1. Kant avec Bentham The history of modern aesthetic thought is usually traced to Immanuel Kant and his Critique of the Power of Judgment, with an obligatory nod to Alexander Gottlieb Baumgarten, who had first used the term “aesthetics” in 1735 to identify judgments of taste. Kant’s place in modern aesthetic thought is so secure that it commands acknowledgment: even writers who oppose it root and branch feel the need to frame their work as a response to it. Jeremy Bentham, by contrast, has scarcely figured in discussions of aesthetics, in spite of his avowed interest in measuring actions and objects by their ability to generate pleasure and losses to it. Kant’s account of aesthetics revolved around individual autonomy, and he treated aesthetic judgment as an emblem of the freedom of individuals, their ability to form judgments even when others did not share them. Bentham’s first-personal stance, by contrast, was seen to be mired, on one hand, in sensory experience that could not move past its commitment to number one and, on the other, to strategic thinking that was all too oriented to outcomes. Kantian aesthetics aimed to achieve a first-personal experience that was at the same time disinterested—that is, unconcerned with the actual existence of the aesthetic object and detached from immediate

中文翻译：

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不是康德，而是边沁：论品味

1. Kant avec Bentham 现代美学思想的历史通常可以追溯到伊曼纽尔·康德 (Immanuel Kant) 和他的《判断力批判》(Critique of the Power of Judgment)，其中必须向亚历山大·戈特利布·鲍姆加滕 (Alexander Gottlieb Baumgarten) 致敬，后者于 1735 年首次使用“美学”一词来确定对判断力的判断。品尝。康德在现代美学思想中的地位是如此稳固，以至于它得到了承认：即使是反对它的作家也根深蒂固地感到有必要将他们的作品框定为对它的回应。相比之下，杰里米·边沁 (Jeremy Bentham) 几乎没有涉及美学的讨论，尽管他公开表示有兴趣通过行为和对象产生快乐和损失的能力来衡量它们。康德对美学的描述围绕着个人自主性，他将审美判断视为个人自由的象征，即使在其他人没有分享他们的情况下，他们也有能力形成判断。相比之下，边沁的第一人称立场一方面被视为无法超越其对第一的承诺的感官体验，另一方面，被视为过于注重结果的战略思维。康德美学旨在实现一种第一人称的体验，同时又是无私的——也就是说，不关心审美对象的实际存在并脱离直接的