Expressions of Judgment

Expressions of Judgment: An Essay on Kant's Aesthetics

Eli Friedlander
Copyright Date: 2015
Published by: Harvard University Press
Pages: 130
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  • Book Info
    Expressions of Judgment
    Book Description:

    Kant'sThe Critique of Judgmentlaid the groundwork of modern aesthetics when it appeared in 1790. Eli Friedlander's reappraisal emphasizes the internal connection of judgment and meaning, showing how the pleasure in judging is intimately related to our capacity to draw meaning from our encounter with beauty.

    eISBN: 978-0-674-73569-9
    Subjects: Philosophy, Language & Literature

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. Preface and Acknowledgments
    (pp. ix-xiv)
  4. Introduction
    (pp. 1-12)

    Before entering into the intricacies of Kant’sCritique of Judgment, I wish in this introduction to provide some background for it in Kant’s Critical Philosophy. In the first section I summarize central points in the account of judgment in theCritique of Pure Reason, and in the second section I sketch in very broad lines the systematic horizon in which Kant’s treatment of aesthetics finds its place.

    Neither beauty nor art, neither pleasure nor creativity, but rather judgment is the fundamental notion of Kant’s treatment of aesthetics. The latter forms the first part of a critique ofthe power of...

  5. Part I The Analytic of the Beautiful
    (pp. 13-45)

    Kant divides the ‘Analytic of the Beautiful’ into four moments according to the headings of the table of the categories: Quality, Quantity, Relation, and Modality.¹ Each of the four moments is summed up in a formulation involving negation: Taste estimates an objectapart from any interest, the beautiful pleasesapart from a conceptuniversally, it is the form of finality in an objectapart from the representation of an end, and it is that which,apart from a concept, is cognized as an object of a necessary delight. Before proceeding any further, it might be advisable to consider those two...

  6. Part II The Analytic of the Sublime
    (pp. 46-59)

    Whereas our judgments of beauty give us hope for a hidden harmony between our faculties and nature, the sublime brings us face to face with the absolute worth of reason over and above nature.¹ It is the experience of the unconditioned character of reason. This last characterization immediately raises a problem: It is Kant’s understanding that human experience has conditions of possibility; that is, it is always the experience of the conditioned. So how could there be anexperienceof the unconditioned capacity of reason? To put it paradoxically, the sublime would be an experience of what lies beyond experience....

  7. Part III Nature and Art
    (pp. 60-77)

    It is sometimes claimed that Kant’s account of beauty is fundamentally oriented toward natural beauty and gives only a secondary place to the beauty of art. Given the interpretation I have proposed of Kant’s argument, particularly where it concerns the centrality of the articulation of meaning to the aesthetic judgment, I think this claim is wrong. Indeed, natural beauty might not be such as to elicit elaborate reflection, but it is only one side of the aesthetic field. Insofar as one adopts the methodological rule, that every duality presented in theCritique of Judgmentis to be read through the...

  8. Part IV Extremes of Judgment
    (pp. 78-96)

    It can hardly be disputed that form is central to Kant’s account of aesthetics. But the structure of bridging at work in his construction of the field suggests the possibility of extremes in which the very idea of form will be problematized. I want in the present part to turn my attention tocontent, as it comes into play in two opposite extremes of Kant’s account: his discussion of the ideal of beauty on the one hand and of color on the other. It will be seen that these extremes are also limit cases in relation to another fundamental distinction...

  9. Notes
    (pp. 97-114)
  10. Index
    (pp. 115-117)