In this book, Lara Ostaric argues that Kant’s seminal Critique of Judgment is properly understood as completing his Critical system. The two seemingly disparate halves of the text are unified under this larger project insofar as both aesthetic and teleological judgment indirectly exhibit the final end of reason, the Ideas of the highest good and the postulates, as if obtaining in nature. She relates Kant’s discussion of aesthetic and teleological judgment to important yet under-explored concepts in his philosophy, (...) and helps the reader to recognize the relevance of his aesthetics and teleology for our understanding of fine arts and genius, the possibility of pure judgments of ugliness, Kant’s philosophy of history, his philosophy of religion, and his conception of autonomy. Ostaric’s novel and thoroughly integrative presentation of Kant’s system will be of interest not only to Kant scholars but also to those working in religious studies, art history, political theory, and intellectual history. (shrink)

In secondary literature, Schelling’s Naturphilosophie is most commonly discussed within the context of Kant’s epistemology and the transcendental deduction, which was swiftly identified by the generation of young Kantians as a skeptical problem, i.e., the need to demonstrate that our a priori conditions of knowledge indeed determine their object. In this paper I argue that the central concern that motivates Schelling’s Naturphilosophie is better understood within the context of the question of unity of theoretical and practical reason with which Schelling (...) was familiar from his study of Kant’s third Critique. But unlike Kant, for whom the occurrences of beauty and organisms in the world exhibit a contingent harmony of nature with the demands of our rationality, Schelling demands a necessary correspondence between reason and nature. Schelling anchors the necessary correspondence between the self and nature in the claim that nature is not a dead object of self-consciousness, but that which is at the same time a subject and its own object. He takes the latter to be the essential characteristic of 'life'. Nature must not be conceived as a dead mechanism, but as a living organization and as an “analogue of reason” because to be one’s own subject and object defines both the spontaneity of self-consciousness and the spontaneity of self-determination. Thus, nature that is no longer represented mechanically, but as an “analogue of reason,” is nature that is necessarily amenable with both the minimal (i.e., cognitive) and final ends of our rationality (i.e., freedom). (shrink)

In Kant scholarship the significance of the beauty of nature for Kant’s aesthetics has been traditionally favored over the beauty of art. By focusing on Kant’s characterization of genius as a gift of nature, my aim is to show that, in contrast to the already existing interpretations of this issue in Kant literature, the works of art as the works of genius can indeed serve as ‘signs’ that nature and the world as a whole is hospitable to the realization of (...) our moral ends, or is morally purposive. My claim that for Kant not only the beauty of nature but also the works of art as the works of genius serve as signs of world’s moral purposiveness, or of—in Dieter Henrich’s words—the “moral image of the world,” calls for a reevaluation of the role of art in Kant’s moral teleology and, consequently, for a reevaluation of the place of art in Kant’s aesthetics. (shrink)

In this paper I argue that, on Kant's view, the work of genius serves as a sensible exhibition of the Idea of the highest good. In other words, the work of genius serves as a special sign that the world is hospitable to our moral ends and that the realization of our moral vocation in such a world may indeed be possible. In the first part of the paper, I demonstrate that the purpose of the highest good is not to (...) strengthen our motivation to accept the moral law as binding for us but, rather, to strengthen our motivation to persist in our already existent moral dispositions. In the second part, I show that the works of genius exhibit the Idea of the highest good and, consequently, strengthen our hope in its realization. Drawing on the results of the second part, the third part of the paper demonstrates that beauty, of both art and nature, symbolizes morality in a more substantive sense than that suggested by Henry Allison's “formalistic” interpretation. Since, on my view, fine art in Kant serves as a sensible representation of an undetermined conceptual content, or the Idea of the highest good, the fourth part of the paper addresses the vexed question of whether Kant's account of fine art already anticipates the cognitive role later attributed to it by the German Idealists. (shrink)

This essay argues that, contrary to the prevailing view according to which reflection in Kant's aesthetic judgment is interpreted as ‘the logical actus of the understanding’, we should pay closer attention to Kant's own formulation of aesthetic reflection as ‘an action of the power of imagination’. Put differently, I contend in this essay that the rule that governs and orders the manifold in aesthetic judgment is imagination's own achievement, the achievement of the productive synthesis of the ‘fictive power’, entirely independent (...) of the understanding. While this view does not entail that the faculty of the understanding is not necessary in aesthetic reflection, a stronger emphasis on the role of imagination in aesthetic reflection allows us to realize that its schematizing and interpretive activity, while consistent with, goes well beyond the discursive demands of the understanding insofar as it intimates the supersensible ground of freedom that manifests itself as ‘the feeling of life’. Therefore, I show in this essay that the imagination's unique interpretive power has a special role in completing Kant's critical system by facilitating the connection of the sensible to the supersensible, which further helps us appreciate imagination's practical as opposed to merely cognitive significance. (shrink)

In this essay, I argue that a genius's creation consists of a special unity of free human activity and nature, whereby ‘nature’ signifies not just another aspect of, but rather something that transcends, creative subjectivity. This interpretation of a genius's creative process throws a new light on a special normative status of a genius's rule, i.e. its originality and exemplarity. With respect to the former, I demonstrate that because the organizing principle of the works of genius remains inscrutable to our (...) limited human understanding, a work of genius appears to the observer's limited cognitive capacities as undetermined and, hence, as contingent and original. With respect to the latter, I show how a genius must evolve within the context of her own tradition and how this ‘humbleness’ of a genius still allows for a multiplicity of co-existent schools or genres with their own distinct standards of excellence. -/- http://journals.cambridge.org/abstract_S1369415411000343. (shrink)

In this paper I argue that if one is to do justice to reason's unity in Kant, then one must acknowledge that reason's practical ends are presupposed in every theoretical investigation of nature. Thus, contrary to some other commentators, I contend that the notion of the metaphysical ground of the unity of nature should not be attributed to the “dynamics of reason” and its “own practical purposes.” Instead, the metaphysical ground of the unity of nature is in fact an indispensable (...) and necessary notion for reason in both its theoretical and practical functions, but this need of reason to presuppose such a notion can only find its adequate proof in the practical. By offering a synopsis of Kant's accounts of nature's systematicity in the Transcendental Ideal of the Critique of Pure Reason (Part I), the Appendix to the Dialectic of the Critique of Pure Reason (Part II), and in the Critique of Judgment (Part III), I identify in each section Kant's theoretical and practical arguments for reason's presupposition of the “unconditioned,” demonstrate their structural interdependence, and show a general continuity in Kant's position on this issue throughout his critical system. (shrink)

Name der Zeitschrift: Kant Yearbook Jahrgang: 8 Heft: 1 Seiten: 63-86.

The following essay has three main objectives. (1) By arguing that the connection between Schelling’s reception of Plato and Kant’s conception of genius is relevant for Schelling’s early development, I show that Schelling’s early Idealism brings to the general problem that plagues German Idealists, i.e., the search for an unconditioned principle that unites theoretical and practical reason, the solution that is genuinely his own. This original solution consists in Schelling’s conception of “creative reason [schöpfersiche Vernunft].” Because the scholarship on German (...) Idealism has thus far been focused predominantly on the analysis of self-consciousness, Schelling’s conception of creative reason remained neglected. (2) I show that the theme of an absolutely free creative subjectivity is shared by many of Schelling’s early works and, hence, I argue that the early development of his Idealism can be interpreted as a beginning of a philosophical system or as a “proto-system” of what is later to become The System of Transcendental Idealism (1800). (3) I evaluate Schelling’s speculative extension of Kant’s notion of creative subjectivity and argue that, when compared to Kant’s notion of genius, Schelling’s ‘absolute I’ should be considered a regress rather than a progress. (shrink)

In Kant’s Aesthetic Epistemology, Fiona Hughes argues that aesthetic judgment is exemplary of the subjective activity of judgment, the harmony of imagination and understanding, necessary for any cognition in general . Unlike ordinary empirical judgment, aesthetic judgment phenomenologically reveals to us the synthesizing activity of the power of judgment that remains concealed by the cognitive aim of ordinary empirical judgments . According to Hughes, aesthetic judgment is exemplary for cognition because, in aesthetic experience, the fit between mind and world, or (...) how a subject has a point of access to an external world of objects, is not merely inferred but experienced . From here follows Hughes’ provocative claim that Kant’s account of aesthetic judgment in the third Critique completes the general transcendental project of establishing the possibility of a priori synthetic judgments . Thus, in contrast to the dominant “impositionalist” interpretation of Kant’s critical project, according to which our knowledge ultimately amounts to the content of our own mind, Hughes places aesthetic judgment at the center of Kant’s. (shrink)

As a sign that interest in Schelling is growing beyond its initial reception within more continentally inflected studies, Lara Osteric has collected eleven generally impressive essays that are organized around the chronological development of Schelling’s thinking, and that reassess his place in the history of philosophy.Eric Watkins enters the debate around the decisive influences on Schelling’s early thinking. Conceding the well-known influences of Hölderlin, Fichte, Jacobi, and the Pantheismusstreit, his reactionary Tübingen teachers, and Reinhold’s attempt to provide a firm (...) foundation for Kantian critical philosophy, Watkins argues for... (shrink)

This collection is the first volume published by Cambridge University Press devoted exclusively to Schelling scholarship. It contains eleven essays on diverse topics in Schelling’s philosophy, covering the entirety of his philosophical development, but mostly focusing on writings up to 1815. A number of the contributors are well-established scholars best known for their work on other thinkers in German Idealism. The volume thus offers readings of Schelling that are especially sensitive to his relationship to other figures in classical German philosophy. (...) Perhaps the richest contribution in the volume is Manfred Frank’s essay on Schelling’s theory of identity, which covers the theory’s historical sources, its application to the mind-body problem, and Schelling’s disagreement with Hegel. In any case, the wide historical range of these essays and the diversity of their topics offer an excellent overview of Schelling’s philosophical development. (shrink)

Decision theory has at its core a set of mathematical theorems that connect rational preferences to functions with certain structural properties. The components of these theorems, as well as their bearing on questions surrounding rationality, can be interpreted in a variety of ways. Philosophy’s current interest in decision theory represents a convergence of two very different lines of thought, one concerned with the question of how one ought to act, and the other concerned with the question of what action consists (...) in and what it reveals about the actor’s mental states. As a result, the theory has come to have two different uses in philosophy, which we might call the normative use and the interpretive use. It also has a related use that is largely within the domain of psychology, the descriptive use. This essay examines the historical development of decision theory and its uses; the relationship between the norm of decision theory and the notion of rationality; and the interdependence of the uses of decision theory. (shrink)

In the shift from the balance of nature to the flux of nature paradigm, the concept of resilience has gained great traction in ecology. While it has been suggested that the concept of resilience does not imply a genuine departure from the balance of nature paradigm, I shall argue against this stance. To do so, I first show that the balance of nature paradigm and the related conception of a single-state equilibrium relies on what Eliot Sober has named the “Natural (...) State Model (NSM)”, suggesting that the NSM has instead been dismissed in the flux of nature paradigm. I then focus on resilience as the main explanatory concept of the flux paradigm. After distinguishing between two main different understandings of “resilience”, namely engineering resilience and ecological resilience, I argue that the former is close to the concept of balance or stability and still part of the NSM, while the latter is not. Finally, I claim that ecological resilience is inconsistent with the NSM, concluding that this concept–being incompatible with the NSM–is not part of the balance of nature paradigm but rather a genuinely new explanatory tool. (shrink)

Lara Buchak sets out a new account of rational decision-making in the face of risk. She argues that the orthodox view is too narrow, and suggests an alternative, more permissive theory: one that allows individuals to pay attention to the worst-case or best-case scenario, and vindicates the ordinary decision-maker.

There are currently two robust traditions in philosophy dealing with doxastic attitudes: the tradition that is concerned primarily with all-or-nothing belief, and the tradition that is concerned primarily with degree of belief or credence. This paper concerns the relationship between belief and credence for a rational agent, and is directed at those who may have hoped that the notion of belief can either be reduced to credence or eliminated altogether when characterizing the norms governing ideally rational agents. It presents a (...) puzzle which lends support to two theses. First, that there is no formal reduction of a rational agent’s beliefs to her credences, because belief and credence are each responsive to different features of a body of evidence. Second, that if our traditional understanding of our practices of holding each other responsible is correct, then belief has a distinctive role to play, even for ideally rational agents, that cannot be played by credence. The question of which avenues remain for the credence-only theorist is considered. (shrink)

En este libro, la autora desarrolla su concepción del juicio reflexionante inspirada en Emmanuel Kant y en Hannah Arendt para concentrarse en cómo cierto tipo de narraciones modelan nuestras nociones de lo que consideramos moral. Lara nos ofrece distintas concepciones sobre el mal en su formulación histórica mediante los ejemplos de las tragedias griegas, las diferentes concepciones sobre el mal en la obra de Shakespeare, el uso literario de la metáfora en la obra de Joseph Conrad y en narraciones (...) fílmicas que describen la crueldad humana. Lara sugiere que el aprendizaje moral es un proceso en el que intervienen las instituciones sociales, la voluntad de los individuos y de las sociedades para comprometerse a un debate abierto y con ello modelar los juicios colectivos sobre el pasado. Lara enfatiza que el juicio reflexionante se da entre un evento, una narración de dicho evento y la recepción pública de dicha narrativa. En este libro se aportan importantes métodos para la comprensión del fenómeno moral del mal, porque introducen nuevas verdades desvelatorias acerca de eventos particulares que no pueden ser simplemente captados por medio de categorías conceptuales. Lara utiliza como fuentes a Jürgen Habermas, Walter Benjamin, Primo Levi, Giorgio Agamben y Ariel Dorfman para probar la conclusión de este tipo de narraciones: la acción (de crueldad) ata de manera definitiva al perpetrador con su víctima. (shrink)

A reflection on the significance of the work of Ada María Isasi-Díaz for Latinas and their communities in the United States. Beginning with her first co-authored publication in 1988, this essay considers the central tenets of a Mujerista Theology, a theological reflective praxis grounded in a feminist consciousness. The emergence of Mujerista Theology is set in the context of other dynamic changes occurring for the consciousness of Chicanas and Latinas in the late 1980s. La lucha, or the struggle for justice (...) and liberation of grassroots Latinas is the guiding principle of Mujerista Theology. Latina narratives, lo cotidiano or daily life, moral agency and scriptural critical consciousness are highlighted as among the key tenets of this theology. Twenty-first century issues are referenced to underscore the on-going significance of Isasi-Díaz’s work. (shrink)

The book provides a critical and historical inquiry into Kant's schematism chapter. It focuses on the meanings of the notion of schema before Kant, the precritical meaning of this notion, an analysis of the schematism chapter and its criticisms, and an overview of the legacy of Kant's schematism in philosophy and psychology.

This paper provides an account of what it is to have faith in a proposition p, in both religious and mundane contexts. It is argued that faith in p doesn’t require adopting a degree of belief that isn’t supported by one’s evidence but rather it requires terminating one’s search for further evidence and acting on the supposition that p. It is then shown, by responding to a formal result due to I.J. Good, that doing so can be rational in a (...) number of circumstances. If expected utility theory is the correct account of practical rationality, then having faith can be both epistemically and practically rational if the costs associated with gathering further evidence or postponing the decision are high. If a more permissive framework is adopted, then having faith can be rational even when there are no costs associated with gathering further evidence. (shrink)

In the peer disagreement debate, three intuitively attractive claims seem to conflict: there is disagreement among peers on many important matters; peer disagreement is a serious challenge to one’s own opinion; and yet one should be able to maintain one’s opinion on important matters. I show that contrary to initial appearances, we can accept all three of these claims. Disagreement significantly shifts the balance of the evidence; but with respect to certain kinds of claims, one should nonetheless retain one’s beliefs. (...) And one should retain them even though these beliefs would not be supported by the new total evidence if one didn’t already hold them. (shrink)