EMAIL<\/a> | SYLLABUS<\/a> | POLICIES<\/a> | QUESTIONS<\/a> | PRESENTATIONS<\/a> | JOURNALS<\/a> | PAPER<\/a> | FINAL<\/a><\/strong><\/p>\n\n\n\n Assigned: Immanuel Kant. From Critique of the Power of Judgment, \u201cIntroduction\u201d and First Book: \u201cAnalytic of the Beautiful\u201d and (optional in 256) \u201cAnalytic of the Sublime (411-50 in Leitch, Vincent B. and William E. Cain, eds. The Norton Anthology of Theory and Criticism.<\/em> 2nd ed. New York: Norton, 2010. ISBN 978-0-393-93292-8).<\/p>\n\n\n\n 1. What is philosophical idealism? How does it describe the relationship between the mind and the external world? (general question)<\/p>\n\n\n\n 2. What implications might philosophical idealism have for broader notions about politics and societal organization? Responding to this question helps one understand why the romantic poets borrowed so heavily from Kantian ideas. (general question)<\/p>\n\n\n\n 3. Try to explain in your own words what Kant conveys by way of introduction to aesthetic judgments (i.e. judgments that some object is beautiful) and their \u201csubjective\u201d (rather than objective) quality. How is he beginning to make the case that what we call \u201cbeauty\u201d isn\u2019t in<\/em> objects but should instead be thought of as situated or generated in our own minds? (411-14)<\/p>\n\n\n\n 4. Describe the basic quality of what Kant calls an \u201caesthetic judgment\u201d or a \u201cjudgment of taste.\u201d That is, try to explain in your own words what Kant seems to be getting at in his opening section of the first book. (414-15, Section 1)<\/p>\n\n\n\n 5. Why, according to Kant, isn\u2019t it possible to make \u201ca pure judgment of taste\u201d as soon as \u201cinterest\u201d enters the picture? A bit later, at 418 near the top (Section 5), Kant uses the term \u201cdisinterested.\u201d Look up this word if you\u2019re not familiar with its precise meaning \u2013 it does not<\/em> mean \u201ca state of being bored with something.\u201d How does the word encapsulate what he is saying about the purity of a proper aesthetic judgment? (415-16, Section 2)<\/p>\n\n\n\n 6. How does Kant define judgments about \u201cthe agreeable\u201d and \u201cthe good\u201d? Why aren\u2019t these kinds of judgment aesthetic? (See 414-15 for a definition of this term.) Provide your own examples of a judgment about the agreeable and the good, respectively. (416-18, Sections 3-5)<\/p>\n\n\n\n 7. Why, according to Kant, do we suppose we have the right to other people\u2019s agreement once we have declared an object beautiful? That is, we would not demand that everybody like chocolate ice cream just because we like it, but we would insist that our statement, \u201cthis rose is beautiful\u201d is a universally correct judgment. Why? (418-21, Sections 6-8)<\/p>\n\n\n\n 8. According to Kant, do we feel pleasure before making a judgment of taste, or do we make the judgment first and then feel pleasure? What reasons does he provide for his answer? (421-22, Section 9)<\/p>\n\n\n\n 9. What does Kant appear to mean by the terms \u201cdesign\u201d and \u201cform\u201d? How do these two terms differ from \u201ccharm\u201d and \u201cemotion\u201d? Why is the design of a presentation or object central to a judgment of taste? (423-25, Sections 11, 13-14)<\/p>\n\n\n\n 10. Following upon question 9, what role does \u201csense\u201d or \u201csensation\u201d play in the making of an aesthetic judgment? Does Kant disdain sensation or sensory experience, or does his desire to abstract from it stem from some other purpose? Explain. If you are presenting on this question, also add your reflections on Kant\u2019s use of terms such as \u201cshape,\u201d \u201cplay,\u201d \u201cornaments,\u201d and \u201cdecoration\u201d towards the end of Section 14 on page 425. (423-25, Sections 13-14)<\/p>\n\n\n\n 11. According to Kant, what is \u201cfree beauty\u201d (pulchritudo vaga<\/em>)? What examples does he offer? Why is it important that our liking for such objects does not refer to any definite concept, i.e. that we don\u2019t refer the object to a fixed purpose or concept? (425-27 top, Section 16)<\/p>\n\n\n\n 12. What, according to Kant, can\u2019t there be an \u201cobjective rule of taste that would determine what is beautiful through concepts\u201d? To generalize from this, why can\u2019t we set forth an ideal or archetype of \u201cbeauty\u201d in a facilely determinate, solid manner? (427, Section 17)<\/p>\n\n\n\n 13. How do you understand Kant\u2019s terms \u201ccommon sense\u201d (sensus communis<\/em>) and \u201cpurposiveness without an end\u201d? What significance do they hold for Kant\u2019s claims about the human value of aesthetic judgment? (429-30, Section 22)<\/p>\n\n\n\n This part of the text isn\u2019t assigned, but here are the questions in case you want to do the reading anyway.<\/p>\n\n\n\n 14. In what respects, according to Kant, are the beautiful and the sublime similar? What \u201csignificant differences\u201d does Kant address between the beautiful and the sublime? Which difference is the most important, and why? (430-32, Section 23)<\/p>\n\n\n\n 15. What reason does Kant give for considering the \u201c{the concept of} the beautiful in nature\u201d more important than the \u201cthe concept of the sublime in nature\u201d? What can our experience of the beautiful do for us that our experience with the sublime cannot? (430-32, Section 23)<\/p>\n\n\n\n 16. Following upon question 14, how does Kant\u2019s attitude towards the sublime differ from that of Longinus? (430-32, general question, Section 23)<\/p>\n\n\n\n 17. How does Kant define the term \u201csublime\u201d? Why is it the case that \u201cnothing that can be an object of the senses is . . . to be called sublime\u201d? (433, Section 25)<\/p>\n\n\n\n 18. Why, according to Kant, should we most properly turn to \u201craw nature\u201d and not to \u201cproducts of art\u201d (434) in explaining the sublime? (434-35, Section 26)<\/p>\n\n\n\n 19. How is it that the feeling most relevant to our experience of the sublime is \u201crespect\u201d? What is it that we respect when we experience the sublime, and why? How does this experience entail \u201ca feeling of displeasure\u201d and yet also \u201ca pleasure\u201d? (436-37, Section 27)<\/p>\n\n\n\n 20. How does Kant define nature as a \u201cpower\u201d? Why is it necessary for a judgment of sublimity that we can \u201cconsider an object as fearful without being afraid of it\u201d (438)? What would happen to our experience of sublimity, for instance, if — my example — we were clinging to a flimsy branch over the edge of Niagara Falls rather than viewing the Falls from a safe distance? (438-40, Section 28)<\/p>\n\n\n\n 21. How does Kant argue that neither judgments about beauty nor judgments about the sublime are a matter of cultural \u201cconvention\u201d (440)? What broader and more important factor is involved? (440-42, Section 29)<\/p>\n\n\n\n 22. What is Kant\u2019s definition of the sensus communis,<\/em> or \u201ccommon sense,\u201d and why is such a capacity important to his framework for explaining aesthetic judgments? How is it, further, that (at 443 middle), \u201ctaste can be called a sensus communis<\/em> with greater justice than can the healthy understanding\u201d? (442-44, Section 40)<\/p>\n\n\n\n 23. Kant wrote a famous essay called \u201cWhat is Enlightenment?\u201d How does he characterize \u201cenlightenment\u201d while analyzing the sensus communis?<\/em> (443 top, Section 40)<\/p>\n\n\n\n 24. How does Kant distinguish \u201cart\u201d from \u201cnature\u201d? What are the distinguishing characteristics of art? And how is art to be further distinguished from craft and from science? (444-45, Section 43)<\/p>\n\n\n\n 25. How does Kant treat the issue of \u201cgenius\u201d? What can the artist or genius do especially well? Does his treatment of the issue differ from your own understanding of the term? If so, how? (445-49, Sections 49-50)<\/p>\n\n\n\n 26. How, according to Kant, is beauty the \u201csymbol of the morally good\u201d? (449-50, Section 59)<\/p>\n","protected":false},"excerpt":{"rendered":" IMMANUEL KANT QUESTIONS FOR E256 LITERARY THEORY AND CRITICISMCHAPMAN UNIVERSITY, FALL 2012 Assigned: Immanuel Kant. From Critique of the Power of Judgment, \u201cIntroduction\u201d and First Book: \u201cAnalytic of the Beautiful\u201d and (optional in 256) \u201cAnalytic of the Sublime (411-50 in Leitch, Vincent B. and William E. Cain, eds. The Norton Anthology of Theory and Criticism. 2nd ed. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_eb_attr":"","footnotes":""},"wf_page_folders":[18],"class_list":["post-1157","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/1157","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/comments?post=1157"}],"version-history":[{"count":2,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/1157\/revisions"}],"predecessor-version":[{"id":4820,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/1157\/revisions\/4820"}],"wp:attachment":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/media?parent=1157"}],"wp:term":[{"taxonomy":"wf_page_folders","embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/wf_page_folders?post=1157"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}From Critique of the Power of Judgment<\/em> (1790)<\/h3>\n\n\n\n
From Introduction<\/em><\/h3>\n\n\n\n
From First Book. Analytic of the Beautiful<\/em><\/h3>\n\n\n\n
From Second Book. Analytic of the Sublime<\/em><\/h3>\n\n\n\n