Kantian considerations on representation, aesthetics, the beautiful, and the sublime
Kant (1724-1804) introduced the term aesthetics in the Critique of Pure Reason, referring to the pure forms of a priori sensible intuition: space and time. These forms, part of the transcendental dimension, condition the reception of sensible intuitions, internally organized by time and externally b...
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Universidade Estadual de Campinas
2024
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| author | França, Carlos França, Carlos França, Carlos |
| author_facet | França, Carlos França, Carlos França, Carlos |
| author_sort | França, Carlos |
| collection | Portal da Incubadora de Periódicos Científicos, Acadêmicos e Educacionais |
| container_reference | Revista Visuais; Vol. 10 No. 2 (2024): Visual arts, thoughts and sounds; 107 - 147 |
| description | Kant (1724-1804) introduced the term aesthetics in the Critique of Pure Reason, referring to the pure forms of a priori sensible intuition: space and time. These forms, part of the transcendental dimension, condition the reception of sensible intuitions, internally organized by time and externally by space. For Kant, time subordinates all objects as phenomena of sensibility. He conceived the term “transcendental aesthetics” to describe the pre-existing structure that allows for the reception of sensible intuitions, differing from the critique of taste. Kant states that knowledge requires sensitivity (reception of representations) and understanding (formation of concepts applied to these intuitions). However, despite the centrality of the notion of representation, he did not provide a complete definition, using it in parts of the Transcendental Logic and Transcendental Aesthetics. This study analyzes the conditions of its formulation and dissemination in Kantian critiques.
In the aesthetic judgment, Kant explores why it does not produce knowledge, making its objective universalization impossible. Declaring something as beautiful seeks its universality, but others' disagreement can generate frustration, highlighting the subjectivity of aesthetic taste.
The second part addresses the Analytic of the Beautiful and the Analytic of the Sublime, highlighting the ruptures and innovations brought by the Critique of the Power of Judgment. The beautiful is analyzed in relation to pleasure and pain, and the roles of determinative and reflective judgments in the aesthetics of the beautiful. The aesthetics of the sublime, encompassing its mathematical and dynamic forms, are explored in their connections with nature, morality, and the formless. |
| first_indexed | 2025-10-08T14:40:30Z |
| format | Online |
| id | ojs-article-20141 |
| institution | Universidade Estadual de Campinas |
| issn | 2447-1313 |
| language | por |
| last_indexed | 2025-10-08T14:40:30Z |
| publishDate | 2024 |
| publisher | Universidade Estadual de Campinas |
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| spelling | ojs-article-201412025-01-05T12:04:16Z Kantian considerations on representation, aesthetics, the beautiful, and the sublime Consideraciones kantianas sobre la representación, la estética, lo bello y lo sublime Considerações kantianas sobre a representação, a estética, o belo e o sublime França, Carlos França, Carlos França, Carlos Kant Representação Estética Belo Sublime Juízo Kant Representation Aesthetics Beauty Sublime Judgment Kant Representación Estética Bello Belleza Juicio Kant (1724-1804) introduced the term aesthetics in the Critique of Pure Reason, referring to the pure forms of a priori sensible intuition: space and time. These forms, part of the transcendental dimension, condition the reception of sensible intuitions, internally organized by time and externally by space. For Kant, time subordinates all objects as phenomena of sensibility. He conceived the term “transcendental aesthetics” to describe the pre-existing structure that allows for the reception of sensible intuitions, differing from the critique of taste. Kant states that knowledge requires sensitivity (reception of representations) and understanding (formation of concepts applied to these intuitions). However, despite the centrality of the notion of representation, he did not provide a complete definition, using it in parts of the Transcendental Logic and Transcendental Aesthetics. This study analyzes the conditions of its formulation and dissemination in Kantian critiques. In the aesthetic judgment, Kant explores why it does not produce knowledge, making its objective universalization impossible. Declaring something as beautiful seeks its universality, but others' disagreement can generate frustration, highlighting the subjectivity of aesthetic taste. The second part addresses the Analytic of the Beautiful and the Analytic of the Sublime, highlighting the ruptures and innovations brought by the Critique of the Power of Judgment. The beautiful is analyzed in relation to pleasure and pain, and the roles of determinative and reflective judgments in the aesthetics of the beautiful. The aesthetics of the sublime, encompassing its mathematical and dynamic forms, are explored in their connections with nature, morality, and the formless. Kant (1724-1804) introdujo el término estética en la Crítica de la razón pura, refiriéndose a las formas puras de intuición sensible a priori: espacio y tiempo. Estas formas, parte de la dimensión trascendental, condicionan la recepción de intuiciones sensibles, organizadas internamente por el tiempo y externamente por el espacio. Para Kant, el tiempo subordina todos los objetos como fenómenos de la sensibilidad. Concibió el término “estética trascendental” para describir la estructura preexistente que permite la recepción de intuiciones sensibles, diferenciándose de la crítica del gusto. Kant afirma que el conocimiento requiere sensibilidad (recepción de representaciones) y entendimiento (formación de conceptos aplicados a estas intuiciones). Sin embargo, a pesar de la centralidad de la noción de representación, no proporcionó una definición completa, utilizándola en partes de la Lógica Trascendental y de la Estética Trascendental. Este estudio analiza las condiciones de su formulación y difusión en las críticas kantianas. En el juicio estético, Kant explora por qué este no genera conocimiento, imposibilitando su universalización objetiva. Declarar algo como bello busca su universalidad, pero el desacuerdo de otros puede generar frustración, destacando la subjetividad del gusto estético. La segunda parte aborda la Analítica de lo bello y la Analítica de lo sublime, destacando las rupturas e innovaciones introducidas por la Crítica del juicio. Se analiza lo bello en relación con el placer y el dolor, y los roles de los juicios determinante y reflexivo en la estética de lo bello. La estética de lo sublime, que abarca sus formas matemática y dinámica, se explora en sus conexiones con la naturaleza, la moral y lo informe. Kant (1724-1804) introduziu o termo estética na Crítica da Razão Pura, referindo-se às formas puras da intuição sensível a priori: espaço e tempo. Essas formas, parte da dimensão transcendental, condicionam a recepção das intuições sensíveis, organizadas internamente pelo tempo e externamente pelo espaço. Para Kant, o tempo subordina todos os objetos como fenômenos da sensibilidade. Ele concebeu o termo “estética transcendental” para descrever a estrutura pré-existente que permite a recepção das intuições sensíveis, diferenciando-se da crítica do gosto. Kant afirma que o conhecimento exige sensibilidade (recepção de representações) e compreensão (formação de conceitos aplicados a essas intuições). Contudo, apesar da centralidade da noção de representação, ele não forneceu uma definição completa, utilizando-a em partes da Lógica Transcendental e da Estética Transcendental. Este estudo analisa as condições de sua formulação e difusão nas críticas kantianas. No juízo estético, Kant explora por que ele não gera conhecimento, impossibilitando sua universalização objetiva. A afirmação de algo como belo busca sua universalidade, mas a discordância alheia pode gerar frustração, destacando a subjetividade do gosto estético. A segunda parte aborda a Analítica do Belo e a Analítica do Sublime, evidenciando rupturas e inovações trazidas pela Crítica da Faculdade do Juízo. Analisa-se o belo em relação ao prazer e à dor, e o papel dos juízos determinante e reflexivo na estética do belo. A estética do sublime, abrangendo suas formas matemática e dinâmica, é explorada em suas conexões com natureza, moral e o informe. Universidade Estadual de Campinas 2024-12-10 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Text Texto Texto application/pdf https://econtents.sbu.unicamp.br/inpec/index.php/visuais/article/view/20141 10.20396/visuais.v10i2.20141 Revista Visuais; Vol. 10 No. 2 (2024): Visual arts, thoughts and sounds; 107 - 147 Revista Visuais; Vol. 10 Núm. 2 (2024): Artes visuales, pensamientos y sonoridades; 107 - 147 Revista Visuais; v. 10 n. 2 (2024): Artes visuais, pensamentos e sonoridades; 107 - 147 2447-1313 por https://econtents.sbu.unicamp.br/inpec/index.php/visuais/article/view/20141/14494 Europe; 21st Century Europa; Siglo XXI Europa; Século XXI Copyright (c) 2024 Revista Visuais https://creativecommons.org/licenses/by-nc-nd/4.0 |
| spellingShingle | França, Carlos França, Carlos França, Carlos Kant Representação Estética Belo Sublime Juízo Kant Representation Aesthetics Beauty Sublime Judgment Kant Representación Estética Bello Belleza Juicio Kantian considerations on representation, aesthetics, the beautiful, and the sublime |
| title | Kantian considerations on representation, aesthetics, the beautiful, and the sublime |
| title_full | Kantian considerations on representation, aesthetics, the beautiful, and the sublime |
| title_fullStr | Kantian considerations on representation, aesthetics, the beautiful, and the sublime |
| title_full_unstemmed | Kantian considerations on representation, aesthetics, the beautiful, and the sublime |
| title_short | Kantian considerations on representation, aesthetics, the beautiful, and the sublime |
| title_sort | kantian considerations on representation, aesthetics, the beautiful, and the sublime |
| topic | Kant Representação Estética Belo Sublime Juízo Kant Representation Aesthetics Beauty Sublime Judgment Kant Representación Estética Bello Belleza Juicio |
| url | https://econtents.sbu.unicamp.br/inpec/index.php/visuais/article/view/20141 |
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