The Genesis of Kant's Critique of Judgment. John H. Zammito

1995 ◽  
Vol 67 (1) ◽  
pp. 206-209
Author(s):  
Robert S. Leventhal
Keyword(s):  
Critique Of Judgment

Joseph Soloveitchik and Immanuel Kant's Mitzvah-Aesthetic

AJS Review ◽  
2001 ◽  
Vol 25 (1) ◽  
pp. 1-24 ◽  
Author(s):  
Zachary Braiterman
Keyword(s):  
Immanuel Kant ◽  
Social Ethics ◽  
Formal System ◽  
Order Effects ◽  
Critique Of Judgment ◽  
Jewish Thought ◽  
Personal Morality ◽  
History Of ◽  
The Relationship ◽  
The Ideal

In the following pages, I will address the relationship between Jewish thought and aesthetics by bringing Joseph Soloveitchik into conversation with Immanuel Kant, whose Critique of Judgment remains an imposing monument in the history of philosophical aesthetics. While Buber and Rosenzweig may have been more accomplished aesthetes, Soloveitchik's aesthetic proves closer to Kant's own. In particular, I draw upon the latter's distinction between the beautiful and the sublime and the notion of a form of indeterminate purposiveness without determinate purpose. I will relate these three figures to Soloveitcchik's understanding of halakhah and to the ideal of performing commandments for their own sake (li-shemah). The model of mitzvah advanced by this comparison is quintessentially modern: an autonomous, self-contained, formal system that does not (immediately) point to extraneous goods, such as spiritual enlightenment, personal morality, or social ethics. The good presupposed by this system proves first and foremost “aesthetic.” That is, immanent to the system. Supererogatory goods enter into the picture only afterward as second-order effects.

scholarly journals The conclusion of the deduction of taste in the dialectic of the power of judgment aesthetic in Kant

2013 ◽  
Vol 36 (2) ◽  
pp. 45-62
Author(s):  
Manuel Sánchez
Keyword(s):  
Comparative Analysis ◽  
Critique Of Judgment ◽  
Historical Reconstruction ◽  
Human Reason ◽  
Aesthetic Judgments

In this paper, it is argued that only in the section on dialectic in the Critique of Judgment does Kant reach a definitive and conclusive version of deduction, after discovering the concept of the supersensible. In the section on the deduction of pure aesthetic judgments, Kant does not satisfactorily explain the critical distinction between the sensible nature of humanity and the supersensible nature of human reason presupposed in the concept of universal communicability. While the concept of the supersensible illustrates this distinction, it is only through this concept that Kant that can justify the specific possibility of claiming subjective validity in taste. The priority of the solution found in the dialectic is illustrated not only by a comparative analysis of the two sections, but also by a historical reconstruction of the process of the formation of the work, which shows that the first formulation of the concept of validity coincides with the use of the concept of the supersensible.

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