第三批判中的艺术创作

Abigail Zitin
{"title":"第三批判中的艺术创作","authors":"Abigail Zitin","doi":"10.2307/j.ctv177tk9r.9","DOIUrl":null,"url":null,"abstract":"This chapter inquires into the fate of artistic practice in the text responsible for making form central to the theorization of aesthetics: Immanuel Kant’s Critique of the Power of Judgment. When Kant turns his attention to art, it appears as a special case, not fully within the purview of his theory of aesthetic judgment. How might Hogarth’s practitioner-centered aesthetic theory, in The Analysis of Beauty, inform an interpretation of Kant’s Third Critique? Kant, like Hogarth before him, connects the pleasure in aesthetic judgment with the cognitive activity of formal abstraction. Thinking like an artist means exercising the perceptual capacity for formal abstraction. In Kant’s theory as well as Hogarth’s, the artist can be understood as she who models free play as a practice that can be cultivated by means of this perceptual exercise.","PeriodicalId":346989,"journal":{"name":"Practical Form","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2020-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Making Art in the Third Critique\",\"authors\":\"Abigail Zitin\",\"doi\":\"10.2307/j.ctv177tk9r.9\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This chapter inquires into the fate of artistic practice in the text responsible for making form central to the theorization of aesthetics: Immanuel Kant’s Critique of the Power of Judgment. When Kant turns his attention to art, it appears as a special case, not fully within the purview of his theory of aesthetic judgment. How might Hogarth’s practitioner-centered aesthetic theory, in The Analysis of Beauty, inform an interpretation of Kant’s Third Critique? Kant, like Hogarth before him, connects the pleasure in aesthetic judgment with the cognitive activity of formal abstraction. Thinking like an artist means exercising the perceptual capacity for formal abstraction. In Kant’s theory as well as Hogarth’s, the artist can be understood as she who models free play as a practice that can be cultivated by means of this perceptual exercise.\",\"PeriodicalId\":346989,\"journal\":{\"name\":\"Practical Form\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-10-27\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Practical Form\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2307/j.ctv177tk9r.9\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Practical Form","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2307/j.ctv177tk9r.9","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0

摘要

本章探讨艺术实践的命运在文本负责使形式中心的美学理论化:伊曼努尔·康德的批判判断的权力。当康德把注意力转向艺术时,它似乎是一个特例,并不完全在他的审美理论的范围内。贺加斯在《美的分析》中以实践者为中心的美学理论,如何为康德的第三批判提供解释?康德和他之前的贺加斯一样,将审美的愉悦与形式抽象的认知活动联系起来。像艺术家一样思考意味着锻炼形式抽象的感知能力。在康德的理论以及贺加斯的理论中,艺术家可以被理解为她将自由游戏作为一种实践的模型,这种实践可以通过这种感知练习来培养。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Making Art in the Third Critique
This chapter inquires into the fate of artistic practice in the text responsible for making form central to the theorization of aesthetics: Immanuel Kant’s Critique of the Power of Judgment. When Kant turns his attention to art, it appears as a special case, not fully within the purview of his theory of aesthetic judgment. How might Hogarth’s practitioner-centered aesthetic theory, in The Analysis of Beauty, inform an interpretation of Kant’s Third Critique? Kant, like Hogarth before him, connects the pleasure in aesthetic judgment with the cognitive activity of formal abstraction. Thinking like an artist means exercising the perceptual capacity for formal abstraction. In Kant’s theory as well as Hogarth’s, the artist can be understood as she who models free play as a practice that can be cultivated by means of this perceptual exercise.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
自引率
0.00%
发文量
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信