An introductory guide to the seminal work of Kant and his modern moral philosophy.

"The importance and significance of Kant's aesthetics have been widely debated. This work presents an original interpretation of Kant's account which is based on rethinking the nature of Critical Philosophy. Gary Banham presents the argument that the Critique of Judgment needs to be read as a whole. Aesthetics is investigated in relation to all three critiques with the recovery of a larger sense of the 'aesthetic' resulting. This broader notion of aesthetics is connected to the recovery of the critique of (...) teleology in an original presentation of Kant's critical enterprise as constituted by the attempt to think the meaning of ends."--BOOK JACKET. (shrink)

When I began working on my dissertation on Kant’s aesthetic theory in 1971, I was able to read virtually all of the extant literature on the Critique of Judgment in English, German, andFrench going back to Hermann Cohen’s Kants Begr¨undung der A¨ sthetik of 1889, while also reading most of what I wanted to read of eighteenth-century British and German aesthetics before Kant—not because I had paid my dues to Evelyn Wood, but just because there was not all that much (...) to read.1 I pity the graduate student who sets out to write a dissertation on the third Critique now: since Donald Crawford, Francis Coleman, Jens Kulenkampff, Eva Schaper, and I published books on Kant’s aesthetics between 1974 and 1979 there has been a continuing flood of articles (this journal receives more submissions on Kant’s aesthetics annually than on any other historical topic) and books, a flood that has only accelerated since 2000. Confining myself only to monographs and anthologies on Kant’s aesthetics or the third Critique as a whole (but not those devoted exclusively to teleology) in English, German, and French on my shelves, and no doubt missing some, at least in German and French, I find twenty-eight monographs and anthologies published in the period between 1980 and 1999 and another twenty-seven just since 2000. (Indeed, two more have arrived on my desk since this article was written.)3 Someone setting out to work on the third Critique now has at least as many books from the last decade alone to read as I had in 1971 from the eight preceding decades. The present review will make only a small dent in this pile: I will discuss just five monographs and one introduction to the third Critique, all published in English in 2006 and 2007. (shrink)

Based on lectures given to graduate students by Wilfrid Sellars.

This book offers a radically new account of the development and structure of the central arguments of Kant's Critique of Pure Reason: the defense of the objective validity of such categories as substance, causation, and independent existence. Paul Guyer makes far more extensive use than any other commentator of historical materials from the years leading up to the publication of the Critique and surrounding its revision, and he shows that the work which has come down to us is (...) the result of some striking and only partially resolved theoretical tensions. Kant had originally intended to demonstrate the validity of the categories by exploiting what he called 'analogies of appearance' between the structure of self-knowledge and our knowledge of objects. The idea of a separate 'transcendental deduction', independent from the analysis of the necessary conditions of empirical judgements, arose only shortly before publication of the Critique in 1781, and distorted much of Kant's original inspiration. Part of what led Kant to present this deduction separately was his invention of a new pattern of argument - very different from the 'transcendental arguments' attributed by recent interpreters to Kant - depending on initial claims to necessary truth. (shrink)

In this updated edition of his outstanding introduction to Kant, Paul Guyer uses Kant’s central conception of autonomy as the key to his thought. Beginning with a helpful overview of Kant’s life and times, Guyer introduces Kant’s metaphysics and epistemology, carefully explaining his arguments about the nature of space, time and experience in his most influential but difficult work, _The Critique of Pure Reason_. He offers an explanation and critique of Kant’s famous theory of transcendental idealism and (...) shows how much of Kant’s philosophy is independent of this controversial doctrine. He then examines Kant’s moral philosophy, his celebrated ‘categorical imperative’ and his theories of duty, freedom of will and political rights. This section of the work has been substantially revised to clarify the relation between Kant’s conceptions of "internal" and "external" freedom. In his treatments of Kant’s aesthetics and teleology, Guyer focuses on their relation to human freedom and happiness. Finally, he considers Kant’s view that the development of human autonomy is the only goal that we can conceive for both natural and human history. Including a chronology, glossary, chapter summaries and up-to-date further reading, _Kant, second edition _is an ideal introduction to this demanding yet pivotal figure in the history of philosophy, and essential reading for all students of philosophy. (shrink)

What should our buildings look like? Or is their usability more important than their appearance? Paul Guyer argues that the fundamental goals of architecture first identified by the Roman architect Marcus Pollio Vitruvius - good construction, functionality, and aesthetic appeal - have remained valid despite constant changes in human activities, building materials and technologies, as well as in artistic styles and cultures. Guyer discusses philosophers and architects throughout history, including Alberti, Kant, Ruskin, Wright, and Loos, and surveys (...) the ways in which their ideas are brought to life in buildings across the world. He also considers the works and words of contemporary architects including Annabelle Selldorf, Herzog and de Meuron, and Steven Holl, and shows that - despite changing times and fashions - good architecture continues to be something worth striving for. This new series offers short and personal perspectives by expert thinkers on topics that we all encounter in our everyday lives. (shrink)

Kant and the Claims of Taste, published here for the first time in paperback in a revised version, has become, since its initial publication in 1979, the standard commentary on Kant's aesthetic theory. The book offers a detailed account of Kant's views on judgments of taste, aesthetic pleasure, imagination and many other topics. For this new edition, Paul Guyer has provided a new foreword and has added a chapter on Kant's conception of fine art. This re-issue will complement (...) the author's companion volume, Kant and the Experience of Freedom, which places Kant's aesthetics in its historical context and examines the fundamental connection between Kant's aesthetics and his moral theory. (shrink)

This new translation is an extremely welcome addition to the continuing Cambridge Edition of Kant’s works. English-speaking readers of the third Critique have long been hampered by the lack of an adequate translation of this important and difficult work. James Creed Meredith’s much-reprinted translation has charm and elegance, but it is often too loose to be useful for scholarly purposes. Moreover it does not include the first version of Kant’s introduction, the so-called “First Introduction,” which is now recognized as indispensable (...) for an understanding of the work. Werner Pluhar’s more recent translation, which does include the First Introduction, is highly accurate when it confines itself to rendering Kant’s German. However, it is often more of a reconstruction than a translation, containing so many interpretative interpolations that it is often difficult to separate out Kant’s original text from the translator’s contributions. Paul Guyer and Eric Matthews have provided a translation that compares to or exceeds Pluhar’s in its literal approach to the German, but that confines all interpretative material to footnotes and endnotes, so that the text itself, with all its unclarities and ambiguities, lies open to view. In addition, Guyer, as editor of the volume, has provided a great deal of valuable supplementary material. This includes an introduction with an outline of the work and details of the history of its composition and publication, and a wealth of endnotes offering clarifications of the text, background information, and, most strikingly, many references to related passages in Kant’s voluminous writings, particularly in connection with Kant’s earlier writings related to aesthetics. The edition also records differences among the first three editions of the work, and—of particular interest—erasures from and additions to Kant’s manuscript of the First Introduction. Although the introduction and endnotes reflect interpretative views that are sometimes disputable, this supplementary material makes the present edition into a valuable resource even for those able to read the text in German. (shrink)

Kant is often portrayed as the author of a rigid system of ethics in which adherence to a formal and universal principle of morality - the famous categorical imperative - is an end itself, and any concern for human goals and happiness a strictly secondary and subordinate matter. Such a theory seems to suit perfectly rational beings but not human beings. The twelve essays in this collection by one of the world's preeminent Kant scholars argue for a radically different account (...) of Kant's ethics. They explore an interpretation of the moral philosophy according to which freedom is the fundamental end of human action, but an end that can only be preserved and promoted by adherence to moral law. By radically revising the traditional interpretation of Kant's moral and political philosophy and by showing how Kant's coherent liberalism can guide us in current debates, Paul Guyer will find an audience across moral and political philosophy, intellectual history, and political science. (shrink)

Kant suggests that the chief advantage of his theory of taste over Hume’s is its a priori rather than empirical foundation. But his claim to have provided such a foundation for judgments of taste is questionable, and, in the end, both authors ground judgments of taste in a canon of proven or classical objects of taste rather than in determinate principles of taste. However, Kant does go beyond Hume in sketching a theory of aesthetic production, as well as reception in (...) the form of his theory of artistic genius, according to which works of genius can be exemplars for the originality of subsequent artists as well as stimuli for the free play of imagination and understanding in their audiences. (shrink)

In the Metaphysics of Morals, Kant makes a distinction between duties of virtue and the obligation to be virtuous. For a number of reasons, it may seem as if the latter does not actually require any actions of us not already required by the former. This essay argues that Kant does succeed in describing obligations that we have to prepare for virtuous conduct that are different from simply fulfilling specific duties of virtue, and that in so doing he describes an (...) important element of the moral life. (shrink)

Paul Guyer presents the first in-depth examination of the lifelong intellectual relationship between two of the greatest figures of the European Enlightenment, Immanuel Kant and Moses Mendelssohn. He explores their influence on each other and their disagreements, with particular focus on metaphysics, religion, and aesthetics.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.3 (2002) 539-545 [Access article in PDF] Lewis White Beck on Reasons and Causes Paul Guyer Essays by Lewis White Beck: Five Decades as a Philosopher. Edited by Predag Cicovacki. Rochester: University of Rochester Press, 1998. Pp. xxxii, 244. This volume reissues twelve previously uncollected pieces by the late Lewis White Beck (1913-1997) and also includes a reminiscence by a former (...) colleague, an introduction by the editor, and a bibliography of Beck's work. Beck was of course the most distinguished American Kant scholar of his time, who made enduring contributions to scholarship with his translations of Kant's writings in moral philosophy, originally published in Critique of Practical Reason and Other Writings in Moral Philosophy (Chicago, 1949); his trenchant articles on the analytic-synthetic distinction from the early 1950s, collected in his Studies in the Philosophy of Kant (Indianapolis, 1965); his unsurpassed A Commentary on Kant's Critique of Practical Reason (Chicago, 1960); his monumental Early German Philosophy: Kant and His Predecessors (Cambridge, Mass., 1969); his various articles on Kant's treatment of causation, collected in Essays on Kant and Hume (New Haven, 1978); and in his independent philosophical work, The Actor and the Spectator (New Haven, 1975). The present volume, edited by a student from Beck's last years at the University of Rochester, where he spent most of his career, includes articles on a variety of subjects published between 1939 and 1984, and it might seem to be little more than an act of piety toward a now departed but still revered teacher. But a core group of these articles are intimately connected with Beck's central scholarly and philosophical concerns and are well worth republication and renewed study.The articles included in the volume are three early pieces on several central issues in the philosophical debates of the time, "The Synoptic Method" (1939), "The Formal Properties of Ethical Wholes" (1941), and "The Principle of Parsimony in Empirical Science" (1943); an early piece on aesthetics, "Judgments [End Page 539] of Meaning in Art" (1944); two pieces on the tensions between causal explanations and rational evaluations of human behavior, "Psychology and the Norms of Knowledge" (1954) and "Conscious and Unconscious Motives" (1966); Beck's 1971 Presidential Address to the Eastern Division of the American Philosophical Association, a skeptical discussion of "Extraterrestrial Intelligent Life"; an overview of philosophies of time, "World Enough, and Time" (1979); a piece on styles of philosophical writing called "Philosophy As Literature" (1980); and then three pieces on Kant, published after the second of Beck's two earlier anthologies of his articles on Kant: "Kant on the Uniformity of Nature" (1981), "Five Concepts of Freedom in Kant" (1987), and "What Have We Learned from Kant?" (1984). With the last paper, the editor departs from the strictly chronological order he has previously employed, presumably in order to end the volume on a suitably general and retrospective note.I will focus my comments on the two systematic papers on psychological explanation and rational evaluation as well as on the first two Kant papers, all of which touch upon the issues that were central to Beck in his philosophically most important works, the 1960 Commentary on Kant's Critique of Practical Reason and the 1975 The Actor and the Spectator, and which point toward what was Beck's leading idea in both his philosophical and interpretative work: it concerns the idea that the causal explanation of human behavior as a subset of natural events and the rational explanation and justification of human actions are two entirely separate perspectives on the same subject-matter that can be rendered compatible only by the thought that each, causal explanation of behavior on the one hand and rational assessment of actions on the other, is only a regulative ideal for our conduct of inquiry and thus that neither represents a metaphysically privileged point of view. This was an approach that Beck claimed to have been foreshadowed in Kant's resolution of the "Antinomy of Teleological Judgment" in his last great critique, the Critique of the Power... (shrink)

This collection of essays by one of the preeminent Kant scholars of our time transforms our understanding of both Kant's aesthetics and his ethics. Guyer shows that at the very core of Kant's aesthetic theory, disinterestedness of taste becomes an experience of freedom and thus an essential accompaniment to morality itself. At the same time he reveals how Kant's moral theory includes a distinctive place for the cultivation of both general moral sentiments and particular attachments on the basis of (...) the most rigorous principle of duty. Kant's thought is placed in a rich historical context including such figures as Shaftesbury, Hutcheson, Hume, Burke, Kames, as well as Baumgarten, Mendelssohn, Schiller, and Hegel. Other topics treated are the sublime, natural versus artistic beauty, genius and art history, and duty and inclination. These essays extend and enrich the account of Kant's aesthetics in the author's earlier book, Kant and the Claims of Taste. (shrink)

This entirely new translation of Critique of Pure Reason is the most accurate and informative English translation ever produced of this epochal philosophical text. Though its simple and direct style will make it suitable for all new readers of Kant, the translation displays an unprecedented philosophical and textual sophistication that will enlighten Kant scholars as well. This translation recreates as far as possible a text with the same interpretative nuances and richness as the original. The extensive editorial apparatus includes informative (...) annotation, detailed glossaries, an index, and a large-scale general introduction in which two of the world's preeminent Kant scholars provide both a succinct summary of the structure and argument of the Critique and a detailed account of its long and complex genesis. (shrink)

The essays in this volume, including two published here for the first time, explore various aspects ofKant's conception of the system of nature, the system of ...

In this book, the first to describe and assess Hume's influence throughout Kant's philosophy, Guyer shows where Kant agrees or disagrees with Hume, and where Kant does or doesn't appear to resolve Hume's doubts.

The fundamental task of philosophy since the seventeenth century has been to determine whether the essential principles of both knowledge and action can be discovered by human beings unaided by an external agency. No one philosopher contributed more to this enterprise than Kant, whose Critique of Pure Reason shook the very foundations of the intellectual world. Kant argued that the basic principles of the natural sciences are imposed on reality by human sensibility and understanding, and thus that human beings are (...) also free to impose their own free and rational agency on the world. This volume is the only systematic and comprehensive account of the full range of Kant 's writings available, and the first major overview of his work to be published in more than a dozen years. An internationally recognized team of Kant scholars explore Kant 's conceptual revolution in epistemology, metaphysics, philosophy of science, moral and political philosophy, aesthetics, and the philosophy of religion. The volume also traces the historical origins and consequences of Kant 's work. (shrink)

Values of Beauty discusses major ideas and figures in the history of aesthetics from the beginning of the eighteenth century to the end of the twentieth century. The core of the book features Paul Guyer's essays on the epochal contribution of Immauel Kant, and sets Kant's work in the context of predecessors, contemporaries, and successors including David Hume, Alexander Gerard, Archibald Alison, Arthur Schopenhauer, and John Stuart Mill All of the essays emphasize the complexity rather than isolation of (...) our aesthetic experience of both nature and art; and the interconnection of aesthetic values such as beauty and sublimity on the one hand, and prudential and moral values on the other. Guyer emphasizes that the idea of the freedom of the imagination as the key to both artistic creation and aesthetic experience has been a common thread throughout the modern history of aesthetics, although the freedom of the imagination has been understood and connected to other forms of freedom in a variety of ways. (shrink)

The Critique of the Power of Judgment is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume, first published in 2000, includes: the indispensable first draft of Kant's introduction to the work; an English edition notes to the many differences between the first and second (...) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)

A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely what (...) Plato criticized - and because it is a pleasurable free play of many or all of our mental powers. This three-volume set tells how these ideas have been synthesized or separated by both the best-known and lesser-known aestheticians of modern times, focusing on Britain, France and Germany in the eighteenth century; Germany and Britain in the nineteenth; and Germany, Britain and the United States in the twentieth. (shrink)

The philosophy of Immanuel Kant is the watershed of modern thought, which irrevocably changed the landscape of the field and prepared the way for all the significant philosophical movements of the nineteenth and twentieth centuries. This 2006 volume, which complements The Cambridge Companion to Kant, covers every aspect of Kant's philosophy, with a particular focus on his moral and political philosophy. It also provides detailed coverage of Kant's historical context and of the enormous impact and influence that his work has (...) had on the subsequent history of philosophy. The bibliography also offers extensive and organized coverage of both classical and recent books on Kant. This volume thus provides the broadest and deepest introduction currently available on Kant and his place in modern philosophy, making accessible the philosophical enterprise of Kant to those coming to his work for the first time. (shrink)

Hannah Ginsborg rejects my ‘two-acts’ interpretation of Kant’s conception of aesthetic judgement as untrue to Kant’s text and as philosophically problematic, especially because it entails that every object must be experienced as beautiful. I reject her criticisms, and argue that it is her own ‘one-act’ interpretation that is liable to these criticisms. But I also suggest that her emphasis on Kant’s ‘transcendental explanation’ of pleasure as a self-maintaining mental state suggests an alternative to the common view that pleasure is a (...) distinctive feeling, even if Ginsborg herself does not draw that conclusion. (shrink)