Ce mémoire propose d’explorer quel(s) statut(s) sont accordés aux compositeurs contemporains dans le contexte musical parisien des premières années du XXe siècle à travers une analyse de la presse musicale spécialisée de l’époque. Le corpus de notre recherche est constitué de trois revues, chacune ancrée dans des sphères de sociabilités bien distinctes : La Revue musicale (histoire et critique), une « revue savante » proche du milieu de la Schola cantorum ; Le Mercure musical, une « petite revue » d’avant-garde militant en faveur de la musique de Maurice Ravel ; et Musica, une « grande revue » destinée à un lectorat issu de la petite bourgeoisie en plein essor, essentiellement féminin et pratiquant la musique en amateur. Cette étude révèle que la traditionnelle opposition entre la conception du compositeur-artisan et celle du compositeur-génie issue de la fin du XVIIIe siècle et du XIXe siècle voit apparaître un troisième joueur à l’aube du XXe siècle : le compositeur-vedette, un statut qui était jusqu’alors généralement réservé aux interprètes. Ces trois statuts coexistent dans le panorama de la presse musicale du tournant du XXe siècle, et leur promotion par certains organes de presse spécifiques répond à une logique tantôt esthétique, tantôt économique. Il se dégage de cette étude que la presse musicale constitue non seulement un indice des variations qu’a subies la figure du compositeur dans le spectre de la grandeur en culture, mais qu’elle a également joué un rôle actif dans ces transformations. / This master thesis proposes a look of various statuses given to contemporary composers in the Parisian musical context at the beginning of the 20th century, through an analysis of the specialised press of that period. The corpus of my research consists in three different journals, each one with its own distinct sphere of sociability: La revue musicale (histoire et critique), a scholarly publication close to the Schola cantorum; Le Mercure musical, an avant-garde publication which has championed Maurice Ravel’s music; and a third, Musica, a magazine with a much larger audience, intended for the growing middle class, and which readership is mostly constituted of women and music learners. This thesis reveals that the traditional opposition between the concepts of craftman-composer and of genius-composer — a concept deriving from the end of the 18th century and the 19th century — sees the rise of a third component at the beginning of the 20th century: the star-composer, a status which was until then only limited to performers. Those three statuses coexisted throughout the musical press during the early 20th century. Their promotion by specific publications was in some cases done for aesthetic reasons and in others for economical motives. The outcome of this study reveals that the musical press is not only an indicator of the changes in the composers’ status within the array of cultural greatness, but it has also played an active role in these transformations.

Through the evolution of digital media technology, social networks and more recently Web 3.0 (e.g. Cloud-based) technologies, culture and memory is being transformed, both in relation to how memories are represented, and how they may be engaged with or re-accessed. As digital technology alters ways in which knowledge is produced, stored, connected and shared, new terrains, tools and artefacts are formed; new cultural practices alter the ways in which we remember and the ways in which memory is processed, destabilising traditional “historically encoded social habits: religion, authority, morality, traditional values, or political ideology” (Diamantaki 2013). This doctoral project consists of two parts exploring questions of memory in contemporary time. The practice work submitted develops various imaginaries and investigates how to enable mnemonic practices so that works function as memory palaces where bodies and ‘collective' and ‘networked memories' (Hoskins, 2010) can be realised. The work, briefly summarised, includes communal activities in public spaces (a series of workshops and heritage day events, Rendezvous, centrally social activities organised between Fabrica and various charitable organisations in Brighton). It includes a series of installation works, as a transitional process of memory between body, object, an investigation of ubiquitous technology, are investigated – iremembr (2009-15); Rendezvous (2010-15); Untitled#21 (2012). And it leads to the development of an installation piece, 200.104.200.2 (2013-15), that seeks to offer or extend the possibilities of the act of remembering, of memory, as a post-Internet experience; a complex temporal, social, spatial and material, overlapping and merging human and silicon memory. In this, the written component of the combined and larger project, questions concerning memory and digital technology, and how to explore them, are taken up in theoretical terms, and the works I have produced returned to and explored in these contexts. A central project here has been to locate new forms of qualities of ‘digital' memory in a memory map or topology that builds on adapts, and develops other models. Aspects of zones of memory are explored centrally in each of the later thesis chapters each of which also takes up a particular aspect of my practice. The intention – and the contribution to the development of critical thinking around the digital – particularly critical thinking that comes through digital media art practice, is to question how digital technology intervenes in the process of memory; how the concept of digital memory is being thought about; leading me to investigate what does this new digital terrain do as it overlaps and re-writes to some extent the older ones? How does it change ‘how memory happens'.

The thesis argues that there is a pressure on the authorship concept since the emergence of collections of facts, anthologies, and adaptations of pre-existing works. These works were the reason that Judges offered various interpretations to authorship and originality, as some Judges lessened the requirement of originality to obtain copyrightability for these works and some raised it. This led to make the protection granted by copyright law to intellectual works vague and uncertain. This became apparent in conflicts in courts decisions on copyright subsistence in works. This subsequently led to confusion around the criteria of interpretation that should be adopted and the theory or justification that copyright law is founded upon. The thesis argues that this vagueness and uncertainty is related not to the authorship concept but to the failure of law to adapt to two separate natures of works, one including authorial, mental and personal contribution and the other only including manually skilful contribution. Those two kinds cannot be subject to same principles or justifications of protection. The inexistence of such differentiation in doctrine, judiciary and legislation led to the distortion of authorship and originality concepts in the attempts to reduce their interpretation to suit those works that actually miss authorial contribution. Alternatively, whole attention was paid to granting ownership to right holders of these works, which led to the prevalence of the ownership concept as being a necessity for the marketability of cultural works over the authorship concept. The thesis finds that this difference in nature can be uncovered by settling on a differentiation between two kinds of skills that are used in creating works: the mental skills, which are authorial skills, on the one side, and manual skills, which are the collecting, combining, performing or executing skills, on the other. Accordingly, this thesis proposes a categorisation of works, that of ‘high, low and non-authorship’ works, which relies on the nature of the works and elements of authorship in the work. The thesis finds that every category of works needs a separate criterion that can suit its nature and constituent authorship elements; also, the protection needs to be graded depending on the level of authorship in the work. This thesis suggests that such a legal proposition be implemented digitally in what it calls the ‘Digital Cultural National Gate’, which decides the category the work should belong to and the correspondent protection, and that through some questionnaires on the work the authorship elements can be recognised.

China is a world force. Not only is China seen in the daily news but it has produced the largest church in the world. The church is 100 million people strong (Hattaway 2003:13). Since 1978, modern China has begun to populate the world community with her immigrants. Vast Diaspora communities have been created. The church in China shows all the signs of a Jesus People movement. In 1949 the communist came into power. They ordered all Christian missionaries to leave the country (Aikman 2003:44). By 1953 the last missionary had left (Thompson 1978:186). Mao closed the churches, confiscated property, burned books and bibles and had leaders sent to re-education camps. A time of persecution had begun. Rather than destroy the church, this made it stronger. The church grew from 750,000 to 100 million today. Can this Jesus People movement be experienced in the Diaspora community in South Africa? To evaluate this we use Allan Hirsch’s “The Forgotten Ways” (2006). In this he speaks of Apostolic Genius and the six elements that compose it. Thos elements are Jesus is Lord, Making Disciples, Missional-Incarnational Impulse, Apostolic Environment, Organic Systems and Communitas. These six elements are found expressed within a Jesus people movement. When they are all fully involved, a Jesus People movement is underway. There are 14 Chinese Christian churches in South Africa. The Chinese Diaspora community is 300-350,000 people. The Chinese mostly come from the Fujian province in China. Seventy percent are entrepreneurs and businessmen running shops selling Chinese goods. The researcher has found that the leadership of the churches is from Taiwan. Bringing everything together, the researcher finds the churches are growing at a moderate rate. The expected explosive growth of the church in China is not found in South Africa. The elements of Apostolic Genius are present but only partially expressed. There continues to be potential for the Chinese House church movement to field workers in South Africa. There has been some expressed interest. The Back To Jerusalem Movement is putting missionaries all over the Middle East (Hattaway 2003). It is the opinion of the researcher that putting workers in the Diaspora communities would be a natural extension of that that effort. / Dissertation (MA Theol)--University of Pretoria, 2013. / gm2014 / Science of Religion and Missiology / unrestricted

Master's thesis is devoted to the topic of urban planning and the city of Rome. The aim of the thesis is to explore the ways of depicting urbanism in contemporary fine arts, forms and topics in which it is presented. Furthermore, the essential part of the work is the history of urbanism, the principles and deviations of urbanism and especially the Eternal City (Rome). As far as Rome is concerned, the author discusses her foundations, the growth of the city from the very beginning of the foundation, the influences of urbanism, the demonstration of the characteristics of the ancient "urbe" and how today's contemporary artists solve new ways of urbanization, or how and in what way they are inspired by Roman cities? An important element of the cities is not only the city planning itself, but also its Genius loci, the spirit of the place, the author separates and explores the cities of the day and the night cities and explores what are their differences in character. An important part of the thesis will be: How do today's children perceive cities, what do they mean to them? What do they think is important and what is the function of a city? How can a city educate a child culturally? The author will propose a set of art assignments for primary and secondary school pupils, which will present the...

George Sand, née Aurore Dupin (1804-1876), est une des écrivaines les plus prolifiques de la monarchie de Juillet (1830-1848). Son œuvre monumentale s’intéresse à une myriade de sujets, qui sont souvent étudiés dans la perspective de l’idéal. Sand s’intéresse entre autres à la notion de poète-artiste, qui désigne un artiste idéal. Cette notion, propre à cette période, se distingue de celle du poète, qui est écrivain. Alors que la signification de la notion de poète-écrivain est arrêtée, le poète-artiste fait l’objet d’une définition vague et subjective. Pour sa part, Sand considère que le poète-artiste désigne à la fois un artiste et un philosophe. Cette proposition, qui est clairement émise, constitue un axe central à toute la pensée artistique qu’elle développe. C’est ce qui est exploré dans le présent travail, à travers trois thématiques de la pensée artistique de George Sand. Ces thématiques feront chacune l’objet d’un chapitre. La notion de la fraternité des arts sera d’abord étudiée. Cette thématique typiquement romantique, omniprésente dans les écrits de Sand, perçoit les différentes disciplines comme formant un tout. Ensuite, il sera question de la hiérarchie des arts : George Sand considère que la musique est la discipline supérieure, comparativement à certains de ses contemporains qui accordent plutôt ce titre à la poésie. Enfin, George Sand perçoit une figure de génie à travers ses écrits, qui s’approche de l’artiste idéal. Toutes ces thématiques sont étudiées en étroite relation avec les visions habituelles de l’époque, soit la monarchie de Juillet. / George Sand, born Aurore Dupin (1804-1876), was one of the most prolific writers of the July Monarchy (1830-1848). Her monumental work focuses on a myriad of subjects, which are often studied from the perspective of the ideal. Among other things, Sand was interested in the notion of the poet-artist, which refers to an ideal artist. This notion, specific to this period, is distinguished from the other poet, which is a writer. While the meaning of the notion of poet-writer is well determined, that of poet-artist is subject to a vague and subjective definition. For her part, Sand considers that the poet-artist designates both an artist and a philosopher. This proposition, which is clearly stated, constitutes a central axis to all the artistic thought that she develops. This is what is explored in the present work, through three themes of George Sand's artistic thought. Each chapter is devoted to one of these themes, with an attempt to organize the artistic thought of Sand. The theme of the brotherhood of the arts will be studied first. This typically romantic theme, omnipresent in Sand's writings, perceives the different disciplines as forming a whole. Then, the hierarchy of arts will be reviewed: George Sand considers that music is the superior discipline, compared to some of her contemporaries who believe that poetry is the superior discipline. Finally, George Sand perceives a figure of genius in her writings, which comes close to the ideal artist. All these themes are studied in close relation to the usual visions found under the July Monarchy.

The main goal of this project is to fill the potential of the place, that is hidden behind the church wall. A proposal that will benefit not only the place itself but also the village community and visitors. A project that revives the spirit of the place but preserves its intimate atmosphere. The design itself includes a bistro, an art gallery, accommodation with sauna and a wine gallery. Between all of this is a Provence-style garden.

The main topic of the work is the interpretation of feelings related to the issue of disappearing landscape values at the expense of uncontrolled extensive development of suburban areas. It is a subjective thought product of several years of experience in architectural practice, including, among other things, one's own participation in a similar invasive construction. This empiricism has resulted in the constant questioning of ethical conduct and responsibility. The key terms are suburbanization, urban sprawl, development, satellite town, outskirts, transformation of the aura of a place in „non-aura“. An integral part of the work is represented by considerations about the general position of the object within the hierarchy of (sub)urban space. The object does not mean only positive examples in the form of aesthetic, orientation or vegetation elements. The focus is also on its averted form — waste, utilitarian technical and functional elements or, for example, the seemingly endless colonization of public space by cars. Colonization of our minds. All spatial objects are also psychotropic. Their mental impact can be beneficial, arousing affect or emotion. But what if the objects in the public space are completely missing? The urban object is not far from the position of an artifact, a prop of everyday life, which does not belong to a person physically, but mentally.

Silser See, Engadin (1927) est un paysage qui fait partie des œuvres les moins connues de Gabriele Münter. La marginalisation de ce tableau dans le corpus de l’artiste s’explique d’une part par le fait que celui-ci est toujours resté à l’intérieur du cercle restreint des collections privées, et d’autre part, du fait qu’il s’inscrit dans une phase peu productive de Münter. Cette phase correspond aux années 1920-1930, soit une décennie durant laquelle la production de Münter se trouve grandement affectée par les nombreux bouleversements que la Première Guerre mondiale entraîne dans sa vie personnelle et artistique. Le but de ce mémoire est de réfléchir la signification Silser See, Engadin pour Münter et de démontrer comment ce tableau s’intègre dans le dénouement de la crise qu’elle connait en 1920-1930. Pour ce faire, j’explore d’abord les différents événements qui ont défini le développement artistique et personnel de Münter. J’approfondis ensuite l’importance du paysage dans son œuvre en étudiant son rapport à la nature et à Murnau. Puis, je m’intéresse au genius loci de Sils-Maria et à l’influence de Friedrich Nietzsche sur Münter. En tenant compte de l’ensemble de ces éléments, j’analyse finalement les différents symboles contenus dans Silser See, Engadin et démontre comment Münter s’est appropriée les composantes du paysage de Sils-Maria pour exprimer sa renaissance après une longue période de crise. Ce mémoire s’inscrit dans un désir de contribuer à la réflexion sur l’importance de la nature et des lieux dans l’épanouissement de l’être humain. / Silser See, Engadin (1927) is a landscape painting that is among the least known works of Gabriele Münter. The marginalization of this painting in her corpus can be explained on one hand by the fact that it has always remained within the restricted circle of private collections, and on the other, by the fact that Silser See, Engadin is part of a less productive phase of Münter’s work, which has so far received little interest from art historians. This phase corresponds to the years 1920-1930, a decade during which Münter’s production was greatly affected by the many upheavals that the First World War brought about in her artistic and personal life. This thesis argues for the importance of Silser See, Engadin for Münter, and demonstrates how this painting fits into the resolution of the crisis she went through during that decade. To do so, I first explore the various events that defined her artistic and personal development. I then establish the importance of landscape in Münter’s work by examining her relationship to nature and Murnau. Next, I study the genius loci of Sils-Maria and the influence of Friedrich Nietzsche on Münter. Taking all these elements into account, I finally analyze the different symbols contained in Silser See, Engadin and demonstrate how Münter transformed the components of the Sils-Maria landscape to express her rebirth after a long period of crisis. This thesis invites the reader to consider the importance of nature and places in relation to the development of the human being.

康德（Immanuel Kant）對「構想力」（Imagination / Einbildungskraft）的看法，隨其思想發展而轉變。然而這出於康德對構想力觀點的修正，抑或主張同一種能力的不同表現？學者們各有見解。在我們看來，構想力的論爭與各家觀點，都可在文本中獲得佐證，難以輕言對錯。這除了是出於研究者對問題意識的趨向，可採取時間性的縱軸，研究構想力的發展歷程；抑或採取空間性的橫軸，探究構想力在特定領域（理論認識或審美活動）的效能；亦可針對問題本身，去論析構想力某種特定功能的轉變。在此同時，也顯示康德對構想力的看法不如其他認識能力（知性、判斷力、理性）的功能來得清晰明確；可是我們也可以大膽地假設，這是因為構想力本身就不是能夠被定義與完全闡明的能力。構想力的某些運作方式，究竟它如何產生的過程，至今仍是個謎團，超出人類目前所知的範圍。 我們將採取問題意識的研究路徑，主張構想力可作為理解康德思路轉變與發展的指標，因為構想力不但在其知識論與美學中扮演重要的角色，並且使得思想的整合與貫通成為可能。在《判斷力批判》之審美判斷力的部分，構想力獲得最自由的表現，「審美判斷力的批判」則被公認為康德的美學理論，因此我們以「康德美學中的構想力」為研究主題。然而構想力的自由，又是相對於它在理論認識中受到知性原理的規定而言的，所以我們必須先釐清在《判斷力批判》之前，構想力是否曾出現過一種前概念的、不受制於知性規範的綜合之自由，才能主張構想力在康德美學中表現得比知識論中更突出、更卓越。為此，我們的研究溯及構想力出現在最為人熟知的脈絡，即《純粹理性批判》的兩版「純粹知性概念的先驗演繹」與「純粹知性概念的圖式論」，以對比構想力的自由在理論認識與審美活動之間的差異。此外，我們認為構想力有許多功能與任務，就主體能力而言，構想力兼具感性與知性能力的特質；就對象知識的構成而言，構想力的先驗圖式亦介於概念與直觀之間，使得抽象概念應用於感性雜多成為可能；就審美活動而言，構想力是與知性或理性之間相互一致或不一致的作用。無論如何，由於康德賦予構想力某種中介的任務，它的功能始終要與其他認識機能一起進行的情況下，才能施展開來。因此，我們是將構想力置於它與判斷力的關係中探討。這是因為我們審視自然世界，無論採取認知的或審美的觀點，我們都在下判斷，即動用到我們心靈中的判斷力。然而無論是規定的判斷力在理論認識中，形成認知判斷；抑或反思的判斷力在審美活動中，形成優美及崇高判斷，判斷力的運用都需要藉助構想力的功能，才能完成一個判斷。因此，構想力在理論認識與審美活動的不同表現，更合適理解為返回到主體認識諸機能及其原理之中，考察構想力與判斷力的兩種運用之成果。 因此，我們便將構想力置於判斷力之運用的框架下，提出討論。論文共分七章，第一章導論與第七章結論之外，將以「反思判斷力與自然的合目的性原理」、「構想力與先驗演繹」、「構想力與圖式論」、「構想力與鑑賞判斷」及「構想力與崇高判斷」為主題依序闡述，至於闡述的明晰性（clarity），我們考量到康德所說的，「可建立在憑藉概念的推理的（邏輯的）明晰性，亦可建立在憑藉直觀的直覺的（感性的）明晰性，即憑藉實例或其他具體說明的明晰性。」 因此，我們希望既做到前後連貫的理論推演，也盡可能地運用例證來輔助說明。以下扼要闡述各章要點。 第二章「反思判斷力與自然的合目的性原理」，是我們正式進入構想力與判斷力運用關係之探討前的預備工作。由於康德是將美學（即審美判斷力的批判）置於其哲學體系的架構中處理，優美與崇高判斷是反思判斷力及其自然的合目的性原理之應用之一，我們就必須理解康德賦予《判斷力批判》的系統任務，才知美學理論在系統哲學中的地位，進而釐清構想力在美學中的作用。換言之，我們先綜觀全貌再轉進問題的核心，以避免見樹不見林的危險。本章就《判斷力批判》的〈導論〉為本，先論康德指出人類心靈具有三種高階的認識機能：知性、判斷力、理性；介於中間的判斷力具有兩種運用方式（規定的與反思的），其中反思判斷力才是《判斷力批判》的焦點。再論康德推得反思判斷力有其自身的先驗原理——即自然的合目的性原理，卻非將自然「認知」為蘊含目的因，而是指出我們對自然的經驗探究，主體必先採取一種假設的觀點：即自然「好像是」（as if）蘊含一個經驗法則的系統，它在一超越的理智之中被統一起來，並且正好契合了我們的認識能力及目的。最後，我們將分析自然的合目的性原理在三方面的應用：（1）作為知性認識系統化的規約性原理；（2）作為主觀的審美情感之規定性原理；（3）作為道德經驗與自然經驗的統一性之超感性的底基。 其中與本文直接相關者，在於經驗的個殊者、反思判斷力以及主觀情感，它們三者形成一藝術的領域，是前兩大批判尚未被探討的地帶；此地帶隱含了兩個領域獲得連結的可能性。 第三章「構想力與先驗演繹」，我們將先釐清康德在「形上演繹」中，提及「構想力的一般綜合」之意涵；再指出康德對構想力的兩種立場：第一，構想力的綜合先於知性的概念化綜合；第二，構想力的綜合隸屬於知性的綜合之下，是知性概念對感性對象的初步應用。在A版的主觀演繹中，康德談及一個判斷或對象知識的形成，通過「三重綜合」（threefold synthesis）的作用：直觀中領會的綜合（the synthesis of apprehension in intuition）、構想力中再生的綜合（the synthesis of reproduction in imagination）及概念中認定的綜合（the synthesis of recognition in a concept）。我們將指出三重綜合的結果顯示，先驗統覺作為經驗對象之同一性的先天根據，而構想力的綜合則促使直觀的雜多與統覺的統一性獲得連結，是形成理論知識的第三種能力。然而「本源的綜合統一性」指向先驗統覺，亦指向純粹的構想力，這與構想力是否是比感性與知性（統覺的思維）更基礎的能力有關。在B版的先驗演繹中，我們則探討「理智的綜合」（intellectual synthesis）與「圖象的綜合」（figurative synthesis）之區分與關係，並推論構想力的先驗綜合（圖象的綜合）如同知性的先驗綜合（理智的綜合）一般，必然服膺於範疇的規範。最後，我們將比較兩版先驗演繹中，構想力地位的轉變，並提出康德轉變的理由以及構想力的可能發展。 第四章「構想力與圖式論」，我們先確認圖式論與先驗演繹的關係，討論學者間對兩者任務是否重疊而引起的爭論；並提出我們的看法，即先驗演繹在於論證範疇是作為統覺的統一性之必要條件，著重在範疇與先驗統覺的關係；圖式論則指出範疇如何被運用於感性直觀上，強調範疇與感性直觀的關係，前者是理論的證明，後者卻是理論的應用。然而要回答範疇的經驗應用如何可能，應當關注構想力（作為一種中介的機能）在闡釋圖式論時所扮演的角色，意即構想力「如何」使知識的兩大主幹——知性與感性——一起和諧運作的問題。因此，我們根據康德的安排，將圖式論置於「判斷力的先驗學說」下，也就是一般判斷力與構想力的關係中，探討康德賦予圖式的種種意涵。康德將「先驗圖式」（transcendental schemata）與「經驗圖象」（empirical images）做出區別，並主張先驗圖式才是「先驗的時間規定」（transcendental determinations of time），後者僅是再生的構想力的經驗產物，而先驗圖式才使經驗圖象的產生成為可能。最後，我們將探討先驗的構想力（亦為生產性的構想力）如何運用先驗圖式而使直觀與概念被綜合為知識的過程，並藉由先驗圖式的特質，指出康德在先驗演繹與圖式論中，對於構想力之各種看法的關連性。 第五章「構想力與鑑賞判斷」，我們將指出反思判斷力是在一種沒有明確概念的規定，而以「自然與我們的認知機能契合一致」之不確定的概念為指導下，形成普遍可傳達的判斷。這種反思判斷力的運用，是以審美判斷力為典範，其形成的純粹的鑑賞判斷，具有四個構成環節或契機（moments）：無利害關心的愉快（質）、無概念的普遍性（量）、無目的的合目的性（關係）、以及主觀的必然性（模態）。我們將指出四個契機的關連性，以及在此類判斷中，構想力與知性如何在一個既予的表象上自由遊戲（free play），因而產生愉快的心靈狀態。相對於此，在「美的理想」（ideal of beauty）與「美的藝術」（fine art）的討論中，構想力是與理性具有內在的關連。我們將指出美的理想與美的藝術都不是康德意義下純粹的鑑賞判斷，卻有助於理解示範之普遍有效性的意涵，因為有某些個殊者（individuals）（無論理想或經驗的）表現出康德所說的典範的（exemplary）作用，並從典範中發現「新規則」（new rules）的產生，這當中隱含了康德對反思判斷力如何在不進一步尋求規則下遵循規則，即自由活動又合規律的情況下，形成普遍有效的判斷之見解。因此在「美的理想」中，將分別探討美的理想作為鑑賞原型，而且美的理想必須具備兩個構成要素：感性的規格理念與理性理念。再以這兩者為尺度下，推得世上一切物種中，唯有人才能成為美的理想。接著在「美的藝術」中，我們將先談康德對藝術的看法，進而指出美的藝術只能作為天才的藝術。康德指出天才的四個特質：原創性、典範性、自然性、以及藝術性，然而就天才內心的各種機能的運用來說，康德認為天才是展示「審美理念的能力」（the ability to aesthetic ideas）（CPJ, §57, 5:344）。我們將指出，構想力在經驗知識的構成中，為展示一個知性概念而提供圖式；在藝術創作中，構想力則為展示一個理性理念而提供了審美理念，意即就構想力「激發」（to stimulate）理性起作用來說，構想力的審美理念提供了理性諸理念某種非認識的展示可能。最後，我們探討鑑賞判斷與道德判斷的關係上，康德主張「美作為道德的象徵」，用意在指出美可作為道德的預備，因為審美的教化有助於人從感性的束縛中掙脫，提升到超感性的道德層次，因而使自然的存有者更輕易地過渡為道德的存有者。 第六章「構想力與崇高判斷」，我們將先提出崇高概念的歷史意義，才能瞭解崇高何以單獨成為一個審美範疇。接著探討優美與崇高的異同，指出崇高判斷亦是審美的反思判斷之一，因而前章討論過優美之鑑賞判斷的四個契機，亦合適於對崇高判斷的說明。然而康德也提出兩者在對象的形式或無形式、不確定的知性或理性概念、愉快與質或量的關係、直接或間接的愉快、以及形式的合目的性之差異，並主張合目的性的表現方式最為不同。我們在文中將指出，崇高與優美在合目的性上的表現差異，主要在於主體與客體關係的改變，以及主體內在諸機能之間協調作用的方式，在崇高比在優美的鑑賞活動中更為複雜的結果，因而造成的愉快亦有直接與間接之別。為此，我們將在先就主體與客體的關係上，探討兩種崇高之特質：「數學的崇高」（the mathematically sublime）與「力學的崇高」（the dynamically sublime），並分析得出崇高只能針對內心的各種理性理念，而非在對象之中。然而，兩種崇高經驗所激起的理性理念與主觀感受，又出於主體內在諸機能之協作關係的不同而有別。於是，我們將在最後探討在數學的崇高經驗中，我們如何藉由偉大的可感事物，誘發我們體會到自己內心具有無限而絕對的總體理念，因而表現出構想力與理論理性的交互作用，由不一致轉為一致的合目的性關係。在力學的崇高經驗中，我們則從有力量的可感事物，促使我們體察到自己內心具有高於自然的道德理念，因而表現出構想力與實踐理性的內在關連性。所以，康德要指出，兩種崇高判斷乃基於我們將自己內心所有的理性理念，應用到偉大或有力的事物身上，才將它們評判為崇高的。在我們看來，康德對崇高的分析，同時涉及理論理性與實踐理性的理念，被以構想力與理性在一個既予的對象上和諧作用的合目的性關係來體現，此時人便是作為一個完整的存有者，因為這意味著我們在鑑賞活動中，我們彷彿感受（feel）到客體與主體之間的和諧關係，因而超感性自然與自由的道德主體便可在理性自身之中，供作反思運用的合目的性的原理為根據之下，獲得統一的可能。