This new translation of the first Critique forms part of a fifteen-volume English-language edition of the works of Immanuel Kant under the general editorship of this volume’s editor-translators, Paul Guyer and Allen Wood. The edition, which is almost complete by now, comprises all of Kant’s published works along with extensive selections from his literary remains, his correspondence, and student transcripts of his lecture courses in metaphysics, ethics, logic, and anthropology. The Cambridge edition aims at a consistent English rendition of Kant’s (...) works, both within a given volume and across volumes. In terms of scope and detail, the Cambridge edition is unrivaled in any language, except for the authoritative Academy edition begun under the directorship of Wilhelm Dilthey in 1900, which, however, is still not completed and several volumes of which are in serious need of re-editing. In one case, that of the Opus postumum, the best edition currently available seems to be the one in the Cambridge edition. (shrink)

The contribution examines the aesthetic aspect of cognition in Kant by exploring the central function of the power of the imagination in Kant’s critical epistemology, first featured in the Critique of Pure Reason and revisited in the Critique of the Power of Judgment. First, the focus will be on the relationship between the power of the imagination and the two main sources of cognition in Kant, viz., sensibility and the understanding. Second, special attention will be devoted to the distinction between (...) schema and symbol, as alternative products of the power of the imagination in the service of rendering discursive concepts intuitive – with schemata serving to make sensible the concepts of the understanding and symbols suited to provide intuitional counterparts to the concepts of reason. (shrink)

This paper examines the relation between intuition and concept in Kant in light of John McDowell's neo-Kantian position that intuitions are concept-laden.2 The focus is on Kant's twofold pronouncement that thoughts without content are empty and that intuitions without concepts are blind. I show that intuitions as singular representations are not instances of passive data intake but the result of synthetic unification of the given manifold of the senses by the power of the imagination under the guidance of the understanding. (...) Against McDowell I argue that the amenability of intuitions to conceptual determination is not due some pre-existing, absolute conceptuality of the real but to the "work of the subject."3 On a more programmatic level, this paper seeks to demonstrate the limitations of a selective appropriation of Kant and the philosophical potential of a more comprehensive and thorough consideration of his work. Section 1 addresses the unique balance in Kant's philosophy between the work on particular problems and the orientation toward a systematic whole. Section 2 outlines McDowell's take on the Kantian distinction between intuition and concept in the context of the Kant readings by Sellars and Strawson. Section 3 exposes McDowell's relapse into the Myth of the Given. Section 4 proposes a reading of Kant's theoretical philosophy as an epistemology of metaphysical cognition. Section 5 details Kant's original account of sensible intuition in the Inaugural-Dissertation of 1770. Section 6 presents the transition from the manifold of the senses to the synthesis in the imagination and the unification through the categories in the Critique of pure reason . Section 7 addresses Kant's formalism in epistemology and metaphysics.Esse artigo examina a relação entre intuição e conceito em Kant à luz da posição neokantiana de John McDowell de que intuições estão conceitualmente "carregadas". 1 O foco é sobre o duplo pronunciamento de Kant, segundo o qual pensamentos sem conteúdo são vazios e intuições sem conceitos são cegas. Mostro que intuições como representações singuares não são casos de introdução passiva de dados, mas o resultado da unificação sintética do múltiplo dado dos sentidos pelo poder da imaginação sob a orientação do entendimento. Contra McDowell, defendo que a amabilidade das intuições para com a determinação conceitual não é devida a alguma conceitualidade pré-existente, absoluta do real, mas ao "trabalho do sujeito".2 Num nível mais programático, o presente artigo visa demonstrar as limitações de uma apropriação seletiva de Kant e o potencial filosófico de uma análise mais abrangente e aprofundada de sua obra. A seção 1 aborda o equilíbrio único na filosofia de Kant entre o trabalho com problemas particulares e a orientação em direção a um todo sistemático. A seção 2 descreve a posição de McDowell acerca da distinção kantiana entre intuição e conceito no contexto das leituras de Kant por Sellars e Strawson. A seção 3 expõe a reincidência de McDowell no "mito do dado". A seção 4 propõe uma leitura da filosofia teórica de Kant como uma epistemologia do conhecimento metafísico. A seção 5 detalha a explicação original de Kant sobre a intuição sensível na "Dissertação de 1770". A seção 6 apresenta a transição do múltiplo dos sentidos para a síntese na imaginação e para a unificação por meio das categorias na Crítica da razão pura . A seção 7 aborda o formalismo de Kant na epistemologia e na metafísica. (shrink)

This article features the contributions of Fichte and Schopenhauer to a philosophical account of action against the background of Kant's earlier and influential treatment of the topic. The article first presents Kant's pertinent contributions in the areas of general epistemology and metaphysics, general practical philosophy, the philosophy of law and ethic. Then the focus is on Fichte's further original work on the issue of action in those same areas. Finally, the article turns to Schopenhauer's radical revision of the Kantian and (...) Fichtean affirmative accounts of acting and willing through the correlated introduction of the irrational will, the self-negated will and ethical inaction. (shrink)

This essay seeks to present Fichte as a political thinker of European significance. To this end, the first section elucidates the basic political profile of Fichte’s philosophy. The second section further investigates the political character of Fichte’s philosophy by recourse to the triple motto of the French Revolution – „Liberty, Equality, Fraternity” – and its correlation with Fichte’s trinity of „I”, „You” and „We“. The final section addresses the mediating and transitional role and function of the political in Fichte, for (...) whom the state is not a final end but always only a means.Der Beitrag mochte J. G. Fichte als politischen Denker von europaischem Format vergegenwartigen. Zu diesen Zweck exponiert der erste Abschnitt den politischen Grundzug von Fichtes Philosophieren. Der zweite Abschnitt verfolgt die politische Pragung von Fichtes Philosophieren im Ruckgriff auf das triplizitare Motto der Franzosischen Revolution – „Liberte, Egalite, Fraternite“ –, dem die Fichtesche Triade von „Ich“, „Du“ und „Wir“ zugeordnet wird. Der abschliesende Abschnitt behandelt die mediale und transitorische Stellung und Funktion des Politischen bei Fichte, fur den der Staat niemals Selbstzweck und immer nur Mittel zum Zweck ist. (shrink)

Der Beitrag eruiert den Metaphysikbegriff Kants in der systematischen Spanne zwischen Wissenschaftslehre und Weisheitslehre. Der erste Abschnitt erörtert das architektonischmethodologische Verhältnis von transzendentaler Kritik und theoretischer Metaphysik beim kritischen Kant, insbesondere in der Kritik der reinen Vernunft. Der zweite Abschnitt präsentiert Kants kritische Konzeption einer limitativen Metaphysik des Anti-Materialismus, Anti-Determinismus und Anti-Fatalismus in den Prolegomena zu einer jeden künftigen Metaphysik. Der dritte Abschnitt behandelt Kants kritische Konzeption einer praktisch-dogmatischen Metaphysik des "Übersinnlichen in uns, über uns und nach uns" im Fragment (...) der Preisschrift über die Fortschritte der Metaphysik. (shrink)

Kivy distinguishes between three different claims to authenticity in the historical performance movement: authenticity with respect to the composer’s intention, authenticity with regard to sound, and authenticity in matters of performance practice. To this, Kivy adds a fourth notion of authenticity that does not figure in the idealized self-description of the historical performance movement but rather points to an alternative kind of authenticity championed by Kivy himself: the authenticity that a performance might have due to the sincerity of the artist (...) or artists performing it. Kivy proposes to examine each of those four notions of authenticity in two sets of four chapters each—with the first set operating at the descriptive level of conceptual analysis and the second set moving on to the evaluative level of aesthetic judgment. (shrink)

The paper assesses Martin's recent logico-phenomenological account of judgment that is cast in the form of an eclectic history of judging, from Hume and Kant through the 19th century to Frege and Heidegger as well as current neuroscience. After a preliminary discussion of the complex unity and temporal modalities of judgment that draws on a reading of Titian's "Allegory of Prudence" (National Gallery, London), the remainder of the paper focuses on Martin's views on Kant's logic in general and his theory (...) of singular existential judgment in particular. The paper argues against Martin's key claims of the primacy of formal logic over transcendental logic and of the synthetic nature of judgment in Kant. It also takes issue with each of the four interpretations of singular existential judgment in Kant offered by Martin: existence as logical predicate, as copula, as thesis and as logical subject. (shrink)

This chapter reports the biography of Arthur Schopenhauer and explores his particular thoughts on musical philosophy. Schopenhauer was born on February 22, 1788. With his philosophy in general, and more specifically with his philosophy of art, Schopenhauer has probably exercised a greater effect on artists and musicians than any other thinker or writer. His reflections on music were contributions that either focused on the metaphysical significance of the art form or made factual and normative statements about the factors and forms (...) of musical composition. Schopenhauer's theory of redemption through art and of music's closeness to metaphysical origins was warmly received by Europe's cultivated bourgeoisie. (shrink)

The paper assesses Martin’s recent logico-phenomenological account of judgment that is cast in the form of an eclectic history of judging, from Hume and Kant through the 19th century to Frege and Heidegger as well as current neuroscience. After a preliminary discussion of the complex unity and temporal modalities of judgment that draws on a reading of Titian’s “Allegory of Prudence”, the remainder of the paper focuses on Martin’s views on Kant’s logic in general and his theory of singular existential (...) judgment in particular. The paper argues against Martin’s key claims of the primacy of formal logic over transcendental logic and of the synthetic nature of judgment in Kant. It also takes issue with each of the four interpretations of singular existential judgment in Kant offered by Martin: existence as logical predicate, as copula, as thesis and as logical subject. (shrink)

The paper assesses Martin’s recent logico-phenomenological account of judgment that is cast in the form of an eclectic history of judging, from Hume and Kant through the 19th century to Frege and Heidegger as well as current neuroscience. After a preliminary discussion of the complex unity and temporal modalities of judgment that draws on a reading of Titian’s “Allegory of Prudence”, the remainder of the paper focuses on Martin’s views on Kant’s logic in general and his theory of singular existential (...) judgment in particular. The paper argues against Martin’s key claims of the primacy of formal logic over transcendental logic and of the synthetic nature of judgment in Kant. It also takes issue with each of the four interpretations of singular existential judgment in Kant offered by Martin: existence as logical predicate, as copula, as thesis and as logical subject. (shrink)

Minds, Ideas and Objects is a collection of conference papers on the topic of seventeenth- and eighteenth-century theories of ideas or “sensory experience, thought, knowledge and their objects.” At least half the twenty-three papers are by well-known historians of philosophy who seldom disappoint, and there is some equally thought-provoking work among the rest. Some papers say little that is surprising, and some, including good ones, fail to convince, but few are weak. It is perhaps to be expected that coverage of (...) the period is uneven, but chance has played some odd tricks, giving us one paper each on Leibniz and Hume and none on Spinoza, whereas Berkeley excites the attention of six contributors, one more even than Kant. Most philosophers discussed are narrowly canonical, with just a page on Cudworth and only four even on Reid, but there are a couple of welcome articles on the vastly rewarding, until recently seldom studied Arnauld-Malebranche debate. Günter Zöller’s “The Austrian Way of Ideas,” summarizing the views on intentionality of Brentano and his pupils, Twardowski, Meinong, and Husserl, reminds us of the close continuities between early-modern and twentieth-century concerns. (shrink)

Kant, Fichte, and the Legacy of Transcendental Idealism contains ten new essays by leading and rising scholars from the United States, Europe, and Asia who explore the historical development and conceptual contours of Kantian and post-Kantian philosophy.

Johann Gottlieb Fichte was the founding figure of the philosophical movement known as German idealism, a branch of thought which grew out of Kant's critical philosophy. Fichte's work formed the crucial link between eighteenth-century Enlightenment thought and philosophical, as well as literary, Romanticism. Some of his ideas also foreshadow later nineteenth- and twentieth-century developments in philosophy and in political thought, including existentialism, nationalism and socialism. This volume offers essays on all the major aspects of Fichte's philosophy, ranging from the successive (...) versions of his foundational philosophical science or Wissenschaftslehre, through his ethical and political thought, to his philosophies of history and religion. All the main stages of Fichte's philosophical career and development are charted, and his ideas are placed in their historical and intellectual context. New readers will find this the most convenient and accessible guide to Fichte currently available. Advanced students and specialists will find a conspectus of recent developments in the interpretation of Fichte. (shrink)

Provides a systematic overview of the topic of self in classical German philosophy, focusing on the period around 1800 and covering Kant, Fichte, Holderlin, Novalis, Schelling, Schleiermacher, and Hegel.

Anthropology, History, and Education, first published in 2007, contains all of Kant's major writings on human nature. Some of these works, which were published over a thirty-nine year period between 1764 and 1803, had never before been translated into English. Kant's question 'What is the human being?' is approached indirectly in his famous works on metaphysics, epistemology, moral and legal philosophy, aesthetics and the philosophy of religion, but it is approached directly in his extensive but less well-known writings on physical (...) and cultural anthropology, the philosophy of history, and education which are gathered in the present volume. Kant repeatedly claimed that the question 'What is the human being?' should be philosophy's most fundamental concern, and Anthropology, History, and Education can be seen as effectively presenting his philosophy as a whole in a popular guise. (shrink)

In the history of Chinese and European philosophy, metaphysics has played an outstanding role: it is a theoretical framework which provides the basis for a philosophical understanding of the world and the self. A theory of the self is well integrated in a metaphysical understanding of the totality of nature as a dynamic process of continuous changes. According to this view, the purpose of existence can be conceived of as the development and realization of the full potential given to the (...) individual by its nature. In regard to human nature specifically, this idea of self-realization includes the development of all cognitive faculties as well as of the moral character. Metaphysics has, however, suffered a loss of importance in current debates, especially in ethics. As a result, we observe the emergence of such philosophical views as moral skepticism and even nihilism. The consequence of this tendency has been the renunciation of a claim to understanding and to providing a solid ground for ethics. Yet an intercultural dialogue can provide us with some hope as the consolidation of debates on crucial topics of our traditions might indeed serve as the basis for a more powerful philosophy in the future. (shrink)

Kivy distinguishes between three different claims to authenticity in the historical performance movement: authenticity with respect to the composer’s intention, authenticity with regard to sound, and authenticity in matters of performance practice. To this, Kivy adds a fourth notion of authenticity that does not figure in the idealized self-description of the historical performance movement but rather points to an alternative kind of authenticity championed by Kivy himself: the authenticity that a performance might have due to the sincerity of the artist (...) or artists performing it. Kivy proposes to examine each of those four notions of authenticity in two sets of four chapters each—with the first set operating at the descriptive level of conceptual analysis and the second set moving on to the evaluative level of aesthetic judgment. (shrink)

In the summer semester of 1931, Heidegger taught a lecture course entitled, "Interpretations of Ancient Philosophy," at the University of Freiburg. The edited version of Heidegger's manuscript for the course was published as volume 33 of the Martin Heidegger Gesamtausgabe in 1981 and is now available in an English translation that includes the original editor's epilogue and a brief foreward by the translators. The course covers the first three chapters of Book IX of Aristotle's Metaphysics. Within the general discussion of (...) force or capability and actuality throughout Book IX, the three opening chapters deal with force understood as movement in its essence and actualization. Heidegger undertakes a close reading of Aristotle's text and proceeds by way of a sentence-by-sentence translation and commentary of the Greek original. Moreover, the citations, translations, and interpretations are not limited to the portion of the text under review but include relevant passages from other chapters and books of the Metaphysics as well. The text of the Metaphysics cited is that of the edition by W. Christ, first published in 1895. Heidegger's textual comments and corrections as well his various addenda are clearly indicated in the Greek text. (shrink)