The Critique of Judgment, also translated as the Critique of the Power of Judgment and more commonly referred to as the third Critique, is a philosophical work by Immanuel Kant. Critique of Judgment completes the Critical project begun in the Critique of Pure Reason and the Critique of Practical Reason (the first and second Critiques, respectively). The book is divided into two main sections: the Critique of Aesthetic Judgment and the Critique of Teleological Judgment, and also includes a large overview of the entirety of Kant's Critical system, arranged in its final form. The end result of Kant's Critical Project is that there are certain fundamental antinomies in human Reason, most particularly that there is a complete inability to favor on the one hand the argument that all behavior and thought is determined by external causes, and on the other that there is an actual "spontaneous" causal principle at work in human behavior. Immanuel Kant (1724-1804) was a German philosopher, who, according to the Stanford Encyclopedia of Philosophy is "the central figure of modern philosophy." Kant argued that fundamental concepts of the human mind structure human experience, that reason is the source of morality, that aesthetics arises from a faculty of disinterested judgment, that space and time are forms of our understanding, and that the world as it is "in-itself" is unknowable. Kant took himself to have effected a Copernican revolution in philosophy, akin to Copernicus' reversal of the age-old belief that the sun revolved around the earth.

A wide-ranging and original interpretation of Kant's Critique of Judgment.

In this philosophically sophisticated and historically significant work, John H. Zammito reconstructs Kant's composition of The Critique of Judgment and reveals that it underwent three major transformations before publication. He shows that Kant not only made his "cognitive" turn, expanding the project from a "Critique of Taste" to a Critique of Judgment but he also made an "ethical" turn. This "ethical" turn was provoked by controversies in German philosophical and religious culture, in particular the writings of Johann Herder and the Sturm und Drang movement in art and science, as well as the related pantheism controversy. Such topicality made the Third Critique pivotal in creating a "Kantian" movement in the 1790s, leading directly to German Idealism and Romanticism. The austerity and grandeur of Kant's philosophical writings sometimes make it hard to recognize them as the products of a historical individual situated in the particular constellation of his time and society. Here Kant emerges as a concrete historical figure struggling to preserve the achievements of cosmopolitan Aufkl-rung against challenges in natural science, religion, and politics in the late 1780s. More specifically Zammito suggests that Kant's Third Critique was animated throughout by a fierce personal rivalry with Herder and by a strong commitment to traditional Christian ideas of God and human moral freedom. "A work of extraordinary erudition. Zammito's study is both comprehensive and novel, connecting Kant's work with the aesthetic and religious controversies of the late eighteenth century. He seems to have read everything. I know of no comparable historical study of Kant's Third Critique."-Arnulf Zweig, translator and editor of Kant's ;IPhilosophical Correspondence, 1759-1799;X "An intricate, subtle, and exciting explanation of how Kant's thinking developed and adjusted to new challenges over the decade from the first edition of the Critique of Pure Reason to the appearance of the Critique of Judgment."—John W. Burbidge, Review of Metaphysics "There has been for a long time a serious gap in English commentary on Kant's Critique of Judgment; Zammito's book finally fills it. All students and scholars of Kant will want to consult it."—Frederick Beiser, Times Literary Supplement

Kant’s Critique of Judgment represents one of the most important texts in modern philosophy. However, while its importance for 19th-century philosophy has been widely acknowledged, scholars have often overlooked its far-reaching influence on 20th-century thought. This book aims to account for the various interpretations of Kant’s notion of aesthetic judgment formulated in the last century. The book approaches the subject matter from both a historical and a theoretical point of view and in relation to different cultural contexts, also exploring in an unprecedented way its influence on some very up-to-date philosophical developments and trends. It represents the first choral and comprehensive study on this missing piece in the history of modern and contemporary philosophy, capable of cutting in a unique way across different traditions, movements and geographical areas. All main themes of Kant’s aesthetics are investigated in this book, while at the same time showing how they have been interpreted in very different ways in the 20th century. With contributions by Alessandro Bertinetto, Patrice Canivez, Dario Cecchi, Diarmuid Costello, Nicola Emery, Serena Feloj, Günter Figal, Tom Huhn, Hans-Peter Krüger, Thomas W. Leddy, Stefano Marino, Claudio Paolucci, Anne Sauvagnargues, Dennis J. Schmidt, Arno Schubbach, Scott R. Stroud, Thomas Teufel, and Pietro Terzi.

Michel Chaouli invites novice and expert alike to set out on the path of thinking, with help from Kant’s Critique of Judgment, about the force of aesthetic experience, the essence of art, and the relationship of beauty and meaning. Each chapter unfolds the significance of a key concept for Kant’s thought and our own ideas.

Kant’s The Critique of Judgment laid the groundwork of modern aesthetics when it appeared in 1790. Eli Friedlander’s reappraisal emphasizes the internal connection of judgment and meaning, showing how the pleasure in judging is intimately related to our capacity to draw meaning from our encounter with beauty.

The Critique of Judgment, also translated as the Critique of the Power of Judgment and more commonly referred to as the third Critique, is a philosophical work by Immanuel Kant. Critique of Judgment completes the Critical project begun in the Critique of Pure Reason and the Critique of Practical Reason (the first and second Critiques, respectively). The book is divided into two main sections: the Critique of Aesthetic Judgment and the Critique of Teleological Judgment, and also includes a large overview of the entirety of Kant's Critical system, arranged in its final form. The end result of Kant's Critical Project is that there are certain fundamental antinomies in human Reason, most particularly that there is a complete inability to favor on the one hand the argument that all behavior and thought is determined by external causes, and on the other that there is an actual "spontaneous" causal principle at work in human behavior._x000D_ Immanuel Kant (1724-1804) was a German philosopher, who, according to the Stanford Encyclopedia of Philosophy is "the central figure of modern philosophy." Kant argued that fundamental concepts of the human mind structure human experience, that reason is the source of morality, that aesthetics arises from a faculty of disinterested judgment, that space and time are forms of our understanding, and that the world as it is "in-itself" is unknowable. Kant took himself to have effected a Copernican revolution in philosophy, akin to Copernicus' reversal of the age-old belief that the sun revolved around the earth._x000D_