Book contents
- The Origins of Kant’s Aesthetics
- The Origins of Kant’s Aesthetics
- Copyright page
- Dedication
- Contents
- Figures
- Acknowledgments
- A Note on Citations
- Abbreviations
- Introduction
- Part I Aesthetic Judgment and Beauty
- Part II Genius and the Fine Arts
- Part III Negative and Positive States
- 6 Meet the Sublime Now: It’s a Negative Pleasure
- 7 Ugliness and Disgust: Disagreeable Sensations
- 8 Playing with Humor
- Closing Reflections
- Bibliography
- Index
7 - Ugliness and Disgust: Disagreeable Sensations
from Part III - Negative and Positive States
Published online by Cambridge University Press: 10 January 2024
- The Origins of Kant’s Aesthetics
- The Origins of Kant’s Aesthetics
- Copyright page
- Dedication
- Contents
- Figures
- Acknowledgments
- A Note on Citations
- Abbreviations
- Introduction
- Part I Aesthetic Judgment and Beauty
- Part II Genius and the Fine Arts
- Part III Negative and Positive States
- 6 Meet the Sublime Now: It’s a Negative Pleasure
- 7 Ugliness and Disgust: Disagreeable Sensations
- 8 Playing with Humor
- Closing Reflections
- Bibliography
- Index
Summary
Chapter 7 explores ugliness and disgust (Ekel). In providing an overview of the third Critique position, the chapter argues that there cannot be pure aesthetic judgments of the ugly. In his early accounts, Kant views the responses to ugliness and disgust as unpleasant and therefore as (what Kant would call) “interested.” He typically discusses ugliness and disgust in connection with a teleological perspective of the whole of nature and of natural purposes. The ugly is disagreeable, since it is dysfunctional or asymmetrical (or both). A version of this view carries over into the third Critique. The ugly, if and when it is judged by the principle of nature’s purposiveness, would be contrapurposive and therefore disagreeable.
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- The Origins of Kant's Aesthetics , pp. 179 - 210Publisher: Cambridge University PressPrint publication year: 2023
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