Kant with Michael Fried: Feeling, Absorption, and Interiority in the Critique of Judgment

Kant with Michael Fried: Feeling, Absorption, and Interiority in the Critique of Judgment MAGDALENA OSTAS While the greater part of criticism and reflection on Kant takes the question of aesthetics in the Critique of Judgment to center on the subject's relation to art, art is not actually Kant's model of aesthetic experience in the text.1 Niether is it simply nature. The Critique of Judgment, in other words, cannot simply be understood as Kant's engagement with the realm of what we understand by aesthetics. Rather, it is the case that in the third Critique, an aesthetic object for Kant constitutes itself as aesthetic object only in relation to a particular kind of subject or unique experience of the subject. Aesthetic experience for Kant is an economy between subject and object rather than an encounter with what we understand by beauty. Aesthetics, then, rather than being the division of Kant's philosophy concerned with art or the beautiful becomes, instead, a mode or a displaced way of his posing questions about subjectivity more generally. The fact that Kant does not understand aesthetic experience, or the power of judgment, to be primarily "of" art or to be limited to the experience of art has great consequences for how the third Critique can be read and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png symploke University of Nebraska Press

Kant with Michael Fried: Feeling, Absorption, and Interiority in the Critique of Judgment

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Abstract

MAGDALENA OSTAS While the greater part of criticism and reflection on Kant takes the question of aesthetics in the Critique of Judgment to center on the subject's relation to art, art is not actually Kant's model of aesthetic experience in the text.1 Niether is it simply nature. The Critique of Judgment, in other words, cannot simply be understood as Kant's engagement with the realm of what we understand by aesthetics. Rather, it is the case that in the third Critique, an aesthetic object for Kant constitutes itself as aesthetic object only in relation to a particular kind of subject or unique experience of the subject. Aesthetic experience for Kant is an economy between subject and object rather than an encounter with what we understand by beauty. Aesthetics, then, rather than being the division of Kant's philosophy concerned with art or the beautiful becomes, instead, a mode or a displaced way of his posing questions about subjectivity more generally. The fact that Kant does not understand aesthetic experience, or the power of judgment, to be primarily "of" art or to be limited to the experience of art has great consequences for how the third Critique can be read and

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symplokeUniversity of Nebraska Press

Published: May 18, 2011

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