Notes
1 The word
does not, to my knowledge, exist in any dictionary, though
one can find instances of it through a Google search,
mainly in the context of linguistics.
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2 On the place
of the aesthetic in Kant’s system of critical
philosophy, see Gilles Deleuze, Kant's Critical
Philosophy: The Doctrine of Faculties and Paul de Man,
"Phenomenality".
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3 Rodolphe
Gasché, in his recent book on Kant is one of the
surprisingly few critics to emphasize that in the Third
Critique Kant is far more "interested" in nature than in
art. Indeed, Kant's comments on literature and art are
relatively flat-footed. It might even have been a mark of
Kant’s sagacity that he turned down the offer of a
Professorship in Poetry.
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4 Almost
inevitably, having someone else’s experience becomes
the stuff of science fiction, as in Philip K. Dick, for
one.
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5 See Lyotard,
esp. pp. 13-33. For an excellent account of the status of
feeling in "poststructuralist" thought, see Rei Terada,
passim.
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6 See, for a
similar judgement, Henrich, pp. 35-6.
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7 Paul Guyer
notes in this context that "we use the grammar of
objectivity" (199).
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8 Here I am
following an argument made in Derrida’s painstaking
analysis of Kant in the "Parergon" essay in Truth in
Painting.
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9 On the
status of writing in Kant, see Jean-Luc Nancy, passim, and
Willi Goetschel. I address the inscriptional
character of the imagination in Kant more fully in a
work-in-progress on the sublime. For the best general
account of the theory and mobilization of imagination in
the period, see Forest Pyle.
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10 On this
and related matters in Kant, see Habermas, especially pp.
102-116.
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11 On the
status of the "I" in its (interrelated) aesthetic and
logical registers in Hegel, see Paul de Man, "Sign and
Symbol in Hegel's Aesthetics". De Man shows via
Hegel's own analysis ("we cannot say anything in language
that is not general") of the grammatical status of the "I"
how, and in what sense, one has to conclude that "I cannot
say I."
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12 See M.H.
Abrams especially chapter VIII, and Jonathan Bate.
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13 For the
two classic but differently inflected studies of this
issue, see Walter Jackson Bate and Harold Bloom.
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14 For a
full, insightful, nuanced reading of Shelley's "Defence" in
its rhetorical and conceptual complicities, see William
Keach, especially Chapter 1.
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15 Earl
Wasserman's reading of the "Defence" stresses the crucial
motif of order. See especially Wasserman,
Chapter 7, passim.
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16 I explore
this texture of The Prelude's language in Balfour,
2002, especially pp.19-27.
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