Con-textos Kantianos-International Journal of Philosophy最新文献_第6页

“Ein weites Feld”. Revisitando el Kant político y republicano “Ein weites Feld”。重温政治和共和康德

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Con-textos Kantianos-International Journal of Philosophy Pub Date : 2020-12-10 DOI: 10.5281/ZENODO.4304131

M. Bertomeu, Núria Sánchez Madrid

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Identidad práctica, virtud y sentido. Entrevista a Alejandro Vigo 实践身份、美德和意义。采访亚历杭德罗·维戈

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Con-textos Kantianos-International Journal of Philosophy Pub Date : 2020-12-10 DOI: 10.5281/ZENODO.4304041

Roberto Casales García, Livia Bastos Andrade, R. S. Muñóz

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La ricezione della 'Critica della facoltà di giudizio' nell’ermeneutica contemporanea (Heidegger, Gadamer, Figal) 当代解释学对“判断能力批判”的接受（海德格尔、伽达默尔、费加尔）

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Con-textos Kantianos-International Journal of Philosophy Pub Date : 2020-12-10 DOI: 10.5281/ZENODO.4304122

S. Marino

{"title":"La ricezione della 'Critica della facoltà di giudizio' nell’ermeneutica contemporanea (Heidegger, Gadamer, Figal)","authors":"S. Marino","doi":"10.5281/ZENODO.4304122","DOIUrl":"https://doi.org/10.5281/ZENODO.4304122","url":null,"abstract":"This article deals with the question of the reception and “history of effects” of Kant’s Critique of the Power of Judgment . More precisely, in the present contribution I take into examination some original and influential “appropriations” of Kant’s third Critique in the context of 20 th -century and contemporary hermeneutics, providing both a reconstruction and a critical interpretation of the readings of Kant’s work provided by Martin Heidegger, Hans-Georg Gadamer and nowadays Gunter Figal. In the first section I basically offer an overview of Kant’s conception of the power of judgment as an introduction to the topics investigated into detail in the following sections of this article. Then, I focus on the different interpretations of Kant’s Critique of the Power of Judgment offered by the abovementioned hermeneutical philosophers, showing that, in a quite surprising and theoretically stimulating way, in the development of a phenomenological-hermeneutical aesthetics and/or philosophy of art from Heidegger to Gadamer up to Figal, we can observe a progressive shift from a sort of “disinterest” in Kant’s conception of aesthetics in favour of Hegel’s philosophy of art (Heidegger), to an explicit critique of the supposed subjectivization of aesthetics by Kant and its problematic consequences (Gadamer), up to a full-blown rehabilitation and retrieval of the significance of Kant’s treatment of beauty in the third Critique as still essential for any serious philosophical aesthetics (Figal).","PeriodicalId":41959,"journal":{"name":"Con-textos Kantianos-International Journal of Philosophy","volume":"1 1","pages":"478-515"},"PeriodicalIF":0.1,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43839580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Husserl y Kant: debates en torno a la filosofía transcendental y la revolución copernicana 胡塞尔和康德：关于超越哲学和哥白尼革命的辩论

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Con-textos Kantianos-International Journal of Philosophy Pub Date : 2020-12-10 DOI: 10.5281/ZENODO.4304144

Franco César Puricelli

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Immanuel Kant’s Aesthetics: Beginnings and Ends 康德美学的开端与终结

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Con-textos Kantianos-International Journal of Philosophy Pub Date : 2020-12-10 DOI: 10.5281/ZENODO.4304065

D. Fenner

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Kant, Celmins and Art after the End of Art 康德、塞尔明与艺术终结后的艺术

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Con-textos Kantianos-International Journal of Philosophy Pub Date : 2020-12-10 DOI: 10.5281/ZENODO.4304079

Sandra Shapshay

{"title":"Kant, Celmins and Art after the End of Art","authors":"Sandra Shapshay","doi":"10.5281/ZENODO.4304079","DOIUrl":"https://doi.org/10.5281/ZENODO.4304079","url":null,"abstract":"One typically thinks of the relevance of Kant’s aesthetic theory to Western art in terms of Modernism, thanks in large part to the work of eminent critic and art historian Clement Greenberg. Yet, thinking of Kant’s legacy for contemporary art as inhering exclusively in “Kantian formalism” obscures a great deal of Kant’s aesthetic theory. In his last book, Arthur Danto suggested just this point, urging us to enlarge our appreciation of Kant’s aesthetic theory and its relevance to contemporary art, because, for Danto, “Kant had two conceptions of art.” In this essay, I support and build on Danto’s claim that there are really two conceptions of art at work in Kant’s third Critique , and that the second conception offers a non-Modernist/formalist way that Kant’s aesthetic theory remains relevant to post 1960s art (art “after the end of art” in Danto’s terms). My ultimate aim is to highlight another facet in the continuing relevance of Kant’s aesthetic theory to post- Abstract Expressionist contemporary art, namely, the explicit attention to the differential aesthetic values of nature and art respectively. I shall do this by putting it in dialogue with the art practice of Latvian-American artist, Vija Celmins (1938- ) whose illustrious career since 1960s has made her an ‘artist’s artist’ but who has also recently garnered much wider attention with a retrospective titled “To Fix the Image in Memory.” Celmins takes up artistically a problematic that is quite central philosophically to the concerns of the third Critique , and thus her work illustrates (even if unconsciously) another way in which Kant’s aesthetic theory is of great continuing relevance to the artworld today.","PeriodicalId":41959,"journal":{"name":"Con-textos Kantianos-International Journal of Philosophy","volume":"1 1","pages":"209-225"},"PeriodicalIF":0.1,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42262248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Las aporías de la apariencia Modernidad y estética en el pensamiento de Kant 康德思想中的外观现代性与美学的典范

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Con-textos Kantianos-International Journal of Philosophy Pub Date : 2020-12-10 DOI: 10.5281/ZENODO.4304118

Verónica Galfione

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The Cipher of Nature in Kant’s Third Critique: How to Represent Natural Beauty as Meaningful? 康德第三批判中的自然密码:自然美如何表现为有意义的?

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Con-textos Kantianos-International Journal of Philosophy Pub Date : 2020-12-10 DOI: 10.5281/ZENODO.4304101

Moran Godess-Riccitelli

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CTK 12 Editorial Note CTK 12编辑说明

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Con-textos Kantianos-International Journal of Philosophy Pub Date : 2020-12-10 DOI: 10.5281/ZENODO.4304035

R. R. Aramayo

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Can Kant’s Aesthetics Accommodate Conceptual Art? A Reply to Costello 康德的美学能容纳观念艺术吗?回复科斯特洛

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Con-textos Kantianos-International Journal of Philosophy Pub Date : 2020-12-10 DOI: 10.5281/ZENODO.4304082

Ioannis Trisokkas

{"title":"Can Kant’s Aesthetics Accommodate Conceptual Art? A Reply to Costello","authors":"Ioannis Trisokkas","doi":"10.5281/ZENODO.4304082","DOIUrl":"https://doi.org/10.5281/ZENODO.4304082","url":null,"abstract":"Diarmuid Costello has recently argued that, contra received opinion, Kant’s aesthetics can accommodate conceptual art, as well as all other art. Costello offers an interpretation of Kant’s art theory that demands from all art a minimal structure involving three basic “players” (the artist, the artwork, the artwork’s recipient) and three basic “actions” corresponding to those “players.” The article takes issue with the “action” assigned by Costello’s Kant to the artwork’s recipient , namely that her imagination generates a multitude of playful thoughts deriving from or in any other way relating to the concept or idea that the artist has instilled in the artwork and that the artwork transmits to the recipient. It is argued that the “proper” recipient of conceptual art may very well have a multitude of thoughts that are all irrelevant to the concept or idea the artist has instilled in the artwork, even if the artwork has transmitted that concept or idea to the recipient. This shows that Kant’s art theory, as presented by Costello, cannot accommodate conceptual art. I conclude by suggesting that either one of two amendments to the theory’s account of the recipient’s experience could enable it to accommodate conceptual art.","PeriodicalId":41959,"journal":{"name":"Con-textos Kantianos-International Journal of Philosophy","volume":"1 1","pages":"226-247"},"PeriodicalIF":0.1,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45324065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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