When originally published in 1960, this was the first complete English translation since 1799 of Kant's early work on aesthetics. More literary than philosophical, Observations shows Kant as a man of feeling rather than the dry thinker he often seemed to readers of the three Critiques.

A new translation of Immanuel Kant’s 1764 Observations on the Sense of the Beautiful and the Sublime in modern American English with the original German in the back. This is Volume II in the Complete Works of Immanuel Kant from Livraria Press. Immanuel Kant’s 1764 Observations on the Sense of the Beautiful and the Sublime (Beobachtungen über das Gefühl des Schönen und Erhabenen) is his entry into the philosophic field of Aesthetics and provides the framework of his theories on beauty which would be fully enumerated in his 1790 Critique of Judgement. Kant distinguishes between the beautiful and the Sublime, which are further divided into Attached (mathematical) and Free (dynamic) Beauty. The beautiful is playful and limited to certain forms, while the sublime is serious and limitless. Beauty inhabits life; the sublime is beyond life. This is a more nuanced, developed form of Edmund Burke’s popular theories on Aesthetics.

The author of the introduction to this new edition, John McCormick, reminds us that The Sense of Beauty is the first work in aesthetics written in the United States. Santayana was versed in the history of his subject, from Plato and Aristotle to Schopenhauer and Taine in the nineteenth century. Santayana took as his task a complete rethinking of the idea that beauty is embedded in objects. Rather, beauty is an emotion, a value, and a sense of the good. In this aesthetics was unlike ethics: not a correction of evil or pursuit of the virtuous. Rather it is a pleasure that residues in the sense of self. The work is divided into chapters on the materials of beauty, form, and expression. A good many of Santayana's later works are presaged by this early effort. And this volume also anticipates the development of art as a movement as well as a value apart from other aspects of life.

The first in-depth treatment of the major theories of the sublime from Longinus to Kant.

Immanuel Kant's 'The Critique of Judgment' explores the realms of aesthetic judgment and teleological judgment in a rigorous and thought-provoking manner. In this seminal work, Kant delves into the concepts of beauty, taste, and the nature of artistic creation. He presents a detailed analysis of how judgment functions in relation to aesthetics, weaving together philosophical insights with practical examples to illustrate his points. Through his meticulous argumentation, Kant lays the groundwork for the understanding of the role of judgment in appreciating art and nature. The book's dense yet insightful prose engages readers in a contemplative journey through the intersections of art, nature, and human perception. Immanuel Kant, a renowned German philosopher of the Enlightenment era, was influenced by thinkers such as Leibniz and Rousseau. His deep interest in metaphysics and epistemology led him to ponder the fundamental principles that govern human experience. 'The Critique of Judgment' reflects Kant's comprehensive philosophical system, bridging the gap between his earlier works on metaphysics and ethics. I highly recommend 'The Critique of Judgment' to readers who are interested in delving into the complexities of aesthetic and teleological judgment. Kant's nuanced arguments and incisive analysis pave the way for a deeper appreciation of art, nature, and the human mind. This book is essential reading for anyone seeking to explore the intersections of philosophy, aesthetics, and the nature of beauty.

Kant's Observations of 1764 and Remarks of 1764-5 (a set of fragments written in the margins of his copy of the Observations) document a crucial turning point in his life and thought. Both reveal the growing importance for him of ethics, anthropology and politics, but with an important difference. The Observations attempts to observe human nature directly. The Remarks, by contrast, reveals a revolution in Kant's thinking, largely inspired by Rousseau, who 'turned him around' by disclosing to Kant the idea of a 'state of freedom' (modelled on the state of nature) as a touchstone for his thinking. This and related thoughts anticipate such famous later doctrines as the categorical imperative. This collection of essays by leading Kant scholars illuminates the many and varied topics within these two rich works, including the emerging relations between theory and practice, ethics and anthropology, men and women, philosophy, history and the 'rights of man'.

Philosophic attention shifted after Hegel from Kant’s emphasis on sensibility to criticism and analyses of the fine arts. The arts themselves seemed as ample as nature; a disciplined science could devote as much energy to one as the other. But then the arts began to splinter because of new technologies: photography displaced figurative painting; hearing recorded music reduced the interest in learning to play it. The firm interiority that Hegel assumed was undermined by the speed, mechanization, and distractions of modern life. We inherit two problems: restore quality and conviction in the arts; cultivate the interiority—the sensibility—that is a condition for judgment in every domain. What is sensibility’s role in experiences of every sort, but especially those provoked when art is made and enjoyed?

In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy (with a focus on Kant), nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world.