Kant and the Claims of Taste, published here for the first time in paperback in a revised version, has become, since its initial publication in 1979, the standard commentary on Kant's aesthetic theory. The book offers a detailed account of Kant's views on judgments of taste, aesthetic pleasure, imagination and many other topics. For this new edition, Paul Guyer has provided a new foreword and has added a chapter on Kant's conception of fine art. This re-issue will complement the author's (...) companion volume, Kant and the Experience of Freedom, which places Kant's aesthetics in its historical context and examines the fundamental connection between Kant's aesthetics and his moral theory. (shrink)
Kant is often portrayed as the author of a rigid system of ethics in which adherence to a formal and universal principle of morality - the famous categorical imperative - is an end itself, and any concern for human goals and happiness a strictly secondary and subordinate matter. Such a theory seems to suit perfectly rational beings but not human beings. The twelve essays in this collection by one of the world's preeminent Kant scholars argue for a radically different account (...) of Kant's ethics. They explore an interpretation of the moral philosophy according to which freedom is the fundamental end of human action, but an end that can only be preserved and promoted by adherence to moral law. By radically revising the traditional interpretation of Kant's moral and political philosophy and by showing how Kant's coherent liberalism can guide us in current debates, Paul Guyer will find an audience across moral and political philosophy, intellectual history, and political science. (shrink)
In this updated edition of his outstanding introduction to Kant, Paul Guyer uses Kant’s central conception of autonomy as the key to his thought. Beginning with a helpful overview of Kant’s life and times, Guyer introduces Kant’s metaphysics and epistemology, carefully explaining his arguments about the nature of space, time and experience in his most influential but difficult work, _The Critique of Pure Reason_. He offers an explanation and critique of Kant’s famous theory of transcendental idealism and shows how much (...) of Kant’s philosophy is independent of this controversial doctrine. He then examines Kant’s moral philosophy, his celebrated ‘categorical imperative’ and his theories of duty, freedom of will and political rights. This section of the work has been substantially revised to clarify the relation between Kant’s conceptions of "internal" and "external" freedom. In his treatments of Kant’s aesthetics and teleology, Guyer focuses on their relation to human freedom and happiness. Finally, he considers Kant’s view that the development of human autonomy is the only goal that we can conceive for both natural and human history. Including a chronology, glossary, chapter summaries and up-to-date further reading, _Kant, second edition _is an ideal introduction to this demanding yet pivotal figure in the history of philosophy, and essential reading for all students of philosophy. (shrink)
This book offers a radically new account of the development and structure of the central arguments of Kant's Critique of Pure Reason: the defense of the objective validity of such categories as substance, causation, and independent existence. Paul Guyer makes far more extensive use than any other commentator of historical materials from the years leading up to the publication of the Critique and surrounding its revision, and he shows that the work which has come down to us is the result (...) of some striking and only partially resolved theoretical tensions. Kant had originally intended to demonstrate the validity of the categories by exploiting what he called 'analogies of appearance' between the structure of self-knowledge and our knowledge of objects. The idea of a separate 'transcendental deduction', independent from the analysis of the necessary conditions of empirical judgements, arose only shortly before publication of the Critique in 1781, and distorted much of Kant's original inspiration. Part of what led Kant to present this deduction separately was his invention of a new pattern of argument - very different from the 'transcendental arguments' attributed by recent interpreters to Kant - depending on initial claims to necessary truth. (shrink)
This collection of essays by one of the preeminent Kant scholars of our time transforms our understanding of both Kant's aesthetics and his ethics. Guyer shows that at the very core of Kant's aesthetic theory, disinterestedness of taste becomes an experience of freedom and thus an essential accompaniment to morality itself. At the same time he reveals how Kant's moral theory includes a distinctive place for the cultivation of both general moral sentiments and particular attachments on the basis of the (...) most rigorous principle of duty. Kant's thought is placed in a rich historical context including such figures as Shaftesbury, Hutcheson, Hume, Burke, Kames, as well as Baumgarten, Mendelssohn, Schiller, and Hegel. Other topics treated are the sublime, natural versus artistic beauty, genius and art history, and duty and inclination. These essays extend and enrich the account of Kant's aesthetics in the author's earlier book, Kant and the Claims of Taste. (shrink)
In this book, the first to describe and assess Hume's influence throughout Kant's philosophy, Guyer shows where Kant agrees or disagrees with Hume, and where Kant does or doesn't appear to resolve Hume's doubts.
The essays in this volume, including two published here for the first time, explore various aspects ofKant's conception of the system of nature, the system of ...
Values of Beauty discusses major ideas and figures in the history of aesthetics from the beginning of the eighteenth century to the end of the twentieth century. The core of the book features Paul Guyer's essays on the epochal contribution of Immauel Kant, and sets Kant's work in the context of predecessors, contemporaries, and successors including David Hume, Alexander Gerard, Archibald Alison, Arthur Schopenhauer, and John Stuart Mill All of the essays emphasize the complexity rather than isolation of our aesthetic (...) experience of both nature and art; and the interconnection of aesthetic values such as beauty and sublimity on the one hand, and prudential and moral values on the other. Guyer emphasizes that the idea of the freedom of the imagination as the key to both artistic creation and aesthetic experience has been a common thread throughout the modern history of aesthetics, although the freedom of the imagination has been understood and connected to other forms of freedom in a variety of ways. (shrink)
This collection of essays, the first of its kind in nearly thirty years, introduces the reader to some of the most important studies of the book from the past ...
The fundamental task of philosophy since the seventeenth century has been to determine whether the essential principles of both knowledge and action can be discovered by human beings unaided by an external agency. No one philosopher contributed more to this enterprise than Kant, whose Critique of Pure Reason shook the very foundations of the intellectual world. Kant argued that the basic principles of the natural sciences are imposed on reality by human sensibility and understanding, and thus that human beings are (...) also free to impose their own free and rational agency on the world. This volume is the only systematic and comprehensive account of the full range of Kant 's writings available, and the first major overview of his work to be published in more than a dozen years. An internationally recognized team of Kant scholars explore Kant 's conceptual revolution in epistemology, metaphysics, philosophy of science, moral and political philosophy, aesthetics, and the philosophy of religion. The volume also traces the historical origins and consequences of Kant 's work. (shrink)
During the 1760s and 1770s, Kant entertained a naturalistic approach to ethics based on the supposed psychological fact of a human love for freedom. During the critical period, especially in the Groundwork for the Metaphysics of Morals, Kant clearly rejected such an approach. But his attempt at a metaphysical foundation for ethics in section III of the Groundwork was equally clearly a failure. Kant recognized this in his appeal to the "fact of reason" argument in the Critique of Practical Reason, (...) but thereby gave up on any attempt to ground the fundamental principle of morality at all. So it is of interest to see how far we might now proceed along the lines of his original naturalistic approach. (shrink)
this paper was written to celebrate the fiftieth anniversary of the publication of The Bounds of Sense by Peter Strawson, in 1966. My own engagement with Kant's Critique of Pure Reason began a few months later, with a course in the spring semester of 1967 taught by Robert Nozick. The Critique had not been regularly taught at Harvard since the retirement of C. I. Lewis a dozen years before, and Nozick, then a twenty-eight-year-old assistant professor, started the course disarmingly by (...) telling us that he was offering the course because he had never read the Critique before and thought that teaching it would be a good way to learn it. Whether he was putting us on, I will never know, but it was... (shrink)
People talk about rats deserting a sinking ship, but they don't usually ask where the rats go. Perhaps this is only because the answer is so obvious: of course, most of the rats climb aboard the sounder ships, the ships that ride high in the water despite being laden with rich cargoes of cheese and grain and other things rats love, the ships that bring prosperity to ports like eighteenth-century Königsberg and firms such as Green & Motherby. By making the (...) insulting comparison - as I am in the course of doing – between us Kant scholars and a horde of noxious vermin, my more or less transparent aim is to mitigate, or at least to distract attention from, the collective immodesty of what I am saying about us. For my point is that, in the past half-century or so, Kant studies has become a very prosperous ship indeed. Its success has even been the chief thing that has buoyed all its sister ships in the fleet of modern philosophy, most of which are also doing very well. (shrink)
Schopenhauer presents his moral philosophy as diametrically opposed to that of Kant: for him, pure practical reason is an illusion and morality can arise only from the feeling of compassion, while for Kant it cannot be based on such a feeling and can be based only on pure practical reason. But the difference is not as great as Schopenhauer makes it seem, because for him compassion is supposed to arise from metaphysical insight into the unity of all being, thus from (...) pure if theoretical reason, while for Kant pure practical reason works only by effecting a feeling of respect (in the works) or by cultivating, i.e. affecting, natural dispositions to moral feeling (in the works). I argue that Kant's is the more realistic theory on this point. (shrink)
The Critique of the Power of Judgment is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume, first published in 2000, includes: the indispensable first draft of Kant's introduction to the work; an English edition notes to the many differences between the first and second (...) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)
Hannah Ginsborg rejects my ‘two-acts’ interpretation of Kant’s conception of aesthetic judgement as untrue to Kant’s text and as philosophically problematic, especially because it entails that every object must be experienced as beautiful. I reject her criticisms, and argue that it is her own ‘one-act’ interpretation that is liable to these criticisms. But I also suggest that her emphasis on Kant’s ‘transcendental explanation’ of pleasure as a self-maintaining mental state suggests an alternative to the common view that pleasure is a (...) distinctive feeling, even if Ginsborg herself does not draw that conclusion. (shrink)
