic judgments; whatever one experiences...
- Overview
- The Critique of Judgment of Immanuel Kant
The Kritik der Urteilskraft (1790, spelled Critik; Critique of Judgment)—one of the most original and instructive of all of Kant’s writings—was not foreseen in his original conception of the critical philosophy. Thus it is perhaps best regarded as a series of appendixes to the other two Critiques. The work falls into two main parts, called respectively Critique of Aesthetic Judgment and Critique of Teleological Judgment. In the first of these, after an introduction in which he discussed “logical purposiveness,” he analyzed the notion of “aesthetic purposiveness” in judgments that ascribe beauty to something. Such a judgment, according to him, unlike a mere expression of taste, lays claim to general validity, yet it cannot be said to be cognitive because it rests on feeling, not on argument. The explanation lies in the fact that, when a person contemplates an object and finds it beautiful, there is a certain harmony between his imagination and his understanding, of which he is aware from the immediate delight that he takes in the object. Imagination grasps the object and yet is not restricted to any definite concept, whereas a person imputes the delight that he feels to others because it springs from the free play of his cognitive faculties, which are the same in all humans.
In the second part, Kant turned to consider teleology in nature as it is posed by the existence in organic bodies of things of which the parts are reciprocally means and ends to each other. In dealing with these bodies, one cannot be content with merely mechanical principles. Yet if mechanism is abandoned and the notion of a purpose or end of nature is taken literally, this seems to imply that the things to which it applies must be the work of some supernatural designer, but this would mean a passing from the sensible to the suprasensible, a step proved in the first Critique to be impossible. Kant answered this objection by admitting that teleological language cannot be avoided in taking account of natural phenomena, but it must be understood as meaning only that organisms must be thought of “as if” they were the product of design, and that is by no means the same as saying that they are deliberately produced.
The Kritik der Urteilskraft (1790, spelled Critik; Critique of Judgment)—one of the most original and instructive of all of Kant’s writings—was not foreseen in his original conception of the critical philosophy. Thus it is perhaps best regarded as a series of appendixes to the other two Critiques. The work falls into two main parts, called respectively Critique of Aesthetic Judgment and Critique of Teleological Judgment. In the first of these, after an introduction in which he discussed “logical purposiveness,” he analyzed the notion of “aesthetic purposiveness” in judgments that ascribe beauty to something. Such a judgment, according to him, unlike a mere expression of taste, lays claim to general validity, yet it cannot be said to be cognitive because it rests on feeling, not on argument. The explanation lies in the fact that, when a person contemplates an object and finds it beautiful, there is a certain harmony between his imagination and his understanding, of which he is aware from the immediate delight that he takes in the object. Imagination grasps the object and yet is not restricted to any definite concept, whereas a person imputes the delight that he feels to others because it springs from the free play of his cognitive faculties, which are the same in all humans.
In the second part, Kant turned to consider teleology in nature as it is posed by the existence in organic bodies of things of which the parts are reciprocally means and ends to each other. In dealing with these bodies, one cannot be content with merely mechanical principles. Yet if mechanism is abandoned and the notion of a purpose or end of nature is taken literally, this seems to imply that the things to which it applies must be the work of some supernatural designer, but this would mean a passing from the sensible to the suprasensible, a step proved in the first Critique to be impossible. Kant answered this objection by admitting that teleological language cannot be avoided in taking account of natural phenomena, but it must be understood as meaning only that organisms must be thought of “as if” they were the product of design, and that is by no means the same as saying that they are deliberately produced.
Critique of Judgment 2 Contents 1. Introduction 3 2. Baumgarten and the Birth of Aesthetics 17 3. Kant's Critique of Judgment — Preface and Introduction 32 4. Kant's Critique of Empiricism 50 5. Kant's Critique of Rationalism 64 6. The Sublime 83 7. Taste as a Sensus Communis 99 8.
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Taking up roughly the first fifth of the Critique of Judgment, Kant discusses four particular unique features of aesthetic judgments on the beautiful (he subsequently deals with the sublime). These he calls ‘moments’, and they are structured in often obscure ways according to the main divisions of Kant’s table of categories (See article ...
The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason.
Jul 28, 2004 · 1. The Nature of Judgment. 1.1 The power of judgment and the other faculties of cognition. 1.2 Judgments are essentially propositional cognitions. 1.3 Judgments, objective validity, objective reality, and truth. Supplement: The Togetherness Principle, Kant’s Conceptualism, and Kant’s Non-Conceptualism.
