Graduate studies at Western
Kant-Studien 103 (2) (2012)
|Abstract||In the first edition of his book on the completeness of Kant’s table of judgments, Klaus Reich shortly indicates that the B-version of the metaphysical exposition of space in the Critique of pure reason is structured following the inverse order of the table of categories. In this paper, I develop Reich’s claim and provide further evidence for it. My argumentation is as follows: Through analysis of our actually given representation of space as some kind of object (the formal intuition of space in general), the metaphysical exposition will show that this representation is secondary to space considered as an original, undetermined and as such unrepresentable intuitive manifold. Now, following Kant, the representation of any kind of object involves diversity, synthesis and unity. In the case of our representation of space as formal intuition, this involves, firstly, a manifold a priori, i.e. space as pure form, delivered by the transcendental Aesthetic, secondly, a figurative, productive synthesis of that manifold, and, thirdly, the unity provided by the categories. Analysing our given representation of space – the task of the metaphysical exposition – amounts to dismantling its unity and determine its characteristics with respect to the categories.|
|Keywords||Kant Metaphysical Exposition Transcendental Aesthetic Klaus Reich Formal Intuition Form of Intuition Categories Completeness Table of judgments Space|
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