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Robert Clewis and the Origins of Kant’s Conception of Aesthetics

Published online by Cambridge University Press:  15 January 2025

J. Colin McQuillan
J. Colin McQuillan*
Affiliation:
St. Mary’s University, San Antonio, TX, USA
*
Email: [email protected]
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Abstract

Robert Clewis focuses on a number of different themes in Kant’s precritical and critical aesthetics in The Origins of Kant’s Aesthetics. Clewis carefully documents where Kant’s views on these themes are the same, where they are different, and why; yet his approach might give readers the impression that Kant lacks a unified conception of aesthetics. I show, on the contrary, that the method and sources Clewis employs also reveal the frameworks within which Kant addresses the themes that Clewis discusses in Origins; the consistencies in Kant’s precritical and critical conceptions of aesthetics; and the changes in his conception of aesthetics that we find in the third Critique.

Keywords

Kantaestheticssensibilityintuitionfeeling
Type
Author Meets Critics
Information
Kantian Review , First View , pp. 1 - 6
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Copyright
© The Author(s), 2025. Published by Cambridge University Press on behalf of Kantian Review

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References

Clewis, Robert (2023) The Origins of Kant’s Aesthetics. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
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Kant, Immanuel (1998) Critique of Pure Reason. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Kant, Immanuel (2000) Critique of the Power of Judgment. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Kant, Immanuel (2002) Theoretical Philosophy, 1755–1770. Cambridge: Cambridge University Press.Google Scholar
Kant, Immanuel (2005) Immanuel Kant: Notes and Fragments. New York: Cambridge University Press.CrossRefGoogle Scholar