This book, ideal for anyone coming to Kant's Critique of Judgment for the first time, introduces this philosophical classic and places it in its historical context, showing its relevance to major issues in contemporary aesthetics.

Kant’s Critique of Judgment is one of the most important texts in the history of modern aesthetics. This GuideBook discusses the Third Critique section by section, and introduces and assesses: Kant's life and the background of the Critique of Judgment the ideas and text of the Critique of Judgment, including a critical explanation of Kant’s theories of natural beauty the continuing relevance of Kant’s work to contemporary philosophy and aesthetics. This GuideBook is an accessible introduction to a notoriously difficult work and will be essential reading for students of Kant and aesthetics.

An innovative and comprehensive interpretation of Kant's concept of freedom analyzes the role it plays in his moral philosophy and psychology and considers critical literature on the subject.

Kant's Critique of Pure Reason is arguably the single most important work in western philosophy. The book introduces and assesses: * Kant's life and background of the Critique of Pure Reason * the ideas and text of the Critique of Pure Reason * the continuing relevance of Kant's work to contemporary philosophy. Ideal for anyone coming to Kant's thought for the first time. This guide will be vital reading for all students of Kant in philosophy.

The essays in this volume provide new readings of Kant’s account of human nature. Despite the relevance of human nature to Kant’s philosophy, little attention has been paid to the fact that the question about human nature originally pertains to pure reason. The chapters in this volume show that Kant’s point is not to state once and for all what the human being actually is, but to unite pure reason’s efforts within a unitary teleological perspective. The question about human nature is the cornerstone of reason’s unity in its different activities and domains. Kant’s question about human nature goes beyond our empirical inquiries to show that the notion of humanity represents the point of convergence and unity of pure reason’s most fundamental interests. Kant on Freedom and Human Nature will appeal to scholars and advanced students working on Kant’s philosophy.

In this synthetic introduction to the history of the philosophy of art, Noël Carroll elucidates and analyzes selected writings on art by Plato, Aristotle, Hutcheson, Hume, Kant, Hegel, Schopenhauer, Tolstoy, and Bell. Carroll’s narrative tracks developments between major positions in philosophy of art, ranging from the idea that art is unavoidably embedded in society to the evolution of the notion that art is autonomous ("art for art’s sake"), thereby setting the stage for continuing debates in the philosophy of art. Presupposing no prior background, and useful on its own or accompanying the reading of primary works, Classics in Western Philosophy of Art is ideal as a text for introductory undergraduate and graduate courses in philosophy of art and aesthetics, or for anyone interested in learning about the origin of some of our most fundamental conceptions of art in the Western tradition.

This book presents a timely reconfiguration of the relations between art, philosophy, ethics, and aesthetics. Through connection with a range of contemporary social and philosophical issues and movements, this collection of essays highlights the imperative of sensorial aesthetics. The book focuses on the radical philosophical approach to aesthetics enabled by the works of Jean-François Lyotard and Gilles Deleuze. From these philosophers an older meaning of aesthetic has been recalled. Before it indicated primarily the theory of art and beauty, “aesthetic” referred to the sensibility, the capacity to receive sensations. In summoning this “sensorial” meaning of aesthetics in their respective works, Lyotard, Deleuze, and other recent thinkers turn the philosophical theory of aesthetics away from the dominance of cognitivist and reception theories, and towards a thinking of aesthetics through considerations of the movements of matter, affect, and sensation. This vital transformation of aesthetics in turn allows a reconfiguration of the relationship between the domains of art, aesthetics, and philosophy. If aesthetics focuses on sensation, rather than cognition, then artists, musicians, and philosophers alike appear not only as phenomenological and empirical thinkers, but as experimenters with the parameters of the sensible, able to extend our perceptual interface with the world. Rather than artists deferring to philosophers in regard to the meaning of their works, this new understanding of aesthetics suggests that philosophers ought to defer to artists, who are understood as inventers in the realm of sensibility.