ESTHETIC THEORY of the eighteenth century had little difficulty accommodating art and
nature to a distinction that we find hard to draw. One kind of experience, one kind of object …

, This distinction should not, however, be construed too dogmatically. Rudolf Makkreel has
pointed out what many of Kant's readers have overlooked, namely, that" Kant does not write …

Abstract Readers of Kant's Critique of Judgment (1790) have understandably been stumped
trying to decipher Kant's views on the relation between beauty and art. 1 At § 43 Kant ends …

Kant's Critique of Judgment exercised an important influence on the Romantic movement,
with its sanctification of originality, its apotheosis of the creative artist, its repudiation of the …

Kant's only aesthetic work apart from the _Critique of Judgment_, _Observations on the
Feeling of the Beautiful and Sublime_ gives the reader a sense of the personality and …

I would like to make the suggestion that Kant's~'~ itique ® J~ J~~~~ te~ tt be read &dquo;
laterally&dquo;. This suggestion is in reaction to the frustrating sight offered by current Kant …

IN MOST ACCOUNTS of Kant's theory of the imagination, its role is defined in re-lation to the
cognitive interests of the understanding. While this reflects Kant's own approach in both the …

E HAVE all heard, perhaps rather too often, that VV it was Hume who awoke Kant from
dogmatic slum ber. It sometimes seems the chief claim to distinction of our chief English …

Even though Saint Peter's Basilica in Rome and the Pyramids of Egypt are the sole
examples that Kant offers in his Analytic of the Sublime, it is not too difficult to identify an …

76 ab ram s Journal cipient's experience of art as s such-an area of congruence a American
contextual critics, an a literary text is not mimetic, ex system that generates its own m basic to …