Sentence examples for aesthetic analytic from inspiring English sources

(This is especially so with regard to the most-read sections of the first Critique the Aesthetic, Analytic and Dialectic).

In 1997, in Amsterdam, Yotam Ottolenghi finished writing the last chapter of his master's thesis on the ontological status of the photographic image in aesthetic and analytic philosophy, rode his bicycle to the post office, and sent copies of the manuscript home to Israel.

For Rickert, in particular, already in Kant's first Critique "the focal point is not in the transcendental aesthetic and analytic but rather in the dialectic, and this means that the main problem of this work is not a theory of the experiential sciences (Erfahrungswissenschaften).

The Elements is divided, in turn, into a Transcendental Aesthetic, a Transcendental Analytic, and a Transcendental Dialectic.

The influence of the trend in the direction of the modern in France, together with its controversial element, was introduced to Britain by Whistler, whose concern was narrowly aesthetic rather than analytic.

The first section of the "Critique of Aesthetic Judgment", the "Analytic of the Beautiful," aims to analyse the notion of a judgment of beauty or judgment of taste, describing the features which distinguish judgments of beauty from judgments of other kinds, notably cognitive judgments (which include judgments ascribing goodness to things), and what he calls "judgments of the agreeable".

After noting that by essentially reducing all of aesthetics to philosophy of art, analytic aesthetics had virtually ignored the natural world, Hepburn argued that aesthetic appreciation of art frequently provides misleading models for the appreciation of nature.

Kant's third Critique therefore provides the conceptual materials for Lyotard's analysis, especially the analytic of aesthetic judgment (see Kant 1790).

He gives a direct argument for it in the Transcendental Aesthetic, supplemented by the Transcendental Analytic, and he gives an indirect argument for it in the Transcendental Dialectic by arguing that only his transcendental idealism can allow us to avoid the paradoxes or confusions of traditional metaphysics.

The first, pre-analytic, phase of aesthetic experience is one of overwhelming impression.

Following the canonical model introduced into eighteenth-century aesthetics by Burke and transmitted into Germany by Mendelssohn, Kant divides the first half of the Critique of the Power of Judgment, the "Critique of the Aesthetic Power of Judgment," into two main parts, the "Analytic of the Beautiful" and the "Analytic of the Sublime".