The Highest of All the Arts
Kant and Poetry
Bibliographic Data
| ID | 8107151 |
|---|---|
| Authors | Laura Penny (corresponding author) |
| Year | 2008 |
| Volume | 32 |
| Issue | 2 |
| Pages | 373-384 |
| Publication date | 2008-10-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Philosophy and literature (JOURNAL) |
| Journal identifiers | ISSN: 0190-0013 • E-ISSN: 1086-329X |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/phl.0.0023 |
| OpenAlex | W2084173808 |
| Language | EN |
| Citations received | 2 |
For Kant, poetry is the freest, finest art of all. Music and painting depend on sensuous charms. Poetry offers the most direct presentation of "aesthetic ideas". As Kant's critique subjects reason to reason, so too does the poet try to best language via language. However, the poet's license is not absolute. The poet must create a new sense, not nonsense, lest he slide into the intractable privacy of delirium or evil. Using Hannah Arendt's reading of the Third Critique, and excerpts from one of Kant's favorite poets, Milton, I examine the extent of the free play poetry allows
Aesthetics · Art · Literature · Poetry · The arts · Visual arts · Hannah Arendt's Political Philosophy · Kantian Philosophy and Modern Interpretations · Philosophical Ethics and Theory · Philosophy
| Unique citing works | 2 |
|---|---|
| Citations per year | 0,4 |
| Citation span | 2021 - 2021 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 2 |