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knowledge, but it refers to the way the subject is affected by the pure representation of this object. These judgments of taste or aesthetic judgments, according to Kant, have three ranges: the beautiful, the pleasant and helpful. As for the pleasant and helpful, which are feelings aroused in view of ends and interests, they are contrary to the sense of beauty, as it is devoid of any interest or purpose other than himself. The sense of beauty that has the face of an object can not be bound, according to Kant, no interest or use to which it may be linked. When we use or have much need for it in view of some end, we are unable to glimpse its beauty: "Each one has to recognize that this judgment of beauty, which blends the slightest interest, is very divisive and it is no judgment -of-pure taste "(ibid., debate Philosophy Car Tunning. Www.emule-pol-ska.pl Answer the following questions. As Kant presents the idea of disinterested pleasure? Compare the idea of disinterested pleasure, with the idea of Socrates, that is pretty useful. Provide the answers to the class for discussion. The rules for the discussion was the introduction to this book. The Universal Taste It is in this sense that we find a disinterested possibility of universal judgment about the beautiful. We are not actually trying to taste or preferences, just as Hume spoke. In this regard, all men have their rights and individual freedom that guarantee this diversity of taste. There is reason and understanding that ensure this universality to the sense of beauty, but imagination linked to the understanding and the feeling of pleasure or displeasure. The imagination, by its intuitive game, is that it has the ability to unite the sensitive understanding of the material to the ideal. For Kant, as for Baumgarten, responsible for the emergence of aesthetics in the eighteenth century, the land on which we can establish the aesthetic discussion is that of representation. What is not purely sensitive, or wholly intellectual, but that can be understood and communicable. Not representations of ideas, therefore, but the sentient life of the subject. Soon the foundation of that aesthetic judgment is the individual and not on things. This guy when he turns to the object, must feel it as interesting, but can not back up The Universality of Taste
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znanje, ali to se odnosi na način na koji je objekt pod utjecajem čistog reprezentacije ovog objekta. Ove presude ukusa ili estetskih presude, prema Kantu, imaju tri razdoblja: lijepe, ugodno i korisno. Što se ugodno i korisno, što su osjećaji izazvao u pogledu ciljeva i interesa, oni su u suprotnosti s osjećajem ljepote, jer je lišen bilo interesa ili drugu svrhu osim sebe. Osjećaj ljepote koji ima lice objekt ne može biti vezan, prema Kantu, bez kamata ili upotreba na koje se mogu povezati. Kada smo koristiti ili su toliko potrebno za to s obzirom na nekom kraju, ne možemo uvid svoje ljepote: "Svatko mora priznati da je ova presuda ljepote, koji miješa i najmanji interes, vrlo razdora i to ne presuda -of-čista okusa "(isto, str. debata Filozofija Auto tunning. Www.emule-POL-ska.pl Odgovorite na sljedeća pitanja. Kao Kanta predstavlja ideju nezainteresiranog užitka? Usporedite ideju nezainteresiranog užitka, s idejom Sokrata, koji je prilično korisna. Osigurati odgovore na klasi za raspravu. Pravila za raspravu bio je uvod u ovu knjigu. Universal Taste Ona je u tom smislu da smo pronaći nezainteresirani mogućnost univerzalne presude o lijepo. Nismo se zapravo pokušava ukusu ili željama, baš kao Hume govorio. U tom smislu, svi ljudi imaju svoja prava i individualne slobode koje jamče tu raznolikost okusa. Tu je razlog i razumijevanje da bi ovaj univerzalnost u smislu ljepote, ali mašta povezana s razumijevanjem i osjećaj zadovoljstva ili nezadovoljstva. Mašte, prema svojim intuitivno igri, je da ima sposobnost da se ujedine osjetljive razumijevanje materijala idealu. Za Kanta, kao i za Baumgarten, odgovorne za nastanak estetike u osamnaestom stoljeću, zemljište na kojem možemo utvrditi estetski raspravu je da reprezentacije. Ono što nije posve osjetljiva, ili posve intelektualne, ali to se može razumjeti i komunikativan. Nisu reprezentacije ideje, dakle, ali osjećajno život subjekta. Uskoro temelj tog estetske prosudbe je pojedinac, a ne na stvari. Ovaj momak kad se ispostavi da je objekt, moraju imati osjećaj da su zanimljivi, ali ne može vratiti Univerzalnost Okus