Kant y la tercera crítica: ¿Una estética en conflicto?

The article aims to dismantle an old dispute in the third Critique between an aesthetics and a philosophy of art. Such a dispute would show Kant’s aesthetics as an aesthetics in conflict. Like a two-faced Janus, the philosopher from Königsberg will present in the last Critique a Critique of the faculty of aesthetic judgment that goes back and forth between a philosophical aesthetics and a metaphysics of art, and that will end up becoming a propaedeutic for the philosophies of art of Romanticism. Based on Derrida’s critique of the Kantian colossal —a comment that would allow us to conjecture the presence in the first part of the third Critique of a forgotten sublime art—, we hypothesize the possibility of an unfinished and obscure architecture of the Critique of the faculty of aesthetic judgment, where the bastard condition of the sublime would evidence a question not deduced transcendentally, but experienced by our faculties of knowing, that is, a suprasensible shock determined by a sort of principle of counter-finality. Thus, the problem of the sublime, whose expression of the colossal is far from qualifying as a case of the world of art, would reveal the Kant of the third Critique imprisoned in an apparently irresolvable conflict between reason and feeling.