The aim of this book is to show that the Critique of Aesthetic Judgement is not a set of disconnected remarks about aesthetic matters more interesting because of the distinction of their author and their place in the history of the subject than in their own right. That work can be seen to present an integrated theory whose scope, depth and suggestive power mark it as deserving of study by all who work in the field of philosophical aesthetics.
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Notes and References
- 1.Richard Wollheim, Art and Its Objects; an Introduction to Aesthetics (New York and Evanston, 1968), sections 42–3.Google Scholar
- 2.Nelson Goodman, Languages of Art — an Approach to the Theory of Symbols (Indianapolis, New York, 1969) ch. vi, 6.Google Scholar
- 3.R. G. Collingwood, The Principles of Art (Oxford, 1938) ch. v.Google Scholar
- 4.James Creed Meredith, Kant’s The Critique of Judgement, translated with Analytical Indexes (Oxford, 1952, originally published 1911) p. 62; Kant’s gesammelte Schriften, vol. 5, §11, p. 221, lines 1–27.Google Scholar
- 5.Marshall Cohen, ‘Aesthetic Essence’, in Philosophy in America ed. Max Black (London, 1964) pp. 115–33;Google Scholar
- 6.George Dickie, The Myth of the Aesthetic Attitude, American Philosophical Quarterly, vol. 1 (1964) pp. 56–65.Google Scholar
- 7.Meredith, Critique of Judgement, Part I, Critique of Aesthetic Judgement, pp. 146–7; Kant’s gesammelte Schriften, vol. 5, §38, p.289, line 30-p.290, line 14.Google Scholar
- 8.Meredith, Aesthetic Judgement, pp. 175–6; Kant’s gesammelte Schriften, vol. 5, §49, p. 313, line 35-p. 314, line 8.Google Scholar
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- 10.Meredith, Aesthetic Judgement, p. 168; Kant’s gesammelte Schriften, vol. 5, §46, p. 307, lines 11–15.Google Scholar
- 11.Meredith, Aesthetic Judgement, p. 31; Kant’s gesammelte Schriften, vol. 5, Einleitung vn, p. 190, lines 20–1.Google Scholar