This 1997 book was the first English translation of all of Kant's writings on moral and political philosophy collected in a single volume. No other collection competes with the comprehensiveness of this one. As well as Kant's most famous moral and political writings, the Groundwork of the Metaphysics of Morals, the Critique of Practical Reason, the Metaphysics of Morals, and Toward Perpetual Peace, the volume includes shorter essays and reviews, some of which have never been translated before. The volume has (...) been furnished with a substantial editorial apparatus including translator's introductions and explanatory notes to each text by Mary Gregor, and a general introduction to Kant's moral and political philosophy by Allen Wood. There is also an English-German and German-English glossary of key terms. (shrink)

This 1997 book was the first English translation of all of Kant's writings on moral and political philosophy collected in a single volume. No other collection competes with the comprehensiveness of this one. As well as Kant's most famous moral and political writings, the Groundwork of the Metaphysics of Morals, the Critique of Practical Reason, the Metaphysics of Morals, and Toward Perpetual Peace, the volume includes shorter essays and reviews, some of which have never been translated before. The volume has (...) been furnished with a substantial editorial apparatus including translator's introductions and explanatory notes to each text by Mary Gregor, and a general introduction to Kant's moral and political philosophy by Allen Wood. There is also an English-German and German-English glossary of key terms. (shrink)

ALTHOUGH the content of Alexander Gottlieb Baumgarten's Aesthetica seems to be familiar in German philosophical circles, it is relatively unknown outside Germany. Most of us are aware that it was Baumgarten who coined the name "aesthetics" for the new philosophical discipline his Aesthetica was intended to establish; but as for the content of that work, our acquaintance is likely to be indirect, through two remarks of Kant. Explaining his own use of "Transcendental Aesthetic" in the Critique of Pure Reason, Kant (...) criticizes Baumgarten's "abortive attempt... to bring the critical treatment of the beautiful under rational principles and so to raise its rules to the rank of a science". In the Critique of Judgment, it is generally assumed to be Baumgarten Kant has in mind when, arguing that judgments of beauty are not cognitive or "logical" judgments, he criticizes the view that beauty is perfection known confusedly or indistinctly. Combining Kant's remark with Leibniz's view that beauty is--or, more precisely, flows from--perfection, we might conclude that Baumgarten simply lowered beauty from the level of distinct to that of confused concepts and tried to deduce its rules from the concept of perfection. If this was indeed Baumgarten's project, we might well ask to be excused from pursuing the subject further. (shrink)

The Metaphysics of Morals is Kant's major work in applied moral philosophy in which he deals with the basic principles of rights and of virtues. It comprises two parts: the 'Doctrine of Right', which deals with the rights which people have or can acquire, and the 'Doctrine of Virtue', which deals with the virtues they ought to acquire. Mary Gregor's translation, revised for publication in the Cambridge Texts in the History of Philosophy series, is the only complete translation (...) of the whole text, and includes extensive annotation on Kant's difficult and sometimes unfamiliar vocabulary. A new introduction by Roger Sullivan sets the work in its historical and philosophical context. This volume will be of wide interest to students of ethics and of legal and political philosophy. (shrink)

The Metaphysics of Morals is Kant's major work in applied moral philosophy in which he deals with the basic principles of rights and of virtues. It comprises two parts: the 'Doctrine of Right', which deals with the rights which people have or can acquire, and the 'Doctrine of Virtue', which deals with the virtues they ought to acquire. Mary Gregor's translation, revised for publication in the Cambridge Texts in the History of Philosophy series, is the only complete translation (...) of the whole text, and includes extensive annotation on Kant's difficult and sometimes unfamiliar vocabulary. A new introduction by Roger Sullivan sets the work in its historical and philosophical context. This volume will be of wide interest to students of ethics and of legal and political philosophy. (shrink)

The Critique of Practical Reason is the second of Kant's three Critiques, one of his three major treatises on moral theory, and a seminal text in the history of moral philosophy. Originally published three years after his Groundwork of the Metaphysics of Morals, the Critique provides further elaboration of the basic themes of Kant's moral theory, gives the most complete statement of his highly original theory of freedom of the will, and develops his practical metaphysics. This revised edition of Kant's (...) Critique of Practical Reason - which contains Mary Gregor's acclaimed translation - is now the authoritative translation of this work. A substantial and lucid introduction by Andrews Reath places the mains themes of the Critique in the context of Kant's moral theory and his critical system. For this edition, the introduction has been revised and the guide to the secondary reading completely updated. (shrink)

The Critique of Practical Reason is the second of Kant's three Critiques, one of his three major treatises on moral theory, and a seminal text in the history of moral philosophy. Originally published three years after his Groundwork to the Metaphysics of Morals, the Critique provides further elaboration of the basic themes of Kant's moral theory, gives the most complete statement of his highly original theory of freedom of the will, and develops his practical metaphysics. This new edition of Kant's (...) Critique of Practical Reason – prepared by an acclaimed translator and scholar of Kant's practical philosophy – presents the first new translation of this work to appear for some years. A substantial and lucid introduction by Andrews Reath places the main themes of the Critique in the context of Kant's moral theory and his critical system. (shrink)

The Critique of Practical Reason is the second of Kant's three Critiques, one of his three major treatises on moral theory, and a seminal text in the history of moral philosophy. Originally published three years after his Groundwork to the Metaphysics of Morals, the Critique provides further elaboration of the basic themes of Kant's moral theory, gives the most complete statement of his highly original theory of freedom of the will, and develops his practical metaphysics. This new edition of Kant's (...) Critique of Practical Reason – prepared by an acclaimed translator and scholar of Kant's practical philosophy – presents the first new translation of this work to appear for some years. A substantial and lucid introduction by Andrews Reath places the main themes of the Critique in the context of Kant's moral theory and his critical system. (shrink)

It is in the interest of the totalitarian state that subjects not think for themselves, much less confer about their thinking. Writing under the hostile watch of the Prussian censorship, Immanuel Kant dared to argue the need for open argument, in the university if nowhere else. In this heroic criticism of repression, first published in 1798, he anticipated the crises that endanger the free expression of ideas in the name of national policy. Composed of three sections written at different times, (...) The Conflict of the Faculties dwells on the eternal combat between the "lower" faculty of philosophy, which is answerable only to individual reason, and the faculties of theology, law, and medicine, which get "higher" precedence in the world of affairs and whose teachings and practices are of interest to the government. Kant makes clear, for example, the close alliance between the theological faculty and the government that sanctions its teachings and can resort to force and censorship. All the more vital and precious, then, the faculty of philosophy, which encourages independent thought before action. The first section, "The Conflict of the Philosophy Faculty with the Theology Faculty," is essentially a vindication of the right of the philosophical faculty to freedom of expression. In the other sections the philosopher takes a long and penetrating look at medicine and law, the one preserving the physical "temple" and the other regulating its actions. (shrink)

The project Wolfgang Schwarz has undertaken is indicated in the subtitle of his book: "Concise text in a new faithful terminologically improved translation exhibiting the structure of Kant's argument in thesis and proof." Since his work seems designed as an alternative to the abridged edition of Kemp Smith's translation, it invites comparison with respect to terminology and abridgement.

The word ``deme'' was coined by the botanists J.S.L. Gilmour and J.W.Gregor in 1939, following the pattern of J.S. Huxley's ``cline''. Its purposewas not only to rationalize the plethora of terms describing chromosomaland genetic variation, but also to reduce hostility between traditionaltaxonomists and researchers on evolution, who sometimes scorned eachother's understanding of species. A multi-layered system of compoundterms based on deme was published by Gilmour and J. Heslop-Harrison in1954 but not widely used. Deme was adopted with a modified meaning (...) byzoologists leading the evolutionary synthesis – Huxley, Simpson, Wright,and Mayr. Connections are shown between Gilmour's ideas around definingthe deme, his role in founding the Systematics Association, and his chapter``Taxonomy and Philosophy'' in the book The New Systematics. Thishistorical episode raises questions about the role of carefully-definedwords in scientific practice. (shrink)

This book articulates a new approach to medieval aesthetic values, emphasizing the sensory and emotional basis of all medieval arts, their love of play and fine craftsmanship, of puzzles, and of strong contrasts.It offers an understanding of medieval literature and art that is rooted in the perceptions and feelings of ordinary life.

This book articulates a new approach to medieval aesthetic values, emphasizing the sensory and emotional basis of all medieval arts, their love of play and fine craftsmanship, of puzzles, and of strong contrasts.It offers an understanding of medieval literature and art that is rooted in the perceptions and feelings of ordinary life.

This essay explores the implications of a commonly held ancient and medieval belief that human memory and invention are, if not exactly the same, the closest thing to it. In order to create, in order to think at all, human beings require both a well-provisioned stock of memory-held knowledge and some mental tool or machine, an engine which lives in the intricate networks of their own memories. In the verbal arts of the trivium students learned the basic principles of memory (...) training: the need for divisio, the need to make a clear, distinct location for each piece of memorized content, and the need to mark items uniquely for secure recollection. Frequently these mental structures took the form of images. Evidence for such memorial and compositional images is common: I focus on a few representative types, including the sermon-related “Cherub” figure of the later Middle Ages, and accounts by Cassiodorus and others of scholars, even when blind, using their highly structured memories to compose new work. (shrink)

_Everyday Life and the Sacred_ offers gender sensitive interdisciplinary perspectives from the fields of feminist theology and religious studies on the everyday and the sacred. The volume aims to re-configure the current domain of religion and gender studies.

_Everyday Life and the Sacred_ offers gender sensitive interdisciplinary perspectives from the fields of feminist theology and religious studies on the everyday and the sacred. The volume aims to re-configure the current domain of religion and gender studies.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Susanne Langer in Focus: The Symbolic MindMary J. ReichlingRobert E. Innis, Susanne Langer in Focus: The Symbolic Mind (Indiana University Press: Indianapolis, 2009)The very first sentence of this book establishes the author's goal: "to bring as clearly as possible the total range of Susanne Langer's work 'into focus'" (p. xi). Such an aim strains credulity when one is familiar with the depth, breadth, and complexity of Langer's philosophy (...) as it encompasses her complete works. Yet, Innis manages to trace the development of Langer's thought from its roots in her earliest work, The Practice of Philosophy, through the intervening books, and concluding with her theory of mind and the three volumes of Mind: An Essay on Human Feeling. Susanne Langer in Focus is the most comprehensive analysis of the progression of Langer's thought I have found to date. It is a project of Herculean proportion and one which Innis accomplishes quite well in a lucid and scholarly, though sometimes pedantic, manner despite some matters that I wish to pursue more fully.However it is important to note at the outset that Innis sharply limits his use of secondary sources and prefers to restrict involvement with "scholarly quarrels" thus choosing not to engage with Langer's detractors (p. xi). This was a disappointment for me because I share Innis's advocacy with respect to Langer's aesthetic theory and would appreciate a voice as knowledgeable and well grounded [End Page 213] as his taking on some of these arguments. Nevertheless, Langer has long been popular among musicians and music educators who will find here a sensitive and penetrating presentation of Langer's aesthetic theory and an analysis of music specifically as a paradigm for that theory.The text is divided into nine chapters preceded by an interesting biographical sketch of Langer. It appears to me that these chapters group nicely into three sections, my division, not Innis's. The first includes chapters one and two concerned with the origins of Langer's philosophy and symbol theory as found in The Practice of Philosophy, Introduction to Symbolic Logic, and to some extent, Philosophy in a New Key. The second embraces chapters three, four, and five giving primary consideration to her non-discursive or presentational symbolism, symbolic transformation, ritual, myth, and art as found in Philosophy in a New Key and Feeling and Form. The third section, chapter six, seven, and eight, is devoted to Langer's trilogy, the three volumes of Mind. A short ninth chapter concludes the book with Innes's perspective on the dimensions and position of Langer's philosophical undertaking in the broader context of philosophy in general.That said, I now wish to offer my take on some of the fruits of Innes's harvest examining each of the orchards (sections) in turn. At the outset, Innis stresses Langer's view of the position and purpose of philosophy stating that it embraces all the rational sciences in a systematic study of meaning. In fact for Langer, the logical analysis is to philosophy what observation is to science, a first step. This relation, as a kind of dialectical tension between philosophy and science, especially with respect to method, is one of Langer's major contributions as Innis points out much later in his concluding chapter. What I find quite helpful, though, is Innis's explanation of Langer's concept of a type of understanding that is non-discursive. This provides an epistemological basis for the nature of myth and art, so critical, in my opinion, to grasping Langer's theory of music as a symbol of feeling. (But I am ahead of Innis.)Innis shows that Langer's theory is grounded empirically in the psychology of perception and imagination because these allow the perceiver to abstract meaning from the form that embodies it. He continues illuminating and clarifying several terms such as abstraction, projection, semblance, virtual image, imagination, illusion, and more. His discussion of metaphor, primarily as it relates to Langer's theory of presentational symbolism, is extremely well done. His emphasis on metaphor as more than a mode of inquiry is particularly significant. Few, if any, writers about Langer... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Susanne Langer in Focus: The Symbolic MindMary J. ReichlingRobert E. Innis, Susanne Langer in Focus: The Symbolic Mind (Indiana University Press: Indianapolis, 2009)The very first sentence of this book establishes the author's goal: "to bring as clearly as possible the total range of Susanne Langer's work 'into focus'" (p. xi). Such an aim strains credulity when one is familiar with the depth, breadth, and complexity of Langer's philosophy (...) as it encompasses her complete works. Yet, Innis manages to trace the development of Langer's thought from its roots in her earliest work, The Practice of Philosophy, through the intervening books, and concluding with her theory of mind and the three volumes of Mind: An Essay on Human Feeling. Susanne Langer in Focus is the most comprehensive analysis of the progression of Langer's thought I have found to date. It is a project of Herculean proportion and one which Innis accomplishes quite well in a lucid and scholarly, though sometimes pedantic, manner despite some matters that I wish to pursue more fully.However it is important to note at the outset that Innis sharply limits his use of secondary sources and prefers to restrict involvement with "scholarly quarrels" thus choosing not to engage with Langer's detractors (p. xi). This was a disappointment for me because I share Innis's advocacy with respect to Langer's aesthetic theory and would appreciate a voice as knowledgeable and well grounded [End Page 213] as his taking on some of these arguments. Nevertheless, Langer has long been popular among musicians and music educators who will find here a sensitive and penetrating presentation of Langer's aesthetic theory and an analysis of music specifically as a paradigm for that theory.The text is divided into nine chapters preceded by an interesting biographical sketch of Langer. It appears to me that these chapters group nicely into three sections, my division, not Innis's. The first includes chapters one and two concerned with the origins of Langer's philosophy and symbol theory as found in The Practice of Philosophy, Introduction to Symbolic Logic, and to some extent, Philosophy in a New Key. The second embraces chapters three, four, and five giving primary consideration to her non-discursive or presentational symbolism, symbolic transformation, ritual, myth, and art as found in Philosophy in a New Key and Feeling and Form. The third section, chapter six, seven, and eight, is devoted to Langer's trilogy, the three volumes of Mind. A short ninth chapter concludes the book with Innes's perspective on the dimensions and position of Langer's philosophical undertaking in the broader context of philosophy in general.That said, I now wish to offer my take on some of the fruits of Innes's harvest examining each of the orchards (sections) in turn. At the outset, Innis stresses Langer's view of the position and purpose of philosophy stating that it embraces all the rational sciences in a systematic study of meaning. In fact for Langer, the logical analysis is to philosophy what observation is to science, a first step. This relation, as a kind of dialectical tension between philosophy and science, especially with respect to method, is one of Langer's major contributions as Innis points out much later in his concluding chapter. What I find quite helpful, though, is Innis's explanation of Langer's concept of a type of understanding that is non-discursive. This provides an epistemological basis for the nature of myth and art, so critical, in my opinion, to grasping Langer's theory of music as a symbol of feeling. (But I am ahead of Innis.)Innis shows that Langer's theory is grounded empirically in the psychology of perception and imagination because these allow the perceiver to abstract meaning from the form that embodies it. He continues illuminating and clarifying several terms such as abstraction, projection, semblance, virtual image, imagination, illusion, and more. His discussion of metaphor, primarily as it relates to Langer's theory of presentational symbolism, is extremely well done. His emphasis on metaphor as more than a mode of inquiry is particularly significant. Few, if any, writers about Langer... (shrink)