This chapter contains sections titled: Introduction Hegel's Semantics of Singular Cognitive Reference Hegel's Justification of His Semantics of Singular Cognitive Reference in “Consciousness” “Self‐Consciousness,” Thought, and the Semantics of Singular Cognitive Reference Hegel's Interim Critique of the Ego‐Centric Predicament Conclusion References.

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular (...) works of art. These presuppositions are sensible rather than intellectual because on Kant's view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant's view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular (...) works of art. These presuppositions are sensible rather than intellectual because on Kant’s view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant’s view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. (shrink)

Kant describes the concept of freedom as "the keystone of the whole structure of a system of pure reason, even of speculative reason." Kant's theory of freedom thus plays a foundational and unifying role in all aspects of his philosophy and is thus of significant interest to historians of Kant's philosophy. Kant's theory of freedom has also played a significant role in contemporary debates in metaphysics, normative ethics, and metaethics. This volume brings historians of Kant's philosophy (...) into conversation with contemporary metaphysicians and ethicists with the aim of representing the current state of scholarship on Kant's and Kantian accounts of freedom while at the same time opening new avenues of exploration. The Idea of Freedom includes papers by leading scholars on a range of historical and contemporary topics centrally related to the Kantian theory of freedom, including transcendental idealism, determinism, Kant's normative ethical theory, Kant's conception of cognition, Kant's theory of beauty, Kant's conception of logic, and many others. (shrink)

The recent removal of the Richard Prince’s artwork Spiritual America from the Tate Modern’s “Pop Life: Art in a Material World” exhibition is the most recent and high-profile case of a work of art being withdrawn from a gallery in the UK on the grounds that it has allegedly breached legislation concerning indecent images of children. Surprisingly, the issue has been hardly considered by academics from law departments and is almost entirely ignored by philosophers specializing in aesthetics and ethics. This (...) essay considers the ethics of images of children by drawing from continental ethics and aesthetics, and by engaging with the only significant treatment of the subject undertaken by a philosopher, namely Peter J. King’s “No Plaything.” This paper shows that a continental perspective can open up positions that King’s ‘objectivist utilitarianism’ is oblivious of. In particular, the essay draws from Derrida’s reading of Kant’s Third Critique and the former’s quasi-conception of “the frame” in The Truth in Painting and “droit de regard” in Right of Inspection. In distinction to King, this paper engages with the actual existing reality of currently enacted laws and their application in particular cases such as in Spiritual America. I will begin with art ‘in the frame’ as the colloquial expression has it, art wrongfully and unjustly accused by the police. I will proceed via an examination of the question of the frame in Kant and Derrida, to demonstrate a need to reclaim the ethical status of works of art. The core procedure of my paper will be a ‘rediscovery’ of Spiritual America as the Kantian example that allows us to find the law. My argument will be that no work of art or image can of itself be decent or indecent. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Scheeben's Place in Nineteenth-Century Catholic Theology and the Question of His Theological MethodEvan S. KoopMatthias Joseph Scheeben (1835–1888) is enjoying a moment in English-speaking Catholic theological circles. In recent years his thought has attracted increasing interest from scholars who view him as an important forerunner to some of the central currents of Catholic theology in the twentieth century,1 a trend that promises only to accelerate with the recent (...) publication of the initial volumes of the first complete translation of his monumental Handbuch der katholischen Dogmatik into English.2 The much-debated question of Scheeben's proper place in the history of Catholic theology in the nineteenth century therefore, has gained a new relevance. While the present study of course, cannot and does not claim to bring this dispute to a definitive resolution, nevertheless it is hoped that it may at least help to clarify some common misunderstandings that can arise from hasty generalizations, and offer a few insights—which are not in fact new, but which are too often ignored by English-speaking scholars today—into the way in which the thought of the Jesuit theologians of the so-called "Roman School" may have served to influence Scheeben's unique theological method.In the past, numerous attempts have been made to situate Scheeben's thought within a particular theological school, and members of rival schools, in turn, have sought to claim him (or indeed repudiate him) as one of their [End Page 471] own.3 Amid the flood of divergent assessments of Scheeben's theological affinities, there at least exists some scholarly consensus about his greatness as a theologian. In 1935, during the centenary celebrations of Scheeben's birth, Pope Pius XI lauded him as a "man of genius" and proposed his thought to the students of the Germanicum as a model of the proper unity of theology's ascetical and dogmatic elements.4 In a Festschrift dedicated to Scheeben's theology published in the same year, Martin Grabmann judged that Scheeben was "the greatest dogmatic theologian of the nineteenth century,"5 and Carl Feckes, Scheeben's successor at the Cologne seminary, named him "the greatest Mariologist of our time."6 On the eve of the Second Vatican Council, no less an authority than Hans Urs von Balthasar could proclaim that Scheeben was "the greatest German theologian to-date [1961] since the time of Romanticism."7Nearly all, likewise, acknowledge the great difficulty of comprehending Scheeben's theology: even a German theologian of the stature of Joseph Ratzinger laments that Scheeben "has not made it easy, either as a professor for his hearers or as a writer for his readers. His language is rigorous, marked by the laborious travail of thought." The fact that he draws abundantly from such sources as Aquinas and the Greek Fathers "lends to his work [End Page 472] breadth and depth, but does not necessarily facilitate easy access."8 Similarly, the ultramontane Cardinal Henry Edward Manning, in his preface to an English abridgment of Scheeben's Dogmatik, warned that Scheeben's greatest work "requires not only reading but study; and study with patient care and conscientious desire to understand."9 Perhaps it is for this reason that it has become almost proverbial to observe that Scheeben's works are much praised, but seldom read.10Far less agreement, however, exists when it comes to the question of what kind of theologian Scheeben was, or to what theological school he belonged. Was he, asks the great Scheeben scholar Eugen Paul, "the prototype of those theologians who represent (if not establish) the infamous 'two-storey theory [Stockwerkstheorie] with respect to nature and grace—or does he rather belong to those who insist precisely on the transcendental unity of nature and grace?"11 Is Scheeben, in other words, a Neo-Scholastic, even "the most precious flower ever granted to the spring of Neo-Scholasticism,"12 as he was called in the first major study of his theology produced in the twentieth century? Or is he, instead, to be classed with the theologians of the Tübingen School who, under the influence of Romantic Idealism, sought to renew Catholic theology through... (shrink)

The problem of Kant’s Neglected Alternative is that while his Aesthetic provides an argument that space and time are empirically real – in applying to all appearances – its argument seems to fall short of the conclusion that space and time are transcendentally ideal, in not applying to any things in themselves. By considering an overlooked passage in which Kant explains why his Transcendental Deduction is ‘unavoidably necessary’, I argue that it is not solely in his Aesthetic but more so (...) in his Deduction where he intends to provide his argument for the transcendental ideality of space and time. His Deduction shows that space and time do not have a valid application to any things in themselves by arguing that the categories do have a valid application to everything in space and time, but that the categories do not have a valid application to any things in themselves. (shrink)

Aron Gurwitsch (1900-73) was one of the most important figures in the phenomenological movement between the 1920s and the 1970s. Through his introduction of Gestalt theoretical concepts into phenomenology, he exerted a powerful influence on Maurice Merleau-Ponty and others. The contributions to this memorial volume, most written by friends and students of Gurwitsch, contain critical studies of the work of Aron Gurwitsch and attempts to extend his philosophical analyses to new problems and fields. Ranging from formal ontology through the philosophy (...) of the social sciences to the interpretation of Kant, the essays assembled here are both a tribute to and a continuation of the philosophical legacy of Aron Gurwitsch. The contributions will be of interest to advanced undergraduates and graduate students, and to specialists in a wide range of areas. (shrink)

This paper provides a novel reconstruction of Kant’s argument for transcendental idealism in the Transcendental Aesthetic. This reconstruction relies on two main contentions: first, that Kant accepts the then-ubiquitous view that all cognition is either from grounds or consequences, a view he props up by drawing a distinction between logical and real grounds; second, that Kant, like most of his contemporaries, holds that our representations are the most immediate grounds of our cognition. By stressing these elements, the most threatening objection (...) to Kant’s argument can be avoided, namely, the claim that Kant ignores the possibility that our representations of space and time are subjective in origin, but objective as regards their applicability. My reconstruction shows that this so-called neglected alternative objection is based on a conceptual confusion about the nature of a priori cognition. (shrink)

This book presents a paragraph-by-paragraph analysis of all of the major arguments and explanations in the "aesthetic" of Kant's Critique of Pure Reason. The first part of the book aims to provide a clear analysis of the meanings of the terms Kant uses to name faculties and types of representation, the second offers a thorough account of the reasoning behind the "metaphysical" and "transcendental" expositions, and the third investigates the basis for Kant's major conclusions about space, time, appearances, (...) things in themselves, and the cognitive constitution of the subject. A major goal of the work is to establish that Kant takes spatiotemporal form to be originally given through the constitution of the subject's receptive faculty, not generated through synthetic procedures of the imagination or understanding. (shrink)

Presenting the text of the transcendental deduction of the categories part by part, often only a few lines at a time, this book follows each part with explanation, commentary, and criticism where this is necessary in bringing out Kant's thought. It also contains chapters on the Transcendental Aesthetic and the Metaphysical Deduction, and a chapter on the contemporary philosophical relevance of Kant's arguments.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant’s Transcendental Proof of RealismBrandon C. LookKenneth R. Westphal. Kant’s Transcendental Proof of Realism. New York: Cambridge University Press, 2004. Pp. x + 299. Cloth, $80.00.Westphal's book is a rich and exciting contribution to the field of Kant studies. Its claims run counter to much contemporary discussion of Kant's theoretical philosophy and indeed challenge some of Kant's fundamental doctrines, but the arguments are very compelling and (...) therefore likely to force us to rethink both the Critique of Pure Reason [CPR] and Kant's relevance to contemporary epistemology.The central point of this work is that, if we follow Kant's injunction to engage in reflection on our cognitive capacities, then we will be led not to Kantian transcendental idealism but to an unqualified realism about objects and events in space and time. The book's first three chapters are devoted to analyzing Kant's methodology and the much-overlooked idea of transcendental affinity. Westphal focuses on the Kantian duty of engaging in "transcendental reflection," which is "the action through which I make the comparison of representations in general with the cognitive power in which they are situated, and through which I distinguish whether they are to be compared with one another as belonging to pure understanding or to sensible intuition" (CPR, A 261/B 317). And he adds to this the more general methodological obligation of "epistemic reflection," or the duty to determine precisely our cognitive capacities and incapacities. If, then, we reflect on our representations, their origins in sensibility and the understanding, and on our powers to know things of ourselves and the world in general, then certain puzzles arise—puzzles that were confronted by Kant (and Hume and Hegel) but that have not received the attention they have deserved. Chief among these puzzles is our ability to identify single objects and events and track them in space through time. But, as Westphal is keen to point out, identifying any particular over time requires that we be able to re-identify that particular. Now, while this puzzle is addressed by Kant in the Transcendental Deduction and Analogies of Experience, it is important to see that there is a material condition necessary for the possibility of self-conscious experience of the world that is not fleshed out in great detail by Kant and seems to be completely overlooked in the literature on Kant, namely, "the presupposition of diversity in nature" and the homogeneity of its objects among themselves (CPR, A 657/B 685). In other words, the fact that we are able to associate our various sensations with each other at all (and thereby identify and re-identify objects) is due to their "transcendental affinity." And it is Westphal's contention that "on Kant's own principles, the transcendental affinity of the manifold of sensory intuition can only be reconstructed, but not constructed, by intellectual syntheses of the understanding" (91). Therefore, pace Kant, who held that only his transcendental idealism could explain the possibility of experience, Westphal argues that transcendental idealism runs afoul of many of Kant's own arguments and observations in the Transcendental Aesthetic and Transcendental Analytic and, more important, that transcendental affinity provides grounds for "realism sans phrase" (the author's phrase) about objects and events in space and time, and for the view that our mental states are determined by external objects. As Westphal puts it in his conclusion: "Kant's analysis of transcendental affinity is in fact a transcendental argument for mental content externalism" (266). [End Page 665]The second part of Westphal's argument revolves around a detailed examination of Kant's theses about transeunt causality and the nature of matter as expressed not only in the Critique of Pure Reason, but also in the Metaphysical Foundations of Natural Science and the Opus postumum. Roughly the problem is this: in order to have an adequately grounded metaphysics of nature, Kant needs not only the results of the Analogies of Experience, the transcendental causal thesis that every event has a cause, but also the metaphysical causal thesis that every physical event has an external physical cause. But, according to Westphal, in the Metaphysical Foundations... (shrink)

In considering Kant’s response to the Leibnizian theory of space in the Transcendental Aesthetic, scholars have overwhelmingly emphasized Kant’s response to Leibniz’s relationalism. They have largely missed the metaphysically realistic aspects of Leibniz’s theory with which Kant is primarily concerned. As such, scholars have failed to appreciate the threat Leibniz’s theory poses to Kant’s idealism, a point made publicly as early as 1786 by H. A. Pistorius. I argue that the Aesthetic does indeed contain a compelling argument against the Leibnizian (...) theory of space. This argument crucially depends upon Kant’s claim that space is monistic: that the whole of space is prior to the parts of space and, as such, spatial representations are not decomposable. (shrink)

In Difference and Repetition, Deleuze defines his transcendental empiricism as an “apodictic” aesthetics, by which he means a science not simply of the sensible, but of the being of the sensible. Yet, to the extent that the sensibility which is at stake in the Transcendental Aesthetics is a sensibility without sensation, Kantian aesthetics is not apodictic. Sensation is the only contact we have with the being of the sensible, namely that which is exterior with respect to the interior of representation. (...) But transcendental idealism is a subjectivism. Indeed, if one connects what Heidegger considers to be the greatest achievement of Kant’s Copernican revolution with the achievement that Kant held highest in this regard, then the two main precepts of Kant’s subjective phenomenalism fall into place. The first is that we cannot feel outside of us – this amounts to non-sensuous sensibility as transcendental idealism; the second is that we can feel inside – this amounts to non-sensuous sensibility as empirical realism. The aim of this article is to show how Kant's treatment of sensation prevented him from refuting Berkeley’s idealism. (shrink)

In the neglected 'Amphiboly of the Concepts of Reflection,' Kant introduces a new transcendental activity, Transcendental Deliberation. It aims to determine to which faculty a representation belongs and does so by examining the representation's relationships to other representations. This enterprise yields some powerful ideas. Some of the relationships studied have great interest, numerical identity in particular. Indeed, seeing Kant discuss it here, one wonders why he did not include it in the Table of Categories. Kant gives a solid argument for (...) the necessity of a sensible element in representations, something not found elsewhere in the Transcendental Analytic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 447-448 [Access article in PDF] Brigitte Sassen, translator and editor. Kant's Early Critics: The Empiricist Critique of the Theoretical Philosophy. New York: Cambridge University Press, 2000. Pp. ix + 331. Cloth, $54.95. Brigitte Sassen has translated and edited an extremely useful collection of texts dating from the years 1782 to 1789. Most of the texts were written by Kant's (...) empirically minded critics, but a few are the work of defenders of the Critical philosophy. Although some have been translated before—e.g., the notorious Feder/Garve review of the first Critique that prompted Kant's vitriolic response in the Prolegomena, the original Garve review that served as the basis of the Feder/Garve review, and Jacobi's critique of Kant's transcendental idealism—the entire anthology is the first ever to be devoted exclusively to English translations of some of the first reactions to and defenses of Kant's theoretical philosophy. All of this makes for an exciting event in Kant studies.Sassen identifies three major trends in Kant criticism that began in 1782. The first is the empiricist reaction to Kant's theoretical writings. Sassen considers the year 1789 the endpoint of this trend, since critical attention, she argues, shifted around that time to the rationalist reaction to Kant's writings. The initial wave of rationalist criticism, which constitutes the second trend, lasted until 1793. The third and final trend, she says, is the more forward-looking one that eventually blossomed into the systems of post-Kantian thought.Given such a wealth of material, Sassen has focused on Kant's empiricist critics, choosing the writers and topics most representative of the overall empiricist critique of the 1780s. The selections are divided into five sections. The first consists of the Feder/Garve and Garve reviews (from 1782 and 1783, respectively). Since these were the very first reviews of the Critique of Pure Reason, they helped to formulate many of the classic objections to it. For example, not only does the standard charge of Berkeleyan idealism originate in these reviews, but Feder and Garve also express concerns about Kant's ability to distinguish between reality and illusion if nothing in sensation itself determines the understanding to combine sensations in one way as opposed to another. The second section contains discussions of the Transcendental Aesthetic, including an early version of the "neglected alternative" charge more famously made by Trendelenburg in the nineteenth century. Hermann Andreas Pistorius, one of the most sophisticated of Kant's empiricist critics, argues that Kant has not ruled out the possibility that space and time are both forms of sensibility and properties of things in themselves. The third section (especially Jacobi's famous critique) explores the relationship between appearances and things in themselves, the problem of affection, and other topics touching on the very nature of Kant's idealism. The fourth section deals with various issues involving the table of categories. For example, Kant's critics had doubts about its completeness, and they were also puzzled as to how a priori concepts could be applied to ordinary experience. The fifth and final section looks at the contrast between empiricism and purism, that is, the overall adequacy of empiricist and Kantian approaches to issues in metaphysics and epistemology. Here we find Pistorius once again writing thoughtfully about the Critical philosophy, this time in response to Carl Christian [End Page 447] Erhard Schmid, the author of a dictionary for the "easier use" of Kant's writings that went through several editions in the late 1780s and 1790s.This brief sketch of Sassen's book gives only an inadequate idea of its richness and usefulness. Her introduction, which is thorough and informative, patiently sorts out the various players in the debates of the 1780s, outlines their arguments with Kant and one another, and even describes the nature of periodical publication in late eighteenth-century Germany. The editorial apparatus includes short biographies of the participants in the debates as well as the other authors mentioned throughout the book... (shrink)

This volume explores Husserl's theory of sensibility and his conceptualization of spatial and temporal constitution. The author maps the linkages between Husserl's 'transcendental aesthetic', the theory of pure experience in empirio-criticism, as well as Immanuel Kant's transcendental philosophy. The core argument in this analysis centers on the relationship between spatiality and temporality in Husserl's philosophy. The study interrogates Husserl's understanding of the relationship between spatiality and temporality in terms of stratifications, analogies and parallelisms. It incorporates a discussion of the (...) potentialities and limitations of such an understanding. It concludes that such limits can be overcome by adopting an understanding of spatiality and temporality as interwoven moments of sensible experience-a 'spatio-temporal intertwining'. This 'intertwining' is made explicit in a thorough inquiry into three central topics in the phenomenological analysis of sensible experience: spatio-temporal individuation, perspectival givenness and bodily experience. The book shows how such an inquiry can form the bedrock of a dynamic and relational understanding of experience as a whole. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cognition and Practice: Li Zehou's Philosophical Aesthetics by Rafal BankaJana S. Rošker (bio)Cognition and Practice: Li Zehou's Philosophical Aesthetics. By Rafal Banka. Albany, New York: SUNY, 2022. Pp. vii+ 230. Hardcover $95,00, isbn 978-1-4384-8923-4. In his book Cognition and Practice: Li Zehou's Philosophical Aesthetics, Rafal Banka delves into the cognitive philosophy of Li Zehou, one of the most significant and influential Chinese philosophers of our time. Banka not (...) only provides a deeper understanding of Li's work, but he also places his studies on beauty and aesthetic experience in close proximity to current international research in philosophical aesthetics that places great importance on the embodiment and embeddedness of the subject. By delving into Banka's analysis of the cognitive dimensions of Li Zehou's aesthetics, readers can gain a deeper understanding of how this philosopher approaches the intersection of aesthetics and cognition. Through Banka's interpretation, Li's specific view on the intricate relationship between sensory perception and mental processes is highlighted, offering readers the potential for a more nuanced conception of his philosophical perspective. Banka's contribution to our understanding of Li's theories of cognition is deeply intertwined with the methodological framework and theoretical approach used in his work. The former is based upon an analytical perspective that enables him to identify key themes and concepts in Li's cognition theory, as well as to critically evaluate the strengths and weaknesses of his approach. By employing this framework, Banka provides a comprehensive and nuanced analysis of Li's cognitive dimensions that is grounded in rigorous examination. In addition to the methodological framework, the comprehensive theoretical approach that Banka applies in his study is also integral to understanding Li Zehou's contribution to the theory of perception on an international level. The book is divided into three distinct parts, each of which explores a different aspect of Li's philosophy. In the first part, Banka examines Li's main sources of inspiration, specifically the philosophers and philosophies that have significantly influenced and contributed to his own work. This section primarily focuses on classical Confucianism, Marxist historical materialism, and Li's unique reinterpretations of Immanuel Kant's philosophies, particularly those presented in his second and third critiques. [End Page 1]In the first three chapters that constitute this first part, Banka offers a clear and comprehensive analysis of how Li Zehou has viewed Kant's apriorism through the lens of Confucianism and integrated it with Marxist materialist foundations, revealing the coherence with his theory of anthropological ontology. By highlighting the interconnectedness of these diverse influences, Banka illuminates the unique synthesis of ideas that form the foundation of Li's philosophy. Through his detailed analysis, Banka shows how Li Zehou managed to create a synthesis between the dynamic elements of historical materialism on the one hand, and Kant's transcendentalism on the other. In Li's system, the concepts of the empirical and the transcendental are interacting in a dynamic, correlative and mutually complementary way. They are both parts of a processual philosophy in which movement is always followed by a standstill. In such a worldview, they always appear as essentially interrelated and interdependent realms of life. Banka provides a comprehensive explanation of the theoretical foundations that underpin the interactive and complementary nature of these two systems. This has culminated in the development of Li's groundbreaking new theory on the transformation of the empirical into the transcendental. In the second part of the book, the author delves into Li's own philosophical system, specifically focusing on his concepts of "subjectality" and beauty. These concepts are not axiologically theorized but instead arise from subjective interactions between human beings and the external world. Through a detailed and logically consistent analysis, the author demonstrates how Li's aesthetics is compatible with contemporary experience-oriented theories that are redefining the discipline on an international level. In chapters 4 and 5, the much-discussed concept of subjectality is viewed from a highly productive perspective, starting from the very center of the notion itself, where a subject actively interacts with the external reality, which in turn shapes its inwardness. The author convincingly demonstrates... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant’s Transcendental Proof of RealismBrandon C. LookKenneth R. Westphal. Kant’s Transcendental Proof of Realism. New York: Cambridge University Press, 2004. Pp. x + 299. Cloth, $80.00.Westphal's book is a rich and exciting contribution to the field of Kant studies. Its claims run counter to much contemporary discussion of Kant's theoretical philosophy and indeed challenge some of Kant's fundamental doctrines, but the arguments are very compelling and (...) therefore likely to force us to rethink both the Critique of Pure Reason [CPR] and Kant's relevance to contemporary epistemology.The central point of this work is that, if we follow Kant's injunction to engage in reflection on our cognitive capacities, then we will be led not to Kantian transcendental idealism but to an unqualified realism about objects and events in space and time. The book's first three chapters are devoted to analyzing Kant's methodology and the much-overlooked idea of transcendental affinity. Westphal focuses on the Kantian duty of engaging in "transcendental reflection," which is "the action through which I make the comparison of representations in general with the cognitive power in which they are situated, and through which I distinguish whether they are to be compared with one another as belonging to pure understanding or to sensible intuition" (CPR, A 261/B 317). And he adds to this the more general methodological obligation of "epistemic reflection," or the duty to determine precisely our cognitive capacities and incapacities. If, then, we reflect on our representations, their origins in sensibility and the understanding, and on our powers to know things of ourselves and the world in general, then certain puzzles arise—puzzles that were confronted by Kant (and Hume and Hegel) but that have not received the attention they have deserved. Chief among these puzzles is our ability to identify single objects and events and track them in space through time. But, as Westphal is keen to point out, identifying any particular over time requires that we be able to re-identify that particular. Now, while this puzzle is addressed by Kant in the Transcendental Deduction and Analogies of Experience, it is important to see that there is a material condition necessary for the possibility of self-conscious experience of the world that is not fleshed out in great detail by Kant and seems to be completely overlooked in the literature on Kant, namely, "the presupposition of diversity in nature" and the homogeneity of its objects among themselves (CPR, A 657/B 685). In other words, the fact that we are able to associate our various sensations with each other at all (and thereby identify and re-identify objects) is due to their "transcendental affinity." And it is Westphal's contention that "on Kant's own principles, the transcendental affinity of the manifold of sensory intuition can only be reconstructed, but not constructed, by intellectual syntheses of the understanding" (91). Therefore, pace Kant, who held that only his transcendental idealism could explain the possibility of experience, Westphal argues that transcendental idealism runs afoul of many of Kant's own arguments and observations in the Transcendental Aesthetic and Transcendental Analytic and, more important, that transcendental affinity provides grounds for "realism sans phrase" (the author's phrase) about objects and events in space and time, and for the view that our mental states are determined by external objects. As Westphal puts it in his conclusion: "Kant's analysis of transcendental affinity is in fact a transcendental argument for mental content externalism" (266). [End Page 665]The second part of Westphal's argument revolves around a detailed examination of Kant's theses about transeunt causality and the nature of matter as expressed not only in the Critique of Pure Reason, but also in the Metaphysical Foundations of Natural Science and the Opus postumum. Roughly the problem is this: in order to have an adequately grounded metaphysics of nature, Kant needs not only the results of the Analogies of Experience, the transcendental causal thesis that every event has a cause, but also the metaphysical causal thesis that every physical event has an external physical cause. But, according to Westphal, in the Metaphysical Foundations... (shrink)

Kant’s late essay ‘The End of All Things’ (1794) establishes a distinctly modern field of inquiry that has fittingly been called ‘philosophical eschatology’ by asking, ‘why do human beings expect an end of the world at all?’ (AA 8:330) Interpretation of the essay’s purpose and argument have usually taken one of two routes: Kant is either understood as writing an esoteric political critique under the guise of the philosophy of religion, or as being focused largely on problems related to the (...) immortality of the soul as a postulate of pure practical reason. In contrast, I argue that the essay presents the end of all things as a cosmological idea of reason. In this essay I trace Kant’s idea of an end as its preconditions are established through the three Critiques, and finally made explicit in his late work. (shrink)

In the past few decades a remarkable change occurred in Kant scholarship: the "other" Kant has been discovered, i.e. the one of the doctrine of virtue and the anthropology. Through the rediscovery of Kant's investigations into the empirical and sensuous aspects of knowledge, our understanding of Kant's philosophy has been enriched by an important element that has allowed researchers to correct supposed deficiencies in Kant's work. In addition, further questions concerning the nature of Kant's philosophy itself (...) have been formulated: the more the "other" Kant comes to the fore, the stronger the question concerning the connection between pure philosophy and empirical investigation becomes. The aim of this study is to show that the psychological and anthropological interpretations of Kant's pure philosophy are not convincing and at the same time to illustrate some connections between his critical and anthropological investigations by means of an analysis of the theory of the faculties. Against both a "transcendental psychological" and an "anthropological" reading, the book presents Kant's theory of the facultiesas a constitutive part of his critical philosophy andshows that there is a close connection between Kant's pure philosophy and his moral aesthetic. (shrink)

This paper considers how Descartes's and Hume's sceptical challenges were appropriated by Christian Wolff and Johann Nicolaus Tetens specifically in the context of projects related to Kant's in the transcendental deduction. Wolff introduces Descartes's dream hypothesis as an obstacle to his account of the truth of propositions, or logical truth, which he identifies with the 'possibility' of empirical concepts. Tetens explicitly takes Hume's account of our idea of causality to be a challenge to the `reality' of transcendent concepts in (...) general, a challenge he addresses by locating the source of this concept in the understanding rather than in the imagination. After considering this background, I turn to Kant's deployment of apparently traditional sceptical concerns at the outset of the transcendental deduction and argue that he does not there intend to introduce a global sceptical challenge and, accordingly, that there are historical grounds for doubting that the transcendental deduction is intended as an anti-sceptical argument. (shrink)

Dieter Henrich’s reconstruction of the transcendental deduction in "Identität und Objektivität" has been criticised (probably unfairly) by Guyer and others for assuming that we have a priori Cartesian certainty about our own continuing existence through time. In his later article "The Identity of the Subject in the Transcendental Deduction", Henrich addresses this criticism and proposes a new, again entirely original argument for a reconstruction. I attempt to elucidate this argument with reference to Evans’s theory of the Generality Constraint and (...) a remark of Strawson’s in Individuals. Its logical form of a sentence-operator requires that the "I think" be capable of accompanying every thought that we can form. Henrich seems to rely on this point, claiming in addition that we must be aware of this property of the "I think". I object that we cannot assume everyone to be capable of doing the philosophy of her own situation. (shrink)

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This dissertation engages critically with the metaphysical implications of the respective transcendentalisms of Husserl, Deleuze, and Kant in an attempt to disclose their largely untapped resources for a renewed consideration of the ability of science to grasp reality as it is in-itself. Chapter 1 examines the metaphysical implications of Husserl’s critique of natural scientific objectivity in his later transcendental philosophy in connection to his early formulations of phenomenological objectivity around the axis of the distinction between metaphysics as the science of (...) real Being and formal ontology as the science of Being in the most universal sense. I argue that Husserl’s phenomenological metaphysics constitutes a framework in which the ideal Being of the transcendental dimension of experience operates as the condition for the possibility of natural scientific objectivity. Chapter 2 scrutinizes Deleuze’s characterization of intensity as a transcendental concept rather than a scientific one against the background of his metaphysics of difference and his critique of the shortcomings of Kant’s transcendental idealism for addressing the transcendental conditions for the genesis of real experience. Through a reading of Deleuze’s metaphysics of difference and intensity in connection to his confinement of the creative productivity of scientific thought to a plane of reference, I argue that the creativity apropos to the scientific engagement with material reality necessitates that such creativity is conditioned by the same transcendental considerations operative in a metaphysics of difference at a broad scale. Against the backdrop of Husserl’s and Deleuze’s respective criticisms of the inadequacy of Kant’s transcendental idealism for articulating the material component of experience, Chapter 3 studies Kant’s later iv conception of ether as the simultaneously empirical and transcendental condition for the possibility and unity of experience. Through an examination of Kant’s renewed understanding of materiality as the necessary and sufficient condition for scientific objectivity in connection with the problematic objectivity of the transcendental ideas created by pure reason in Kant’s Critical philosophy, I suggest that Kant’s later articulation of materiality on transcendental grounds simultaneously addresses the objectivity and the creativity pertinent to the encounter of scientific Thought with material/physical reality. (shrink)

In this dissertation it is argued that Kant's critique of Leibniz as found in the amphiboly chapter of the Critique of Pure Reason derives from his theory of reflection. It is argued further that this unfocused and fragmentary amphiboly chapter, which contains the Leibniz-critique, can be seen to have a previously unsuspected unity to it. The keys to perceiving this unity are the appendix's purpose, structure and mosaic composition. ;The primary purpose of the appendix is not to present (...) class='Hi'>Kant's criticisms of Leibniz as is commonly thought, but rather it is to sketch his theory of reflection. Not only is this attested to by Kant himself , it is also made evident by the structure of the appendix. Structurally, the appendix is built around an introduction to the operation of transcendental reflection and a discussion of the concepts of reflection, this being the structure of each of the first three sections. By means of each pair of concepts of reflection Kant claims to summarize the basic tenets and origin of Leibniz's philosophy. Kant also claims that Leibnizls whole philosophy rests on one seminal error, which will be shown to be the omission of the operation of transcendental reflection. To be sure, Kant claims Leibniz made a number of other errors, but these various errors all derive from the omission of transcendental reflection. ;While this omission can be used to explain the other more well-known epistemological mistakes with which Kant charges Leibniz, it is undeniable that there are certain textual difficulties with the appendix. These can be dealt with by the hypothesis that the different sections were composed at different times and than pieced together without detailed revisions. If such a mosaic composition is granted, then some allowance can be made for the noticeable incongruities between these sections and for occasional problematic passages. This does not, however, warrant the claim that the appendix is not properly placed or unimportant. On the contrary, supplemented by clearer statements of Kant's theory of reflection and of his Leibniz-critique, the following interpretation shows that the appendix is properly placed and integral to the primary aims of the Critique of Pure Reason. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant’s Intuitionism: A Commentary on the Transcendental Aesthetic by Lorne FalkensteinManfred KuehnLorne Falkenstein. Kant’s Intuitionism: A Commentary on the Transcendental Aesthetic. Toronto, Ontario: University of Toronto Press, 1995. Pp. xxiii + 465. Cloth, $70.00.This is the most substantial book on Kant’s Transcendental Aesthetic to appear in a long time. Though the Transcendental Aesthetic takes up only thirty-five pages of the six hundred sixty-five pages of the Critique of (...) Pure Reason, it is most important. Kant’s theory of space and time belongs among his most provocative contributions to philosophy, and it is the centerpiece of his so-called transcendental idealism. As such, it has received a great deal of attention even in recent times, just not many book-length treatments.The book has three parts. The first deals with Kant’s terminology, and in particular with the distinctions between intuition and understanding, form and matter in intuition, and sensation and matter in intuition. Since Kant was far from clear in drawing these distinctions, Falkenstein’s sophisticated discussion adds considerably to a better understanding of them. Part II discusses Kant’s various Metaphysical and Transcendental Expositions. Falkenstein is for the most part sympathetic to Kant’s goals in the Metaphysical Expositions, believing that they go a long way towards establishing that space and time are intuitive or “prior to all processing” (279) and not the result of any kind of synthesis. He is more guarded in his evaluation of the Transcendental Expositions. Though they seem to establish the same conclusion as the Metaphysical Expositions, and though they even seem to strengthen these conclusions, the Transcendental Expositions start from premises that “many will not be able to grant,” like the claim that Euclidean geometry must be presupposed for “solid and enduring objects” (282). Furthermore, they also rely on results established in the Metaphysical Expositions. Thus, while the conclusions of the Metaphysical Expositions are weaker, they are more trustworthy. Falkenstein believes that “far too much attention” has been given to the subjectivity of the forms of intuition, “and far too little (in fact, none) has been focused on the weaker, but still important conclusion that space and time are orders in which sensations are originally received by us” (283). Falkenstein also calls space and time “presentational orders.” In the third part, he examines central claims, which, according to Kant, follow from his arguments, namely, (i) the subjectivity thesis, (ii) the non-spatiotemporality thesis, and (iii) the unknowability thesis. (i) is the claim that space and [End Page 326] time “do and must qualify all the objects of our sensory experience” (288); (ii) is the claim that space and time are “absolutely nothing” apart from intuition, and that things in themselves are neither spatial nor temporal; and (iii) is the claim that things in themselves are unknowable. Falkenstein argues that (i) is largely uncontroversial. It is a basic conclusion that follows from his arguments. While (ii) is controversial and might present great difficulties for Kant, it can be rescued, if it is understood simply as the “analytic claim that any order of things in themselves could not be a presentational order” (356). In this sense it is innocuous and follows from Kant’s arguments. The unknowability thesis (iii) seems to conflict both with the non-spatiotemporality thesis in the strong sense and with a number of things which Kant says about affection and the receptive constitution of the subject in intuition. However, it can also be rescued. If we understand (ii) in a mitigated sense, and if we dismiss Kant’s claims about affection and receptive constitution as vacuous, it also presents no fundamental problems. And Falkenstein argues that we should do just that. The claims about affinity and our receptive constitution do not do any work. They “translate Kant’s Critical Idealism into a naive realist paradigm” and are thus “needlessly confusing” (357).Falkenstein’s book offers a carefully argued and sophisticated account of the Aesthetic. No one concerned with this aspect of Kant’s theoretical philosophy (or indeed any other aspect of it) can afford to ignore it. The book should become an indispensable part of graduate seminars on Kant’s first... (shrink)

The present work is a beautific monograph over Kant’s philosophy. It begins with the proper analysis of nature and significance of content copernican revolution. The author has systematically formulated the epistemic and non-epistemic implications of Kant’s Philosophy the epistemic implications cover the philosophical issues and seminal significance: the notion of space and time, the nature and function of categories, distinction of phenomena and noumena, refutation of idealism and Kantain transcendental idealism, transcendental unity of pure apperception, nature function and limitations (...) of reason (vernuft) and few more. The non-epistemic implication encompass: metaphysical, ethical and aesthetic implications. In metaphysical implication the author clearly demonstrated the limit of reason as a theoretical reason can’t venture into the realm of metaphysical(noumenal) entities such as God, Soul and cosmos- leading to reputation of metaphysics. The ethical implication is directed towards ,analysing the nature and good will, holy will and autonomous will, and apart from that a critical treatment is offered to categorical imperative postulated and maxims of morality. The aesthetics implication tries to analyse the content notion of beauty, sublime and teleology of nature. It is on account of the conceptual clarity, linguistic beauty and systematic exposition of the subject matter that book will receive the enthusiastic response from the students and scholars of philosophy. -/- This book is also Peer reviewed in JICPR, Volume XIX, No. 2, April-June, 2002 by Prof. Laksminarayan Lenka, Department of Philosophy, North Eastern Hill University, Shillong. (shrink)

I argue for a novel, non-subjectivist interpretation of Kant’s transcendental idealism. Kant’s idealism is often interpreted as specifying how we must experience objects or how objects must appear to us. I argue to the contrary by appealing to Kant’s Transcendental Deduction. Kant’s Deduction is the proof that the categories are not merely subjectively necessary conditions we need for our cognition, but objectively valid conditions necessary for objects to be appearances. My interpretation centres on two claims. First, Kant’s method of self-knowledge (...) consists in his determining what makes our cognitive faculty finite in contrast to God’s infinite cognitive faculty. Second, Kant’s limitation of our knowledge to appearances consists in his developing an account according to which appearances and our finite cognitive faculty are conceived of in terms of each other and in contrast to noumena in the positive sense and God’s infinite cognitive faculty. (shrink)

My plan in this article is to begin by raising the question of the point of judgements of beauty, and then to examine Kant's account of beauty in the third Critique from the perspective opened up by that question. Having raised the question of the point, I will argue, first, that there is an implied answer to it in Kant's text, and, second, that the answer is ultimately unsatisfying in that it falsely assumes that there is a ‘need’, (...) or ‘task’, or ‘purpose’, that we all necessarily share, to conceptualize all that encounters us in our experience, and fit it into one unified and comprehensive system. It is only against this assumption of our transcendental cognitive interest that Kant can so much as seem to have a real story to tell about where the value that we claim for things in calling them ‘beautiful’ derives from. This, in effect, means that to the extent that Kant offers us any answer at all to the question of the point of judgements of beauty, that answer testifies to his general neglect of the question of the point of judgements. And my purpose is to draw attention to that neglect, and to begin to assess its significance for Kant's transcendental project in general and for his conception of beauty in particular. (shrink)

Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the music’ and, (...) on the other, groove is the psychological feeling (induced by music) of wanting to move one’s body. Further, I argue that recent work in music psychology shows that these two concepts do not converge on a unified set of musical features. Finally, I also argue that these two concepts play different functional roles in the appreciative practices of jazz and popular music. This should cause us to further consider the mediating role genre plays for aesthetic concepts and provides us with reason for adopting a more communitarian approach to aesthetics which is attentive to the ways in which aesthetic discourse serves the practices of different audiences. (shrink)

Country music critics and scholars have noticed an apparent contradiction between the practical identity of country music with the image of the male country singer as the 'rhinestone cowboy'. In this case, the problem is one of how we can make sense of the rural, working-class, ruggedly masculinity persona common to the genre with its elaborately embroidered, brightly colored, and highly embellished male fashion. The intractability of this problem has led some to argue that the simplest solution is to just (...) deny the legitimacy of country music authenticity discourse altogether. That is, all the genre’s talk of the rural working class is inauthentic and should be discarded. Here, I argue that by accounting for country music authenticity in terms of the genre being a dual character concept, we can fully address the skeptic's worries. Beyond merely being compatible with the Nudie suit however, this notion of authenticity is also our best way of understanding the aesthetic value of the rhinestone cowboy image at all. The resulting picture, in which the suit primarily serves as an epistemic signifier of one’s standing in the country music community, allows for the Nudie suit to function as a class, and sometimes queer, commentary on mainstream culture. (shrink)

In the Critique of Pure Reason Kant appears to make incompatible claims regarding the unitary natures of what he takes to be our a priori representations of space and time. I argue that these representations are unitary independently of all synthesis and explain how this avoids problems encountered by other positions regarding the Transcendental Deduction and its relation to the Transcendental Aesthetic in that work. Central is the claim that these representations (1) contain, when characterized as intuitions and considered as (...) prior to any affections of sensibility, only an infinitude of merely possible finite spatial and temporal representations, and (2) are representations that are merely transcendental grounds for the possibilities for receiving or generating finite representations in sensibility that are determined (immediately, in the case of reception) by means of syntheses that accord with the categories. (shrink)

This paper formalizes part of the cognitive architecture that Kant develops in the Critique of Pure Reason. The central Kantian notion that we formalize is the rule. As we interpret Kant, a rule is not a declarative conditional stating what would be true if such and such conditions hold. Rather, a Kantian rule is a general procedure, represented by a conditional imperative or permissive, indicating which acts must or may be performed, given certain acts that are already being performed. These (...) acts are not propositions; they do not have truth-values. Our formalization is related to the input/ output logics, a family of logics designed to capture relations between elements that need not have truth-values. In this paper, we introduce KL3 as a formalization of Kant’s conception of rules as conditional imperatives and permissives. We explain how it differs from standard input/output logics, geometric logic, and first-order logic, as well as how it translates natural language sentences not well captured by first-order logic. Finally, we show how the various distinctions in Kant’s much-maligned Table of Judgements emerge as the most natural way of dividing up the various types and sub-types of rule in KL3. Our analysis sheds new light on the way in which normative notions play a fundamental role in the conception of logic at the heart of Kant’s theoretical philosophy. (shrink)

Gottfried Martin has recently reminded us of a useful distinction between two possible ways of doing metaphysics. We may proceed by framing a “theory of principles” or by proposing a “theory of being”. Aristotle explicitly formulates both possibilities as the task of metaphysics, formulating a theory of principles in his doctrine of the four types of causal explanation in the first book of the Metaphysics, while exploring the theory of being in a number of other passages, such as Book I, (...) chapters 6 and 9; Book X, chapter 2; and Book XIII. These passages do not elaborate principles whereby we can analyze the structure of certain entities, be they causes, substances or forms, but rather concern themselves with the ontological status of these entities—in what sense can they be said to be? In Plato this distinction is more implicit, but we may contrast the theory of forms developed in the Phaedo and the Republic with the subsequent probing investigation of the being of these forms in the Parmenides and the Sophist. Kant “explicitly claims to have discovered and presented a complete and necessary system of the basic concepts and principles. The proof of the completeness and necessity of this system is the aim of the middle part of the Critique of Pure Reason, the Transcendental Analytic.” Yet. (shrink)

This paper is concerned with what I believe is the epistemological mission of Kant’s doctrine of taste. The third Critique inherits two problems from the first. The evident one is that the categorial constitution of nature must be complemented with the notion of purposiveness. The less evident one is that the transcendental theory of experience needs a common sense in order to secure a common objectivity. The judgment of taste, conceived of by Kant as a ‘cognition in general’ not restricted (...) to either the particular subject or the particular object, offers a solution. It turns out to be a judgment that cannot be made without assuming the purposiveness of nature and the uniformity of the cognizing subjects. (shrink)

Kant's concept of time forms an integral part of his mature system of transcendental idealism. That system is a critical response to his predecessors' treatments of time and related issues. Hence, a proper assessment of Kant's understanding of time requires an elaboration of its distinctive historical and systematic matrix. The aim of the dissertation is to examine critically Kant's mature conception of time in light of both the historical factors that shaped it and the role it plays (...) in Kant's doctrine of transcendental idealism. ;The most important discussion shaping Kant's thought on time is the Leibniz-Clarke Correspondence . The relevance of the Correspondence to Kant's mature view of time has, however, been overlooked by many commentators. The reason for this neglect can be traced in part to a misinterpretation of the question underlying the first antinomy in Kant's Critique of Pure Reason . According to that misinterpretation, the first antinomy revolves around the question whether time itself is finite or infinite. The correction of this mistaken, but common interpretation paves the way for a main task of this dissertation, namely, to reconstruct with historical and systematic accuracy the relation between the issue in the Correspondence underlying the first antinomy and Kant's concept of time. ;The dissertation is divided into four chapters. Chapter One examines the particular issue discussed in the Correspondence which had the greatest impact on Kant's notion of time, namely, the question whether time is absolute, as Clarke and the Newtonians held, or whether it is relational, as Leibniz held. Chapter Two explores how the concept of time in Kant's "Inaugural Dissertation" is influenced by this dispute between Leibniz and Clarke. Chapter Three considers the concept of time and its role in Kant's fully developed transcendental idealism, as articulated in the Critique of Pure Reason. Particular attention is paid to the "Transcendental Aesthetic" and the first antinomy. Finally, Chapter Four critically examines a central assumption of Kant's concept of time that he shares with his predecessors: the infinity of time. It is argued that this assumption overlooks the metaphysical significance of the "moving" present. (shrink)

While there may be a place in some contexts for high handed, “blanket” legislative prohibitions on dissenting views of what constitutes death, the paper under consideration does not describe such a contextThis stimulating and provocative paper by Professor Appel, Defining death: when physicians and families differ, asks us to consider “whether patients’ families should be permitted to opt out of widely accepted definitions of death in favour of their own standards”. This is a striking question in many ways. It reminds (...) us that, as a simple description of fact, there are indeed different standards for human death in so far as different groups or communities have accepted and continue to accept varying notions of what constitutes human death. The question’s reference to “opting out” suggests, perhaps reasonably, that it seems prima facie odd to think of adopting a definition of death as being a matter of individual choice. The reference to “permission” invites us to suppose limitations, primarily legal, upon the extent to which such a choice could be tolerated. Also, the question ascribes to certain “definitions of death” the authority of being widely accepted. The definitions thus favoured are, we learn, the various formulations of death referring to the state of the brain, chief among them “whole brain death” although the author is troublingly vague over whether all such formulations are morally, legally, or conceptually equivalent; and the relevant communities of acceptance turn out to consist of many—but, as the author admits, not all—physicians labouring under varying and inconsistent jurisdictions in the United States.My preface to the criticisms that follow is a …. (shrink)

In the Transcendental Aesthetic (TA), Kant is typically held to make negative assertations about “things in themselves,” namely that they are not spatial or temporal. These negative assertions stand behind the “neglected alternative” problem for Kant’s transcendental idealism. According to this problem, Kant may be entitled to assert that spatio-temporality is a subjective element of our cognition, but he cannot rule out that it may also be a feature of the objective world. In this paper, I show in a new (...) way how Kant’s view (focusing on his conclusions about space) is not subject to this objection, by showing that he does not make the denial about mind-independent reality that he is typically held to make. The argument develops consequences of a new reading of Kant’s expression “an sich selbst” (‘in itself’; ‘in themselves’). I argue that “an sich selbst” or “per se” has a special, judgment-level role, so that this expression does not form new noun-terms adjectivally. It follows that the conceptual unit of Kant’s “Conclusions” in the TA is simply “things” (Dinge), since “things in themselves” is not a nominal expression; Kant adopts the Wolffian ontological use of “thing” as the basic kind-term for any existent. The arguments that things per se are not in space are arguments that space cannot be a necessary property or relations of things as a kind. I show that this does not involve the positive claim about mind-independent reality that inspires the neglected alternative objection. (shrink)

In a series of works published over the last thirty years, Rudolf Makkreel accomplished what can be called a hermeneutical rehabilitation of Kant’s Critique of Judgment. Such a rehabilitation has been formulated in explicit opposition to the negative hermeneutical image of Kant’s aesthetics which originated in the work of Hans-Georg Gadamer, and according to which the subjectivization of aesthetics perpetrated by Kant reduced aesthetic judgments to a mere communication of feelings, sanctioning thereby their hermeneutical irrelevance. In this essay I (...) do not intend to evaluate the legitimacy of Makkreel’s considerations about the hermeneutical importance of Kant’s Third Critique. Rather, I aim to question the pertinence of those considerations for Gadamer’s criticism of Kant, specifically in relation to the notion of sensus communis, which plays a central role both in Gadamer’s and Makkreel’s analyses. (shrink)

In international law, the term "jus cogens" refers to norms that are considered peremptory in the sense that they are mandatory and do not admit derogation. Although the jus cogens concept has achieved widespread acceptance, international legal theory has yet to furnish a satisfying account of jus cogens's legal basis. We argue that peremptory norms are inextricably linked to the sovereign powers assumed by all states. The key to understanding international jus cogens lies in Immanuel Kant 's discussion of the (...) innate right of children to their parents' care. Drawing on Kant 's account, our theory of jus cogens posits that states exercise sovereign authority as fiduciaries of the people subject to their power. An immanent feature of this state-subject fiduciary relationship is that the state must comply with jus cogens. The fiduciary theory clarifies jus cogens's content by generating discrete criteria for identifying peremptory norms. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 447-448 [Access article in PDF] Brigitte Sassen, translator and editor. Kant's Early Critics: The Empiricist Critique of the Theoretical Philosophy. New York: Cambridge University Press, 2000. Pp. ix + 331. Cloth, $54.95. Brigitte Sassen has translated and edited an extremely useful collection of texts dating from the years 1782 to 1789. Most of the texts were written by Kant's (...) empirically minded critics, but a few are the work of defenders of the Critical philosophy. Although some have been translated before—e.g., the notorious Feder/Garve review of the first Critique that prompted Kant's vitriolic response in the Prolegomena, the original Garve review that served as the basis of the Feder/Garve review, and Jacobi's critique of Kant's transcendental idealism—the entire anthology is the first ever to be devoted exclusively to English translations of some of the first reactions to and defenses of Kant's theoretical philosophy. All of this makes for an exciting event in Kant studies.Sassen identifies three major trends in Kant criticism that began in 1782. The first is the empiricist reaction to Kant's theoretical writings. Sassen considers the year 1789 the endpoint of this trend, since critical attention, she argues, shifted around that time to the rationalist reaction to Kant's writings. The initial wave of rationalist criticism, which constitutes the second trend, lasted until 1793. The third and final trend, she says, is the more forward-looking one that eventually blossomed into the systems of post-Kantian thought.Given such a wealth of material, Sassen has focused on Kant's empiricist critics, choosing the writers and topics most representative of the overall empiricist critique of the 1780s. The selections are divided into five sections. The first consists of the Feder/Garve and Garve reviews (from 1782 and 1783, respectively). Since these were the very first reviews of the Critique of Pure Reason, they helped to formulate many of the classic objections to it. For example, not only does the standard charge of Berkeleyan idealism originate in these reviews, but Feder and Garve also express concerns about Kant's ability to distinguish between reality and illusion if nothing in sensation itself determines the understanding to combine sensations in one way as opposed to another. The second section contains discussions of the Transcendental Aesthetic, including an early version of the "neglected alternative" charge more famously made by Trendelenburg in the nineteenth century. Hermann Andreas Pistorius, one of the most sophisticated of Kant's empiricist critics, argues that Kant has not ruled out the possibility that space and time are both forms of sensibility and properties of things in themselves. The third section (especially Jacobi's famous critique) explores the relationship between appearances and things in themselves, the problem of affection, and other topics touching on the very nature of Kant's idealism. The fourth section deals with various issues involving the table of categories. For example, Kant's critics had doubts about its completeness, and they were also puzzled as to how a priori concepts could be applied to ordinary experience. The fifth and final section looks at the contrast between empiricism and purism, that is, the overall adequacy of empiricist and Kantian approaches to issues in metaphysics and epistemology. Here we find Pistorius once again writing thoughtfully about the Critical philosophy, this time in response to Carl Christian [End Page 447] Erhard Schmid, the author of a dictionary for the "easier use" of Kant's writings that went through several editions in the late 1780s and 1790s.This brief sketch of Sassen's book gives only an inadequate idea of its richness and usefulness. Her introduction, which is thorough and informative, patiently sorts out the various players in the debates of the 1780s, outlines their arguments with Kant and one another, and even describes the nature of periodical publication in late eighteenth-century Germany. The editorial apparatus includes short biographies of the participants in the debates as well as the other authors mentioned throughout the book... (shrink)

This landmark book is now reissued in a new edition that has been vastly rewritten and updated to respond to recent Kantian literature. It includes a new discussion of the Third Analogy, a greatly expanded discussion of Kant’s _Paralogisms, _and entirely new chapters dealing with Kant’s theory of reason, his treatment of theology, and the important Appendix to the Dialectic. _Praise for the earlier edition: _ “Probably the most comprehensive and substantial study of the Critique of Pure Reason written by (...) any American philosopher.... This is a splendid book.”—Lewis White Beck “This masterful study... will most certainly join the canon of required reading for future interpreters of Kant’s theoretical philosophy. Superbly organized and lucidly written.”—Garrett Green, _Journal of Religion_. (shrink)

Abstractabstract:Kant's treatment of infinity seems to be plagued by two contradictions. First, the Transcendental Aesthetic claims that space is an infinite given magnitude, whereas the First Antinomy argues that the spatial world cannot be infinite. Second, the Transcendental Aesthetic claims that the representation of infinite space belongs to sensibility, but the third Critique seems to argue, instead, that infinity is an Idea of reason. This paper resolves these apparent contradictions by noting that Kant groups his various conceptions of space (...) into three kinds: (1) merely subjectively given space, (2) objectively given space, and (3) objective space as a mere Idea. Attending to these three conceptions of space illustrates that the Transcendental Aesthetic, First Antinomy, and third Critique refer to different conceptions of infinite space and thus do not contradict one another, illuminating the importance of Kant's various conceptions of space for his critical project. (shrink)

In this volume, Charles Taliaferro and Jil Evans promote aesthetic personalism by examining three domains of aesthetics - the philosophy of beauty, aesthetic experience, and philosophy of art - through the lens of Judaism, Christianity, Islam, theistic Hinduism, and the all-seeing Compassionate Buddha. These religious traditions assume an inclusive, overarching God's eye, or ideal point of view, that can create an emancipatory appreciation of beauty and goodness. This appreciation also recognizes the reality and value of the aesthetic experience of (...) persons and deepens the experience of art works. The authors also explore and contrast the invisibility of persons and God. The belief that God or the sacred is invisible does not mean God or the sacred cannot be experienced through visual and other sensory or unique modes. Conversely, the assumption that human persons are thoroughly visible, or observable in all respects, ignores how racism and other forms of bias render persons invisible to others. (shrink)

Kant’s Critique of Judgment represents one of the most important texts in modern philosophy. However, while its importance for 19th-century philosophy has been widely acknowledged, scholars have often overlooked its far-reaching influence on 20th-century thought. This book aims to account for the various interpretations of Kant’s notion of aesthetic judgment formulated in the last century. The book approaches the subject matter from both a historical and a theoretical point of view and in relation to different cultural contexts, also exploring (...) in an unprecedented way its influence on some very up-to-date philosophical developments and trends. It represents the first choral and comprehensive study on this missing piece in the history of modern and contemporary philosophy, capable of cutting in a unique way across different traditions, movements and geographical areas. All main themes of Kant’s aesthetics are investigated in this book, while at the same time showing how they have been interpreted in very different ways in the 20th century. With contributions by Alessandro Bertinetto, Patrice Canivez, Dario Cecchi, Diarmuid Costello, Nicola Emery, Serena Feloj, Günter Figal, Tom Huhn, Hans-Peter Krüger, Thomas W. Leddy, Stefano Marino, Claudio Paolucci, Anne Sauvagnargues, Dennis J. Schmidt, Arno Schubbach, Scott R. Stroud, Thomas Teufel, and Pietro Terzi. (shrink)

How should we act when uncertain about the moral truth, or when trying to remain neutral between competing moral theories? This dissertation argues that some types of actions and policies are relatively likely to be approved by a very wide range of moral theories—even theories which have never yet been formulated, or which appear to cancel out one another's advice. For example, I argue that actions and policies which increase a moral agent's access to primary goods also tend to (...) increase that agent's likelihood of bringing about good consequences, even under varying and mutually incompatible hypotheses about what consequences count as "good". We therefore have a subjective, pro tanto moral reason to perform such actions and enact such policies—one whose justification does not require treating any particular theory as especially probable, but instead merely requires treating at least one at-least-partly consequentialist moral theory as an open hypothesis, and is therefore applicable even under conditions of moral uncertainty or moral neutrality. My discussion begins abstractly, but as it progresses it gradually applies its framework to increasingly concrete issues. I find that the justification of some liberal policies—in the classical sense of "liberal"—can be accomplished with significantly fewer moral assumptions than have traditionally been relied upon. (shrink)

This paper addresses the extent to which both Julian Barbour‘s Machian formulation of general relativity and his interpretation of canonical quantum gravity can be called timeless. We differentiate two types of timelessness in Barbour‘s (1994a, 1994b and 1999c). We argue that Barbour‘s metaphysical contention that ours is a timeless world is crucially lacking an account of the essential features of time—an account of what features our world would need to have if it were to count as being one in which (...) there is time. We attempt to provide such an account through considerations of both the representation of time in physical theory and in orthodox metaphysical analyses. We subsequently argue that Barbour‘s claim of timelessness is dubious with respect to his Machian formulation of general relativity but warranted with respect to his interpretation of canonical quantum gravity. We conclude by discussing the extent to which we should be concerned by the implications of Barbour‘s view. (shrink)

One of the cornerstone books of Western philosophy, Critique of Pure Reason is Kant's seminal treatise, where he seeks to define the nature of reason itself and builds his own unique system of philosophical thought with an approach known as transcendental idealism. He argues that human knowledge is limited by the capacity for perception and attempts a logical designation of two varieties of knowledge: a posteriori, the knowledge acquired through experience; and a priori, knowledge not derived through experience. This (...) accurate translation by J. M. D. Meiklejohn offers a simple and direct rendering of Kant's work that is suitable for readers at all levels. (shrink)

One third of the transcendental dialectic in Kant's Critique of Pure Reason is devoted to demolishing the pseudo-science of rational psychology. In this part of his work Kant attacks the idea that there is an ultimate subject of experience — the ‘I’ or Self — which can only be investigated and understood intellectually. The belief that such a study is possible is natural to human reason; but it is based on demonstrable error. Kant tries to exorcize our minds from (...) falling prey to this mistake. (shrink)