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Titel och upphov The idea of form : rethinking Kant's aesthetics
Utgivning, distribution etc. Stanford University Press , Stanford, Calif. : 2003
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SAB klassifikationskod
Fysisk beskrivning
Serietitel - biuppslagsform
Anmärkning: Bibliografi etc. Includes bibliographical references and index.
Anmärkning: Innehåll One principle more -- Transcendentality, in play -- On mere form -- Presenting the maximum -- Absolutely great -- Interest and disinterest -- The arts, in the nude -- Hypotyposis.
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ISBN 0-8047-4613-3 0-8047-4613-3 0-8047-4621-4 0-8047-4621-4
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*504 $aIncludes bibliographical references and index.
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*60014$aKant, Immanuel,$d1724-1804
*650 4$aEstetik
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*950 $aAesthetics
^
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Against the assumption that aesthetic form relates to a harmonious arrangement of parts into a beautiful whole, this book argues that reason is the real theme of the Critique of Judgment as of the two earlier Critiques . Since aesthetic judgment of the beautiful becomes possible only when the mind is confronted with things of nature, for which no determined concepts of understanding are available, aesthetic judgment is involved in an epistemological or, rather, para-epistemological task.
The predicate "beautiful" indicates that something has minimal form and is cognizable. This book explores this concept of form, in particular the role of presentation ( Darstellung ) in what Kant refers to as "mere form," which involves not only the understanding, but also reason as the faculty of ideas. Such a notion of form reveals why the beautiful can be related to the morally good. On the basis of this reinterpreted concept of form, most major concepts and themes of the Critique of Judgment --such as disinterestedness, free play, the sublime, genius, and beautiful arts--are examined by the author and shown in a new light.
Acknowledgments p. ix Introduction p. 1 One Principle More p. 13 Transcendentality, in Play p. 42 On Mere Form p. 60 Presenting the Maximum p. 89 Absolutely Great p. 119 Interest and Disinterestedness p. 155 The Arts, in the Nude p. 179 Hypotyposis p. 202 Notes p. 221 Bibliography p. 247 Index p. 253