How does Dostoyevsky’s Undergound Man challenge (or conform to) the Kantian philosophical project, as presented in the Critique of Aesthetic Judgment?

How does Dostoyevsky’s Undergound Man challenge (or conform to) the Kantian philosophical project, as presented in the Critique of Aesthetic Judgment?
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How does Dostoyevsky’s Undergound Man challenge (or conform to) the Kantian philosophical project, as presented in the Critique of Aesthetic Judgment?