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Kant’s Methodology and Presuppositions

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Kant’s Aesthetic

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Abstract

It is obvious from a brief account of the central discussions of the Critique of Judgement that Kant’s analysis of aesthetic judgement centres squarely upon his analysis of what it is for something, be it natural object, humble artefact or work of fine art, to be beautiful; and reference to pleasure is an essential part of that analysis.

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Notes and References

  1. Meredith, Aesthetic Judgement, pp.55, 72, 80 (footnote); Kant’s gesammelte Schriften, vol. 5, §8, p. 215, lines 15–22; §16, p. 229, lines 18–21; §17, p. 236 (footnote).

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  2. Meredith, Aesthetic Judgement, pp. 72, 217; Kant’s gesammelte Schriften, vol. 5, §16, p. 229, lines 24–8; §58, p. 347, line 28-p. 348, line 2.

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  3. Meredith, Aesthetic Judgement, p. 219; Kant’s gesammelte Schriften, vol. 5, §58, p. 349, lines 15–19.

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  4. Meredith, Aesthetic Judgement, p. 73; Kant’s gesammelte Schriften, vol. 5, §16, p. 230, line 6.

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  5. Meredith, Aesthetic Judgement, p. 187; Kant’s gesammelte Schriften, vol. 5, §51, p. 323, lines 8–14.

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  6. Meredith, Aesthetic Judgement, p. 187; Kant’s gesammelte Schriften, vol. 5, §51, p. 322, line 37-p. 324, line 12.

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  7. Meredith, Aesthetic Judgement, pp. 52, 139; Kant’s gesammelte Schriften, vol. 5, §7, p. 212, lines 24–9; §33, p. 284, lines 5–7.

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  8. Meredith, Aesthetic Judgement, p. 188; Kant’s gesammelte Schriften, vol. 5, §51, p. 324, line 13-p. 325, line 21.

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  9. Meredith, Aesthetic Judgement, pp. 121–2; Kant’s gesammelte Schriften, vol. 5, §29, p. 270, lines 7–15.

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  10. Meredith, Aesthetic Judgement, p. 105; Kant’s gesammelte Schriften, vol. 5, §26, p. 256, line 28-p. 257, line 5.

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  11. Meredith, Aesthetic Judgement, p. 121; Kant’s gesammelte Schriften, vol. 5, §29, p. 269, lines 12–22.

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  12. Meredith, Aesthetic Judgement, p. 99; Kant’s gesammelte Schriften, vol. 5, §26, p. 252, lines 10–13.

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  13. Meredith, Aesthetic Judgement, p. 100; Kant’s gesammelte Schriften, vol. 5, §26, p. 252, lines 20–2.

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  14. Meredith, Aesthetic Judgement, p. 179 (footnote); Kant’s gesammelte Schriften, vol. 5, §49, p. 316, lines 31–7.

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  15. Wollheim, Art and Its Objects, section 42, p. 83.

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  16. Ibid., section 43, p. 86.

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  17. Ibid., section 42, p. 84.

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  18. Ibid.

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  19. Ibid., p. 83.

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  20. Ibid., p. 85.

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  21. Ibid., section 43, p. 85.

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  22. Ibid., p. 86.

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  23. Ibid., p. 88.

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  24. Meredith, Aesthetic Judgement, p. 167; Kant’s gesammelte Schriften, vol. 5, §45, p. 306, line 27.

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  25. Meredith, Aesthetic Judgement, pp. 175–82; Kant’s gesammelte Schriften, vol. 5, §49, p. 313, line 2-p. 319, line 10.

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  26. Meredith, Aesthetic Judgement, p. 172; Kant’s gesammelte Schriften, vol. 5, §48, p. 311. lines 9–13.

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  27. William Morris, The Haystack in the Flood.

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  28. Goodman, Languages of Art, p. 255.

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  29. Goodman does not use the Gruenewald example but it is a stock in trade example used by philosophers who mount arguments concerned with ‘the problem of the ugly’.

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  30. Meredith, Aesthetic Judgement, pp. 174–5; Kant’s gesammelte Schriften, vol. 5, §48. p. 312, line 28-p. 313, line 5.

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  31. I. A. Richards, The Philosophy of Rhetoric (New York, 1965, originally published 1936) p. 96.

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  32. Meredith, Aesthetic Judgement, p. 49; Kant’s gesammelte Schriften, vol. 5, §5, p. 210, lines 6–9.

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  33. See Chapter 4.

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  34. Goodman, Languages of Art, p. 243.

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  35. R. G. Collingwood, The Principles of Art, ch. v.

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  36. Monroe Beardsley, Aesthetics: Problems in the Philosophy of Criticism (New York, 1958) pp. 524–43.

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  37. Goodman, Languages of Art, pp. 242–3.

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  38. Gilbert Ryle: The Concept of Mind (London, 1949), ch. IV (6);

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  39. Dilemmas (London, 1954), IV;

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  40. Collected Essays (London, 1971) vol. 2, 25.

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  41. Terence Penelhum, ‘The Logic of Pleasure’, Essays in Philosophical Psychology, ed. Donald F. Gustafson (London, Melbourne, 1967) pp. 227–47.

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  42. Mary A. McCloskey, ‘Pleasure’, Mind, vol. LXXX, No. 320 (1971) pp. 542–51.

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  43. Meredith, Aesthetic Judgement, pp. 215–6; Kant’s gesammelte Schriften, vol. 5, §58, p. 346, lines 32–5.

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  44. See, for example, R. W. Beardsome, Art and Morality (London, 1971) pp. 46–50.

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  45. Meredith, Aesthetic Judgement, pp.172, 175, 179–80; Kant’s gesammelte Schriften, vol. 5, §48, p. 311, lines 6–13; §49. p. 313, line 21-p. 314, line 1; p. 316, line 19-p. 319, line 10.

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  46. Clive Bell, Art (London, 1914) pp. 49–50.

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  47. Roger Fry, Transformations (London, 1926) ch. 1.

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  48. William Hogarth, The Analysis of Beauty, Plates 1 and 2.

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  49. Meredith, Aesthetic Judgement, pp. 33–9; Kant’s gesammelte Schriften, vol. 5, Einleitung vm, p. 192, line 13-p. 198. See also Immanuel Kant, translated by Walter Cerf, Analytic of the Beautiful from the Critique of Judgement with excerpts from Anthropology from a Pragmatic Point of View (Indianapolis, New York, 1963) p. 65; Kant’s gesammelte Schriften, vol. 7, §67, p. 240, line 26-p. 241, line 5.

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  50. H. J. Paton, The Moral Law, or Kant’s Groundwork of the Metaphysic of Morals (London, 1948) p. 95; Kant’s gesammelte Schriften, vol. 4, p. 428, lines 7–11.

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Authors
  1. Mary A. McCloskey
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© 1987 Mary A. McCloskey

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McCloskey, M.A. (1987). Kant’s Methodology and Presuppositions. In: Kant’s Aesthetic. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-08796-9_2

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