Abstract

There have been more articles on Kant's aesthetics in the history of the Journal than on the next four leading figures in the history of aesthetics combined. I argue that this is because Kant's aesthetic theory consists of multiple levels of theory that makes it accessible to and important for multiple approaches to the subject itself. Continuing issues for both Kant interpretation and for aesthetics in general arise at each of these levels, including the plausibility of the claim to universal validity in judgments of taste, the nature of the free play of the imagination in aesthetic experience, the character of aesthetic pleasure, the proper objects of aesthetic judgment, and the moral significance of aesthetic experience.