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dc.contributor.author Aqueveque, LT
dc.date.accessioned 2024-01-17T15:54:46Z
dc.date.available 2024-01-17T15:54:46Z
dc.date.issued 2023
dc.identifier.uri https://repositorio.uoh.cl/handle/611/619
dc.description.abstract The article aims to dismantle an old dispute in the third Critique between an aesthetics and a philosophy of art. Such a dispute would show Kant's aesthetics as an aesthetics in conflict. Like a two-faced Janus, the philosopher from Konigsberg will present in the last Critique a Critique of the faculty of aesthetic judgment that goes back and forth between a philosophical aesthetics and a metaphysics of art, and that will end up becoming a propaedeutic for the philosophies of art of Romanticism. Based on Derrida's critique of the Kantian colossal -a comment that would allow us to conjecture the presence in the first part of the third Critique of a forgotten sublime art-, we hypothesize the possibility of an unfinished and obscure architecture of the Critique of the faculty of aesthetic judgment, where the bastard condition of the sublime would evidence a question not deduced transcendentally, but experienced by our faculties of knowing, that is, a suprasensible shock determined by a sort of principle of counter-finality. Thus, the problem of the sublime, whose expression of the colossal is far from qualifying as a case of the world of art, would reveal the Kant of the third Critique imprisoned in an apparently irresolvable conflict between reason and feeling.
dc.relation.uri http://dx.doi.org/10.34024/prometeica.2023.26.14326
dc.subject art
dc.subject colossal
dc.subject aesthetics
dc.subject nature
dc.subject sublimity
dc.title Kant and the third critique An esthetics in conflict?
dc.type Artículo
uoh.revista PROMETEICA-REVISTA DE FILOSOFIA Y CIENCIAS
dc.identifier.doi 10.34024/prometeica.2023.26.14326
dc.citation.issue 26
uoh.indizacion Web of Science


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