These - Faculté des lettres de Paris. / "Bibliographie": p. [609]-616.

Thesis (Ph. D.)--University of Texas at El Paso, 2008. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

Thesis (doctoral)--Eberhard-Karls-Universität, Tübingen, 1977. / Includes bibliographical references (p. 113-128).

These - Faculté des lettres de Paris. / "Bibliographie": p. [609]-616.

Permission from the author to digitize this work is pending. Please contact the ICS library if you would like to view this work.

Chan Chun Hang Henry. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 129-138). / Abstracts in English and Chinese. / Notes on the sources of the works of Immanuel Kant and keys to abbreviations --- p.i / Introduction --- p.1 / Chapter CHAPTER ONE: --- The Supersensible in the Critique of Pure Reason and the Critique of Practical Reason / Chapter I. --- Introduction --- p.8 / Chapter II. --- "Brief Survey to the Scholarships on the ""Dialectic""" --- p.11 / Chapter III. --- The Supersensible in the first Critique: A Problematic / Emergence of the Transcendental Ideas --- p.16 / Bound determination and Reason --- p.17 / Antinomy and the Supersensible Totality --- p.24 / Concluding remarks --- p.34 / Chapter IV. --- The Supersensible in the second Critique: Reality of Freedom as Practical Reason --- p.36 / """Keystone “ of the critical system" --- p.37 / Pure practical reason and freedom --- p.39 / Chapter V. --- Tension between the Two Critiques --- p.44 / Chapter VI. --- Conclusion to the Chapter --- p.48 / Chapter CHAPTER TWO: --- A Transition from Nature to Freedom and the Power of Judgement / Chapter I. --- Introduction: From Urtheil to Urtheilskraft --- p.50 / Chapter II. --- Experience as a System and the Urtheilskraft --- p.55 / Chapter III. --- System of Philosophy and the Urtheilskraft --- p.59 / Chapter IV. --- Aesthetic Judgement as Reflective Power of Judgement --- p.64 / Chapter V. --- The Moments of Taste --- p.67 / First Moment: Taste as disinterested --- p.67 / Second Moment: Taste as universal --- p.69 / Third Moment: Taste as purposiveness without purpose --- p.71 / Fourth Moment: Taste as necessary liking --- p.72 / Chapter VI. --- "Imagination, Harmony, and the Deduction of Aesthetic Judgement" --- p.74 / Imagination in the Critique of Pure Reason --- p.76 / Deduction of taste --- p.81 / Chapter VII. --- Concluding Remarks to the Chapter --- p.85 / Chapter CHAPTER THREE: --- Reflective Judgement and the Supersensible Substrate / Chapter I. --- Introduction --- p.86 / Chapter II. --- Analogy and Teleological Judgement --- p.88 / Analogy as reflective judgement --- p.89 / Teleological Judgement: Between mechanism and purposiveness --- p.92 / Chapter III. --- Intuitive Understanding and the Supersensible Substrate of Reality --- p.97 / The peculiarity of human cognitive power --- p.99 / Chapter CHAPTER FOUR: --- Problems and Legacy of Kant's Concepts of Reflective Judgement and Supersensible Substrate / Chapter I. --- Introduction: Recapitulation of the Systematic Problem of Kant's Philosophy --- p.108 / Chapter II. --- The Supersensible Substrate as seen through Reflective Power of Judgement --- p.113 / Chapter III. --- An Indeterminate Ground of Critical Philosophy --- p.116 / Indeterminate ground of philosophy; or the destination of human freedom? --- p.120 / Chapter IV. --- Concluding Remarks --- p.125 / Conclusion --- p.126 / Bibliography --- p.129

Zugl.: Bielefeld, Universiẗat, Diss., 2003.

Thesis--Copenhagen. / "Resumé paa dansk" (1 leaf) laid in.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Orientador: Jose Oscar de Almeida Marques / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-14T05:15:28Z (GMT). No. of bitstreams: 1 Justi_VicentedePaulo_D.pdf: 1436170 bytes, checksum: df13abd731e3bf77576a57604166fbd6 (MD5) Previous issue date: 2009 / Resumo: A proposta deste trabalho é verificar o tratamento dado por Immanuel Kant na Crítica da Faculdade do Juízo à música. Sob a aparente desconsideração do autor neste tema, encontra-se uma filosofia densa que provoca reflexões e contribui decisivamente para a discussão sempre atual sobre a apreensão, compreensão e classificação da música. A possibilidade de reconhecermos a música como agradável, bela e sublime constitui-se o núcleo central dos problemas analisados. No primeiro capítulo discutimos os conceitos kantianos apresentados na Terceira Crítica como sensação, sentimento, comoção, afeto, prazer, forma, conformidade a fins, intuição, juízos e reflexão. O problema é verificar se estes conceitos, tal como apresentados por Kant, podem ainda contribuir para a nossa compreensão do fenômeno musical. No segundo capítulo verificamos o mecanismo de funcionamento das faculdades de conhecimento kantianas na apreensão e compreensão do fenômeno musical. O terceiro capítulo é reservado à discussão da possibilidade de classificarmos a música como agradável e as condições desta proposição. A música bela é o tema do quarto capítulo, onde além da discussão do problema que dá nome ao capítulo, analisamos o objeto belo, a teleologia da natureza, a arte mecânica e arte estética, a música bela e a poesia e a teoria kantiana do gênio na produção musical. O quinto capítulo discute a possibilidade e as condições de falar-se em música sublime e as incontornáveis ligações desta classificação com o domínio prático (moral). As conclusões estão centralizadas na questão de que a música bela é a única categoria realmente estética, enquanto a agradável é parcialmente estética e parcialmente prática e a sublime é totalmente prática. A beleza fundada na forma exige a cognição, no sentido de utilização do entendimento sem conceitos. A comoção é aceita na experiência estética se ligada, no sublime, à representação prática (moral) que a arte apresenta ao homem. / Abstract: The aim of this dissertation is to examine Immanuel Kant's treatment of music in his Critique of Judgment. Beneath his apparent neglect for the subject one can find a dense philosophical reflection that decisively contributes to the always current discussion about music perception, understanding and categorization. The possibility of recognizing music as being agreeable, beautiful and sublime is the central interest of the problems I analyze. In the first chapter I discuss Kantian concepts presented in the third Critique such as sensation, sentiment, commotion, affect, pleasure, conformity to ends, intuition, judgment and reflection. My aim here is to decide whether these concepts can still be of use in understanding music as a phenomenon in the way Kant presents them. In chapter two I examine how Kant understands the function of our cognitive capacities in the perception and understanding of music. Chapter three deals with the possibility and conditions for classifying music as being agreeable. Beautiful music is the topic of the fourth chapter, in which I not only discuss the concept of beauty in music, but also analyze the problem of what is a beautiful object, how does teleology work in nature, what is mechanical art as opposed to aesthetic art, beautiful music in its relation to poetry, and the role of Kant's theory of genius in musical creativity. The fifth chapter discusses the possibility and conditions of the sublime in music and the unavoidable links of this category to the domain of morality. My conclusions are that beautiful music is the only really aesthetic category, while the agreeable is only partially aesthetic and partially moral, and the sublime is totally moral. Beauty based on form requires cognition, in the sense of a non-conceptual use of the understanding. Commotion is acceptable in aesthetic experience if it is connected, in the sublime, to a moral representation that art presents to human beings. / Doutorado / Doutor em Filosofia