Kant: Philosophy of Art - Bibliography - PhilPapers.
Kant contends that persons should not be seen merely as means to an end but rather should be treated with respect for the individual and the humankind. Because businesses are run by persons, the Kantian theory can be construed to mean that the way an organization treats its personnel establishes the business morality or lack of it.
In particular, this essay seeks to provide key theoretical foundations to argue in favor of the participatory role that aesthetics of the natural environment play in the creation of Elamite art.
Kant's 'Analytic of the Sublime.' Burke's essay, however was far from the last word on the sublime, and it is primarily with Kant's discussion of the notion in his 'Analytic of the Sublime,' in The Critique of Judgment (1790), the final book of his three Critiques, that the notion of the sublime is today associated. Kant's essay is complex and.
The paper argues that the shark, in Hirst’s work and elsewhere, is a figure which intertwines an aesthetic of terrible nature with the capitalist sublime. The sheer volume of recent writings and academic conferences on the contemporary sublime suggest the subject is very much a matter of current concern. 1 But there is also a sense in which the sublime is not ever quite contemporary.
QUESTION 1. Kant’s work on moral philosophy has been explained in three works, namely critique of practical reason (1788), metaphysics of morals (1785) and metaphysics of morals (1797). According to Kant, if something is right for him to do, then it must also be right for everyone else.
But this is of course a book centered on Kant's concept or conception of human nature. It is a collection of essays written for other occasions, rather than a through-composed work, and it contains quite a lot of repetition -- to my mind, rather too many trees looking much the same (as in those Prussian forests).
Aesthetics - Aesthetics - Taste, criticism, and judgment: All aesthetic experience, whether of art or nature, seems to be informed by and dependent upon an exercise of taste. We choose the object of aesthetic experience, and often do so carefully and deliberately. Moreover, we are judged by our choices, not only of works of art but also of colour schemes, dresses, and garden ornaments, just as.