So just what Dante scorns as unworthy alike of heaven and hell, Botticelli accepts, that middle world in which men take no side in great conflicts, and decide no great causes, and make great refusals.In what follows, I examine a notion of desire that, I shall claim, is implicit in Immanuel Kant's theorization of aesthetic judgment in the Critique of Judgment.1 At first, this undertaking is likely to seem misguided. After all, Kant grounds his attempt to provide an a priori (...) foundation for judgment on the tripartite distinction between the faculty of cognition, the feeling of pleasure and displeasure, and the faculty of desire. Only the second of the three pertains to aesthetic judgment; and it... (shrink)

Abstract:What does it mean to recognize something as a work of art? In this paper, I approach the question, first, through a discussion of Stanley Cavell's likening of the recognition of artworks to the recognition of persons; and, second, through a discussion of the tendency, especially during the artistic period of Modernism, to compare artworks not to persons but to monsters. My claim is that, far from contradicting Cavell's insight, the comparison of artworks to monsters sheds light on the structure (...) of aesthetic recognition as Cavell correctly understands it. (shrink)

Nowhere do things flourish which are not a combination of inert elements, and nowhere can we perceive matter as other than that constant nourishment which thought directs, regulates, and controls, but on which it is dependent. In the autumn of 1798, Immanuel Kant published what was his final work, The Conflict of the Faculties. The latter comprises three essays, which ostensibly address the conflicts between the lower faculty of philosophy and the higher faculties of, respectively, theology, law, and medicine. Each (...) of the three essays was written for a different purpose and at a different time :2 the first, completed in 1794, deals with the relationship between.. (shrink)