Inhaltsangabe
It has been said that Kant probably never saw a great painting or piece of sculpture; indeed, this is quite likely, inasmuch as he spent his entire life in and around Königsberg in East Prussia. It is also clear that he had no great appreciation of music and that the only art form with which he had an extensive familiarity was literature. Nevertheless, this did not prevent him from producing what is generally regarded as one of the most important contributions to aesthetics in the history of modern thought. This is contained in the Critique of the Aesthetic Power of Judgment, which is the first part of the Critique of the Power of Judgment (or, in some English versions, the Critique of Judgment) of 1790. Unfortunately, however, this work is almost as forbidding to the uninitiated as it is rewarding to those able to penetrate its almost legendary obscurity.
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Reseña del editor
It has been said that Kant probably never saw a great painting or piece of sculpture; indeed, this is quite likely, inasmuch as he spent his entire life in and around Königsberg in East Prussia. It is also clear that he had no great appreciation of music and that the only art form with which he had an extensive familiarity was literature. Nevertheless, this did not prevent him from producing what is generally regarded as one of the most important contributions to aesthetics in the history of modern thought. This is contained in the Critique of the Aesthetic Power of Judgment, which is the first part of the Critique of the Power of Judgment (or, in some English versions, the Critique of Judgment) of 1790. Unfortunately, however, this work is almost as forbidding to the uninitiated as it is rewarding to those able to penetrate its almost legendary obscurity.
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