In the third Critique, Kant claims that beauty is the symbol of morality and that the consideration of this relation is a duty. This paper declares Kant’s argument to be twofold: firstly, experience of beauty strengthens our moral feeling. Secondly, in judging the beautiful, we assume some indeterminate purpose underlying nature, based on which we can conceive of nature as cooperative with our practical pursuit. Hence, for the sake of moral cultivation and moral motivation, it is our duty to regard beauty as the special symbol of morality.status: accepte
Kant's ethical theory in Critical-Period is formed not on the negation of 'feeling' which he had bef...
"Kant asserts that the incentive of pure practical reason is the feeling of respect for the moral la...
Plato conceived of the Form of Beauty as quite distinct from the Form of the Good. Beauty was a mean...
In the third Critique, Kant claims that beauty is the symbol of morality and that the consideration ...
Kant uses the concept of the symbol to show the complicated relationship between the autonomy of bea...
Abstract At first glance it seems that Kant distinguishes beauty from morality because while analyz...
Philosophical aesthetics and philosophy of art are notable in the twentieth century for their genera...
Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorIn the Critique of the Power of Judgment ...
According to a number of contemporary theorists, aesthetic reasons can invite or entice us but never...
ABSTRACT: This article presents an overview of Kant's agreements on beauty and morality. For Kant, b...
Moral beauty is the beauty of a person’s character. Generosity, for instance, is morally beautiful....
Beauty, or at least natural beauty, is famously a symbol of the morally good in Kant's theory of tas...
This paper deals with the forms of satisfaction in the Critique of Judgement — disinterested affecti...
After years of neglect, a renewed interest in beauty developed among many Western art critics, art p...
This is the author accepted manuscript. The final version is available from Oxford University Press ...
Kant's ethical theory in Critical-Period is formed not on the negation of 'feeling' which he had bef...
"Kant asserts that the incentive of pure practical reason is the feeling of respect for the moral la...
Plato conceived of the Form of Beauty as quite distinct from the Form of the Good. Beauty was a mean...
In the third Critique, Kant claims that beauty is the symbol of morality and that the consideration ...
Kant uses the concept of the symbol to show the complicated relationship between the autonomy of bea...
Abstract At first glance it seems that Kant distinguishes beauty from morality because while analyz...
Philosophical aesthetics and philosophy of art are notable in the twentieth century for their genera...
Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorIn the Critique of the Power of Judgment ...
According to a number of contemporary theorists, aesthetic reasons can invite or entice us but never...
ABSTRACT: This article presents an overview of Kant's agreements on beauty and morality. For Kant, b...
Moral beauty is the beauty of a person’s character. Generosity, for instance, is morally beautiful....
Beauty, or at least natural beauty, is famously a symbol of the morally good in Kant's theory of tas...
This paper deals with the forms of satisfaction in the Critique of Judgement — disinterested affecti...
After years of neglect, a renewed interest in beauty developed among many Western art critics, art p...
This is the author accepted manuscript. The final version is available from Oxford University Press ...
Kant's ethical theory in Critical-Period is formed not on the negation of 'feeling' which he had bef...
"Kant asserts that the incentive of pure practical reason is the feeling of respect for the moral la...
Plato conceived of the Form of Beauty as quite distinct from the Form of the Good. Beauty was a mean...