By Immanuel Kant
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Additional resources for Critique of Judgment (Hackett Publishing)
It also establishes that we can have practical cognition of the final purpose with its presuppositions of immortality and God. The first Critique had established these features of the supersensible as logically possible, by construing the world of nature as mere appearance, but it had to leave the idea of this supersensible completely indeterminate. The second Critique, as Kant puts it, makes the idea of the 3. THE CRITIQUE OF PRACTICAL REASON xlvii supersensible determinate (and hence makes the supersensible cognizable practically): through the final purpose as enjoined on us by the known moral law, the concept of the supersensible is determined as the concept of a nature in itself, including ourselves as immortal souls, as created by a moral God in terms of the final purpose.
277 incl. br. n. 51). Burke does not say much as to what qualities in objects arouse the idea of beauty. As for a standard of taste, Burke seems to have assumed that taste is the same in all human beings. The empiricist analysis of beauty by reference to a kind of "sense" or "feeling," as combined with the denial that beauty is a property of things, accounted well for the aesthetic and subjective character of judgments of taste. Kant's complaint against the empiricist analysis is that it fails to account for the fact that judgments of taste demand everyone's assent and hence claim a universality and necessity (Ak.
We have a "feeling" of beauty, and we call an object beautiful if it evokes a certain idea, a certain feeling: love without interest. To this account Burke adds an explanation, in terms of the physiology of the day, as to how the object evokes this feeling (cf. Ak. 277 incl. br. n. 51). Burke does not say much as to what qualities in objects arouse the idea of beauty. As for a standard of taste, Burke seems to have assumed that taste is the same in all human beings. The empiricist analysis of beauty by reference to a kind of "sense" or "feeling," as combined with the denial that beauty is a property of things, accounted well for the aesthetic and subjective character of judgments of taste.