The unity of aesthetic and teleological judgment, the third and earlier Critiques, is based on Kant′s discovery of a “heuristic method” for applying judgments regarding sense phenomena to abstract thought, a “second attention” which enables an “idea of the whole”. Synthetic judgment, basis for cognition and human action, depends on efficacy of non-empirical insights: the transcendental standpoint, “regulative” ideas, consciousness of “ought” and the reality of freedom, universality of natural mechanism, the principle of “fortuitous” purposiveness. The activity of reflective (...) judgment in the encounter with the beautiful, sublime, living, and two paradigmatic types of explanation, inspired by Spinoza′s distinction of extensio and cogitatio, permit Kant to bridge the gap between freedom and necessity, theoretical knowledge and morality. (shrink)

This essay reconstructs the argument of Kritik der Urteilskraft §§76 –77 by placing it in the context of the “Critique of Teleological Judgment”. What role does the problematic and historically so successful figure of the intuitive understanding play in the antinomy of teleological judgment? The answer is considered indispensable to address the issue of the reception of §§76 – 77. The claim is that these sections institute the “closure” of transcendental philosophy—a closure fundamentally misunderstood by the post Kantians. On (...) the series of distinctions drawn to characterize the “peculiarity” of our human understanding and, by contrast, that of a non-human mind hinges the specific transcendental character of Kant’s philosophy. Once the condition that sustains those distinctions is abandoned transcendental philosophy is abandoned as well. (shrink)

Most studies deny that Kritik der Urteilskraft played a significant role in the early reception of Kant’s philosophy in England. In this paper, I examine the notebooks, letters and lectures of several members of British medical and scientific institutions to tell a different story. Drawing from the writings of Thomas Beddoes, Samuel Taylor Coleridge, Joseph Henry Green and William Whewell, I identify a line of reception in which Kant’s critique of judgement’s power of reflection was used to establish the (...) consilience of the mind’s anticipation of systematic order and the organization of natural bodies. Each discovered in Kant’s Kritik der Urteilskraft a shared principle for judgements of taste and scientific inquiry, made available through the mind’s affective response to the appearance of contingent order in nature. Their writings, I contend, evince a more sophisticated reception of Kant’s philosophy in England than has hitherto been recognized. (shrink)

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This work offers a systematic interpretation of the problematics of disinterest in the Critique of Aesthetic Judgment. It examines Kant's thesis that the judgement of taste is free of considerations of morality or utility. Dahan Fan carefully traces Kant's differentiation between the agreeable, the good, and the beautiful, thus casting the relationship between the interests of reason and aesthetic disinterest in a new light.

This paper seeks to examine the relation between Kant’s aesthetic theory and the philosophy of Enlightenment. My study will focus on two central aspects from the Critique of Judgment: In connection with the Analytic of the Sublime, I will argue that Kant’s discussion of the concept enabled the development of the opinion that experiencing the specifically modern artistic beauty works as a means to equip us with an awareness of ourselves as beings equipped with reason. The second aspect I want (...) to discuss is that of the aesthetic ideas. I will show that in the Third Critique, the idea of experiencing artistic beauty functions as a compensation for the pressure of rationality that sets in together with modernity in the 18th century. (shrink)

In der Reihe werden herausragende monographische Untersuchungen und Sammelbände zu allen Aspekten der Philosophie Kants veröffentlicht, ebenso zum systematischen Verhältnis seiner Philosophie zu anderen philosophischen Ansätzen in Geschichte und Gegenwart. Veröffentlicht werden Studien, die einen innovativen Charakter haben und ausdrückliche Desiderate der Forschung erfüllen. Die Publikationen repräsentieren den aktuellsten Stand der Forschung.

Although Kant had to write his Critique of Judgement with an eye to the Prussian censorship, he nevertheless valued in his aesthetic theory the achievements of the French Revolution. Therefore, the purpose of the article is to analyze the underlying political philosophy of Immanuel Kant's third Critique in the context of the aesthetic theories of his time. The paper presents a brief account of his aesthetic theory (especially of his concepts of "harmony" and "free interplay" between the cognitive faculties) and (...) gives special attention to the question why, in Kant's opinion, political speeches were legitimate objects of aesthetic judgments. (shrink)

Kant entwickelt in der Kritik der Urteilskraft eine philosophische Ästhetik, eine Theorie der organischen Natur. Die beiden scheinbar heterogenen Gegenstandsbereiche sind durch das Prinzip der reflektierenden Urteilskraft, die Idee der Zweckmäßigkeit, verbunden, die der Mensch sowohl bei der Reflexion über die schönen Gegenstände der Natur und der Kunst als auch bei seiner Erforschung der organischen Natur zugrunde legt. Da sich alle Zwecke zuletzt auf den Endzweck des Menschen als moralisches Wesen beziehen, übersteigt die dritte „Kritik" schließlich die Bereiche (...) von Kunst und Natur und berührt Fragen der Moralphilosophie und der Moraltheologie. Zusätzlich entdeckt Kant im subjektiven Vermögen der Urteilskraft jenes Bindeglied unter den menschlichen Gemütskräften, das einen architektonischen Übergang zwischen den Naturbegriffen des Verstandes in der ersten und dem Freiheitsbegriff der Vernunft in der zweiten „Kritik" ermöglicht und die theoretische und die praktische Philosophie in einem einzigen philosophischen System vereinigt. Der vorliegende kooperative Kommentar bietet eine textnahe, fortlaufende Interpretation der „Kritik der Urteilskraft". Für die 3. Auflage anlässlich des 300. Jubiläums Immanuel Kants wurden alle Beiträge überarbeitet und auf den neuesten Forschungsstand gebracht. Mit Beiträgen von: K. Ameriks, J. Bojanowski, R. Brandt, G. Cunico, M. Foessel, E. Förster, C. Fricke, H. Ginsborg, P. Giordanetti, I. Goy, O. Höffe, A. Kablitz, G. Kohler, S. Mathisen, B. Recki, J. Rivera de Rosales, S. Roth und E. Watkins. (shrink)

Kant entwickelt in der „Kritik der Urteilskraft“ eine philosophische Ästhetik, eine Theorie der organischen Natur. Die beiden scheinbar heterogenen Gegenstandsbereiche sind durch das Prinzip der reflektierenden Urteilskraft, die Idee der Zweckmäßigkeit, verbunden, die der Mensch sowohl bei der Reflexion über die schönen Gegenstände der Natur und der Kunst als auch bei seiner Erforschung der organischen Natur zugrunde legt. Da sich alle Zwecke zuletzt auf den Endzweck des Menschen als moralisches Wesen beziehen, übersteigt die dritte „Kritik“ schließlich die Bereiche (...) von Kunst und Natur und berührt Fragen der Moralphilosophie und der Moraltheologie. Zusätzlich entdeckt Kant im subjektiven Vermögen der Urteilskraft jenes Bindeglied unter den menschlichen Gemütskräften, das einen architektonischen Übergang zwischen den Naturbegriffen des Verstandes in der ersten und dem Freiheitsbegriff der Vernunft in der zweiten „Kritik“ ermöglicht und die theoretische und die praktische Philosophie in einem einzigen philosophischen System vereinigt. Der vorliegende kooperative Kommentar bietet eine textnahe, fortlaufende Interpretation der „Kritik der Urteilskraft“. Mit Beiträgen von: K. Ameriks, J. Bojanowski, R. Brandt, G. Cunico, M. Foessel, E. Förster, C. Fricke, H. Ginsborg, P. Giordanetti, I. Goy, O. Höffe, A. Kablitz, G. Kohler, S. Mathisen, B. Recki, J. Rivera de Rosales, S. Roth und E. Watkins. (shrink)

While Kant is perhaps best known for his writings in metaphysics and epistemology (in particular the Critique of Pure Reason of 1781, with a second edition in 1787) and in ethics (the Groundwork of the Metaphysics of Morals of 1785 and the Critique of Practical Reason of 1788), he also developed an influential and much-discussed theory of aesthetics. This theory is presented in his Critique of Judgment (Kritik der Urteilskraft, also translated as Critique of the Power of Judgment) (...) of 1790, a two-part work which deals successively with aesthetics and with the role of teleology (that is, appeal to ends or goals) in natural science and in our understanding of nature more generally. Although Kant's theory of teleology has traditionally been both less influential, and less widely discussed, than his aesthetic theory, its historical and philosophical importance is increasingly coming to be recognized. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:134 When the woman saw that the fruit of the tree was good for food and pleasing to the eye, and also desirable for gaining wisdom, she took some and ate it —­Genesis 3:6 Abstract Aesthetics has emerged as an important battleground in the moral quest for a lower carbon society. Especially in the case of proposed wind farms (an environmentally benign technology in terms of low carbon (...) emissions), opponents frequently refer to the unsightly machines creating negative landscape impacts and ruining the view. This essay seeks to reflect on the particular ways in which visual aesthetics are framed and mobilized in this moral debate. Exploring the dividing lines between pictoral and more-­ than-­ representational approaches I ask if the moral dilemmas in our landscape decisions (e.g. individual rights to beauty or collective duties toward future generations) are obscured by physical or visual realms. The largely invisible nature of wind, electricity and climate change, set within the physical and tangible nature of landscapes and turbines, challenges us to experience the aesthetics of landscapes-­ with-­ machines through more creative and engaging means that are not limited to visibility, nor deaf to morality. SIN, DUTY, AND THE AESTHETICS OF NATURE As the first act of sin in the bible, Eve’s consumption of a visually aesthetic fruit led to humans being banned from the Garden of Eden. Looking at the above sentence more closely, we could even argue that “good for food” is not a positive condition (e.g. tasty, nourishing), but Justice in the Eye of the Beholder? ‘Looking’ Beyond the Visual Aesthetics of Wind Machines in a Post-­Productivist Landscape DAN VAN DER HORST Dan van der Horst / Justice in the Eye of the Beholder? 135 rather the absence of a negative (e.g. inedible), whilst “also desirable” may sound like the hunger for wisdom was only a secondary, additional attraction. The sentence thus draws attention to the key role of aesthetics in the making of a moral decision; would Eve have eaten the forbidden fruit if it was not “pleasing for the eye”? Aesthetic judgments may be informed by a range of factors, but as this bible quote illustrates, morality is key among them. Associations between right and wrong on the one side and beauty or ugliness on the other, are not exactly rare in written history, be they religious, literary or scholastic works. As a marked contribution to the latter, Immanuel Kant has paid particularly close attention to the links between aesthetics and morality, arguing amongst others that any universal agreement in judgments of the sublime must rest on an appeal to moral feelings.1 But universality is not the only logical link between aesthetic judgementandmorality.Peoplecanfeelasenseof‘duty’tofindcertainthings beautiful e.g. because that is the aesthetic judgment of the group they aspire to belong to.2 Whilst this sense of duty can refer to social conditioning and group belonging, it also has resonance for landscape aesthetics at a time of anthropogenic climate change (a universal threat) when we must “learn to love the low carbon landscape.”3 This presents a point of departure from the debate on the moral obligation of preserving aesthetically pleasing landscapes (as we tend to do through legal designations, e.g. national parks), an ethical logic which leads, to use the words of Holmes Rolston, “from beauty to duty.”4 Moreover a posi­ tive aesthetical appreciation of a landscape because it accommodates low carbon technologies, would potentially require an inverse ethical logic, i.e. from duty to beauty.5 Notwithstanding the clear conceptual links between moral and aesthetic judgment, in everyday life it may be far less clear what kind of moral issues may underpin particular expressions of aesthetic sensibility. This can be particularly problematic for the deployment of environmental technologies (i.e. technologies pursued to reduce pollution ) that have significant landscape footprints. That is where we can find universal moral claims demanding environmental action for the common good rubbing up against aesthetic landscape judgments in places where such developments are proposed. This produces an unsatisfactory situation in which the deployment of clean technologies ENVIRONMENT, SPACE, PLACE / VOLUME 10 / ISSUE 1 / 2018 136 is delayed, tensions within local communities may increase... (shrink)

I. Kant’s Critique of Judgment is a maintext to catch the epistemological tensions created by the emerging notion of life . By investigating the specific causality of life in order to explain the phenomenon of self-organization of the living, Kant uses the remarkable concept of technique of nature , thus establishing a strong analogy between technique and life.The consequences of this analogy affect not only the epistemology of life, but also the modern conception of technique.To a technicization of life corresponds (...) a vitalization of technique. A new hybrid territory is thus discovered – that of technical life – in whichstands the possibility of a biological archaeology of modern technique. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 594-596 [Access article in PDF] Immanuel Kant. Critique of the Power of Judgment. Edited by Paul Guyer. Translated by Paul Guyer and Eric Matthews. The Cambridge Edition of the Works of Immanuel Kant. New York: Cambridge University Press, 2000. Pp. lii + 423. Cloth, $64.95. With the publication of this volume, a long dark age, or at least an age of (...) frustrations, comes to an end for English-speaking students of Kant's third Critique. To be sure, translations of the Kritik der Urteilskraft into English have long been available, but hitherto none has been quite satisfactory. J.H. Bernard's (1892) contained numerous errors. James Creed Meredith's (1911-1928) was too free for scholarly purposes. Werner Pluhar's (1987), though systematic in its treatment of Kant's vocabulary, imposed so much restructuring and rewording on his sentences as to make the translator himself an intrusive presence throughout.The new version by Paul Guyer and Eric Matthews surpasses its predecessors in almost every respect. (It equals Pluhar's in including the First Introduction.) In keeping with the principles of the Cambridge Edition of Kant's writings, the translators make literal accuracy a primary desideratum, and leave the work of interpretation, to the greatest extent possible, to the reader. The title itself reflects this policy. The consistent rendering of Urteilskraft as "power of judgment," rather than the familiar "judgment," makes it unambiguous when Kant is talking about judgments and when he is talking about the capacity to make them. It is to be hoped that this will discourage the misconstrual of Kant's distinction between (using Guyer and Matthews's terms) the [End Page 594] "reflecting" and the "determining" powers of judgment as a distinction between two varieties of judgments.The translators' practice of preserving the grammatical complexity of Kant's sentences does sometimes make one wish for some help with his pronouns, since English does not preserve the information that gender carries in German. In most cases, though, one gains more than one loses in comprehension of Kant's reasoning by having his sentences rendered whole rather than in pieces.There are occasions when what is presumably intended as literal accuracy seems more like a needlessly unbending attitude toward idiom. To take one example, at §19, Kant is translated as saying: "whoever declares something to be beautiful wishes [will] that everyone should [solle] approve the object in question and similarly declare it to be beautiful" (121). Of course, wollen is ordinarily to be translated as "want" or "will," and perhaps sometimes as "wish"; but it also can mean "claim" or "hold" in certain contexts, and this seems to me to be one of them, as all previous translators have taken it to be. (One can wish that others would do something, but one cannot intelligibly be said to wish that they should do something.)Of course, no translation can please everyone. Those who were attached to the jingle of "purposiveness without a purpose" may be disappointed to find Zweckmäßigkeit ohne Zweck rendered here as "purposiveness without an end." But, given that there is no good alternative to "purposiveness" to render Zweckmäßigkeit, and that Zweck figures so prominently in Kant's ethical thought, where it is always, and rightly, rendered as "end," the need for consistency and accuracy surely justifies the sacrifice of consonance. Zweck der Natur and Naturzweck are distinguished as "end of nature" and "natural end," respectively (apart from a lapse over pages 34-35); Endzweck and letztes Zweck as "final end" and "ultimate end"; streiten and disputieren (in the "Resolution of the Antinomy of Taste," §57) as "argue" and "dispute." In this last pair it seems to me that Bernard's and Pluhar's "quarrel" would have been a better choice for the first term. The distinction between Streiten and Disputieren, as between "quarreling" and "disputing," is certainly delicate, but not groundless; a distinction between "arguing" and "disputing" seems completely artificial. However, in this as in all such difficult cases, the translators helpfully supply the German terms in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Criticism, Imagination, and the Subjectivization of AestheticsRoger W. H. SavageThe growing discontent with reductivist practices signals a new current in contemporary criticism's understanding of music, literature and art. George Levine's unease with critics who are unable or unwilling to account for their continuing preoccupation with literary texts they expose as "imperialist, sexist, homophobic and racist" illumines the contradiction fueling the reduction of aesthetics to ideology.1 Cultural studies that (...) deploy literature as evidence of the aesthetics' socio-historical substance mask literature's capacity to break open new perspectives on reality by assuming that literary works are politically complicit with the aesthetics' strategic "mystification of the status quo" (A&I, p. 3). Criticism's indifference to its philosophical presuppositions exacerbates the paradox of denouncing a body of works that constitute criticism's aesthetic and intellectual heritage. According to Mario Valdés, literary studies' coming of age mandates that criticism take account of a tradition nurtured by a succession of philosophers including Hans-Georg Gadamer and Paul Ricoeur.2 For Valdés, the post-structuralist realization that literary texts are indeterminate and inexhaustible prohibits replacing the work of art with critical commentaries on it; criticism's collective and determining role belongs to a shared community of commentary whose history and thought is a record of the changing interpretations and understandings of literary texts' meanings. [End Page 164]Valdés's claim extends to the field of contemporary music criticism, where the fashion of denouncing aesthetics as socially pernicious turns against traditional musicology's institutional authority. By demystifying absolute music (instrumental music devoid of programmatic associations), a self-proclaimed critical musicology revolts against traditional musicology's perceived political and ideological agenda. Critical musicology militates against the aesthetic conceit that absolute music transcends its social construction. Yet, by overlooking the philosophical presuppositions that set music's autonomy against practical affairs, new musicology accedes to the schema it recoils against.The tradition nurtured by Gadamer's philosophical hermeneutics and Ricoeur's hermeneutic phenomenology represents a critical current whose significance has been overshadowed by postmodernist investments in decoding music's social and political content. Gadamer's critique of the subjectivization of aesthetics and Ricoeur's meditations on the imagination's capacity for invention offer an alternativeto contemporary music criticism's reaction against the principle of music's aesthetic autonomy. Gadamer and Ricoeur question art's formal separation from reality, which belongs to the history of Kant's radical subjectivization of aesthetics. Gadamer's critique of art's aesthetic differentiation prepares the ground for revealing how socially informed analyses conform to the schema Kant initiates by divorcing judgments of taste from their surrounding cultural ethos. Gadamer argues that, by discrediting theoretical knowledge that does not rely on the methodology of the natural sciences, the transcendental function Kant ascribes to aesthetic judgment lays the foundation for differentiating between art's aesthetic constitution and a concept of truth that accommodates the standard of the natural sciences. Through reducing the "sensus communis to a subjective principle," Kant legitimates his critique of aesthetic judgments by denying taste any importanceas a mode of knowledge.3Ricoeur's hermeneutical reflections on imagination complement Gadamer's critique of a differentiating consciousness that abstracts art works from their cultural worlds. For Ricoeur, imagination is productive when the fictions that works create affect our understanding of ourselves and our world by re-describing reality. Aesthetics' alignment with ideology encounters a limit in the power works evince by unfolding different ways of seeing or hearing reality. Ricoeur's reflections on imagination stand in stark contrast to the idea that individual works represent a form of cultural capital in the struggle for social position [End Page 165] and power. Contemporary critical practices' failure to account for the philosophical separation of judgments of taste from knowledge of reality precipitates the impasse criticism encounters when it identifies aesthetics with ideology at the expense of a work's capacity to affect reality in productive ways. The dispersal and potential disappearance of music's aesthetic character into the recesses of cultural and political analysis keeps step with the conceptual narrowing imposed by a restrictive sociological critique. Demystifying music's ideological representations of gender, race and identity purges romantic... (shrink)

Über die Ideen der theoretischen Vernunft hinaus kennt die Ideenlehre Kants eine Reihe von Ideen reflektierender Urteilskraft und praktischer Vernunft, deren Status, ob konstitutiv oder regulativ, deren systematischer Zusammenhang und deren Legitimation nicht offensichtlich sind. Die Beiträge dieses Bandes stellen Versuche einer Klärung dar, etwa hinsichtlich der Modifikationen der Idee der Zweckmäßigkeit, die die Kritik der Urteilskraft als ästhetische, organologische und ethiko-theologische Zweckmäßigkeit entfaltet. Außerdem wird Zweckmäßigkeit auch in Gestalt der Frage nach dem Fortschritt zum Besseren in der Geschichte (...) thematisiert. Weitere Beiträge diskutieren Ideen der moralisch-praktischen Vernunft, die Freiheitsidee, die personifizierte Idee des Guten, und der Rechtsvernunft, etwa die Staats- und die Völkerrechtsidee. *** In addition to theoretical reason, Kant s theory of ideas recognises a number of ideas of reflective judgment and of practical reason. Their status, systematic coherence and legitimation are not obvious. The essays in this volume seek to offer clarification, for example by modifying the idea of purposiveness which the Critique of Judgement develops as aesthetic, organological and ethico-theological purposiveness. Purposiveness is also thematised as the question of historical progress towards improvement. Other contributions discuss ideas of moral and practical reason, the idea of freedom, the personified idea of goodness, and legal reason, e.g. the forms of national and international law. (shrink)

Zusammenfassung: In Kants Schriften kommt das Wort ‚Metapher‘ nur spärlich vor. Das heißt jedoch keineswegs, dass er das Vorkommen von Metaphern ignoriert und nicht problematisiert hat. In diesem Beitrag habe ich vor, mich mit zwei Schlüsselbegriffen der kantischen Ästhetik zu befassen, nämlich mit der ästhetischen Idee und der symbolischen Darstellung. Hinter beiden verbergen sich Strukturen, die sich als Explikationen der Funktionsweise von Metaphern verstehen lassen. In der analytischen Philosophie des vorigen Jahrhunderts ist die Metapher zum Gegenstand von mancherlei Studien und (...) konkurrierender Theorien geworden. Darunter befinden sich – freilich in einem durchaus unterschiedlichen Begriffsapparat formuliert – auch die beiden Theorien aus der Kritik der Urteilskraft. Trotz allem Konsens gehen sie in der Schlüsselfrage der Existenz der metaphorischen Bedeutung auseinander. Während Max Black seine Auffassung auf der Idee der metaphorischen Bedeutung aufbaute, argumentierte Donald Davidson hingegen, dass diese Idee die Funktionsweise der Metapher nicht zu erläutern vermöge. Diese bis heute unentschiedene Streitsache ist im Rückgang auf Kants Ästhetik aufzuspüren, und zwar in der Form der (heutzutage gleichfalls aktuellen) Frage, ob sich die Funktion von ästhetischen Ideen auf die symbolische Darstellung von sittlichen Vernunftideen reduzieren lässt. Abstract: The term "metaphor" is rare to the writings of Kant. However, it doesn't imply that he ignored or did not question the ubiquity of metaphors. In the present paper, I want to discuss two cardinal concepts of Kant's aesthetics viz., the aesthetic idea and the symbolic presentation. Behind both are contained structures which can be seen as explications of the function of the metaphor. The problem of metaphor has come to a noteworthy revival and to the subject of many competing studies in analytical philosophy. Among them can be found - formulated surely in very different concepts - the two theories from The Critique of Judgement. Despite a considerable amount of agreement, these theories diverge in the key issue of the usefulness of the notion of the metaphorical meaning. While Max Black's account is based on the idea of the metaphorical meaning, Donald Davidson on the other hand argued that such an idea cannot explain the function of the metaphor. This undecided issue can be transposed back into the aesthetical theory of Kant as the issue, whether the function of aesthetical ideas can be reduced to a symbolic presentation of moral ideas of reason. (shrink)

In his most recent book Rudolf Makkreel expands upon his previous work on the hermeneutics of Wilhelm Dilthey and its development in Martin Heidegger and Hans-Georg Gadamer, as well as the hermeneutical importance of Kant’s theory of reflective judgment. The book begins with a helpful overview of key concepts of hermeneutics and contrasts Heidegger’s “ontological” hermeneutics with Dilthey’s “ontic” experiential views. Chapter 2 explores Hegel’s rejection of Kant’s account of aesthetic feeling and Gadamer’s assimilation of that rejection in (...) his hermeneutics. In general this first section presents interesting and helpful contrasts of the hermeneutical theories of Dilthey, Heidegger, and Gadamer.. (shrink)

This essay explores the relation between worldly orientation and rational comprehension in Kant. Both require subjective grounds of differentiation that were eventually developed into a contextualizing principle for reflective judgement. This kind of judgement can proceed either inductively to find new universals or by analogy to symbolically link different objective spheres. I will argue that the basic orientational function of reflective judgement is to modally differentiate the formal horizonal contexts of field, territory, domain and habitat laid out in (...) the Introduction to theCritique of the Power of Judgement. Assessing which context takes priority will be important in making aesthetic judgements and for applying practical reason to comprehend human affairs. (shrink)

The thesis provides a new interpretation of Kant's claims for the epistemological significance of aesthetic judgment. I argue that the harmony of the imagination and the understanding in aesthetic judgment consists in a potentially unending activity of mental modeling, or "exhibiting," of figures corresponding to possible conceptual determinations of the perceptual form of a beautiful object. Since Kant holds just this capacity to exhibit concepts as figures in intuition to be a prerequisite to empirical conception, judgments of taste are based (...) on an activity underlying all cognition. ;I then turn to another area in which Kant claims a close connection between reflection and conception--his analysis of empirical concept formation and application. Kant states that we must presuppose a principle of reflective judgment in order to insure the discoverability of natural regularity. Kant recognizes that transcendental under-determines empirical law, but determining the extent to which Kant thinks this is true is of the utmost importance. Untempered, Kant's broad claims that the principle is necessary for the capacity to form and apply empirical concepts commits him to the un-Kantian position that a reflective principle is constitutive and not merely regulative. I find, however, that the principle is not required for the formation and application of any empirical concepts, but rather for those that purport to correspond to empirically real properties of things. ;Last, I place Kant's theory of reflection in a historical context, considering one Idealist criticism of it--that of Hegel in Faith and Knowledge. I argue that Hegel's Kant critique is best understood as an attempt to overturn the delicate balance Kant sought to strike in according a transcendentally necessary principle merely regulative status. (shrink)

Doch was das Spiel in der Ästhetik soll, so die These dieses Buches, klärt sich erst unter voller Berücksichtigung der praktizistischen Tendenz in Kants Ansatz.

This article offers the first systematic investigation of the linguistic forms in which Kant expresses his transcendental idealism since Gerold Prauss’ seminal book Kant und das Problem der Dinge an sich. It is argued that Prauss’ own argument for the claim that ‘in itself’ is an adverbial expression that standardly modifies verbs of philosophical reflection is flawed and that there is hence very poor exegetical evidence for so-called ‘methodological two-aspect’ interpretations of Kant’s transcendental idealism. A comprehensive investigation of Kant’s adverbial (...) uses of ‘in itself’ rather reveals that there are various groups of verbs that ‘in itself’ modifies, which can more or less all be reduced to a standard use in which ‘in itself’ modifies verbs of predicative being such as the copula. It is also discussed how these findings can be accommodated by the two main alternative kinds of interpretations, that is, two-object and ontological two-aspect interpretations. (shrink)

This edited collection sets forth a new understanding of aesthetic-moral judgment organised around three key concepts: pleasure, reflection, and accountability. The overarching theme is that art is not merely a representation or expression like any other, but that it promotes shared moral understanding and helps us engage in meaning-making. This volume offers an alternative to brain-centric and realist approaches to aesthetics. It features original essays from a number of leading philosophers of art, aesthetics, ethics, and perception, including Elizabeth (...) Burns Coleman, Garrett Cullity, Cynthia A. Freeland, Ivan Gaskell, Paul Guyer, Jane Kneller, Keith Lehrer, Mohan Matthen, Jennifer A. McMahon, Bence Nanay, Nancy Sherman, and Robert Sinnerbrink. Part I of the book analyses the elements of aesthetic experience— pleasure, preference, and imagination—with the individual conceived as part of a particular cultural context and network of other minds. The chapters in Part II explain how it is possible for cultural learning to impact these elements through consensus building, an impulse to objectivity, emotional expression, and reflection. Finally, the chapters in Part III converge on the role of dissonance, difference, and diversity in promoting cultural understanding and advancement. Social Aesthetics and Moral Judgment will appeal to philosophers of art and aesthetics, as well as to scholars in other disciplines interested in issues related to art and cultural exchange. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Judgement and Sense in Modern French Philosophy: A New Reading of Six Thinkers by Henry Somers-HallClayton CrockettSOMERS-HALL, Henry. Judgement and Sense in Modern French Philosophy: A New Reading of Six Thinkers. Cambridge: Cambridge University Press, 2022. 264 pp. Cloth, $99.99Henry Somers-Hall's book examines how French philosophers in the twentieth century develop a logic of thinking based on sense that is both influenced by but also counters Kant's paradigm (...) of thinking, which is based on judgment. Beginning with Kant and German idealism, including the German responses to Kant in the work of Hölderlin, Fichte, Schelling, and Hegel, this book then carefully draws out the ways that Bergson, Sartre, Merleau-Ponty, Derrida, Foucault, and Deleuze all work against this understanding of thinking as judging by showing how our experience and our thought precede the categories of judgment.In chapter 1, Somers-Hall carefully sets out Kant's model of thinking and shows how the categories of philosophical thought are fundamentally based on how we judge our sensible intuitions. Judgment is at the center of Kant's thought, and this is apparent in the Critique of Pure Reason, including the famous Transcendental Deduction. Our knowledge has a legislative function in relation to objects, and conscious synthesis takes the form of a judgment. Despite their criticisms of Kant, later German idealists do not fundamentally depart from this modality of judgment that takes place at the center of their philosophy. Even though they put Kant's concepts in motion, it remains a structure of judgment that is understood as dynamic.Chapter 2 turns to Bergson, to show how his emphasis on immediate experience precedes categorical judgement. Bergson distinguishes between temporal and spatial multiplicities, and argues that temporal multiplicities that are expressed in terms of duration underlie the spatial ones that contribute to judgment. Duration is a deeper experience of time that is associated with life. Somers-Hall in chapter 3 examines Sartre's writings on imagination to show how consciousness is a pure relation and an affective mode of thinking that underlies the categorial mode of judgment.Most of these French philosophers develop their accounts of noncategorial sense in either explicit or implicit relation to Kant's philosophy. Merleau-Ponty is no exception, and in chapter 4 we see how it is the organization of perception that gives sense to the world, and this precedes and generates "our reflective categories of judgement." Judgment emerges out of perception, although Merleau-Ponty grounds perception in the embodied person. Derrida does not ground sense or [End Page 365] thinking in a body, but looks for noncategorial grounds that make possible "surface structures of thinking." In chapter 5, Somers-Hall elaborates Derrida's famous nonconcept of différance, which underlies and makes possible our concepts of voice and writing that appear to be oppositions but in fact are not because they rely on each other. Différance is not a concept; it is prior to conceptual determination, and it "operates as an 'origin' that has none of the traits of the structure of judgement."Foucault relies on Kant for his three epistemes of resemblance, representation, and the human being, modern man. Chapter 6 shows how Foucault is concerned in both his archaeology and his genealogy with opening up the structures of power that make any juridical ordering possible. Here a productive biopower works beneath what we recognize more explicitly as "juridico-discursive power" in both positive and negative ways that escape the grasp of a philosophy that is solely based on judgment.In chapter 7 Somers-Hall shows how Deleuze's concept of intensity underlies all forms of representational judgment. Intensity operates according to a process of differentiation that produces a logic of sense, which we miss when we grasp onto a "dogmatic image of thought" that "prevents a genuine encounter with the world [that] conditions us to understand it in terms of unified subjects who make sense of the world in terms of judgements." We think in response to a shock or an encounter with something in the world that forces us to think and to make sense. We form judgments retroactively, by reducing differences to... (shrink)

My aim in this article is to study the role of beauty as symbol of morality within Kant’s Kritik der Urteilskraft. First, I draw a comparison between the schematism of concepts and the process of analogous reasoning. I sustain that analogous and symbolic reasoning leads in Kant to a consideration of the objects under the conditions set by the reflective agent himself: the thesis that I will prove thereby is that symbolic objects serve one’s own purposes of reflection (...) on a given topic. I proceed then to explain why Kant considers that beauty is an adequate symbol of morality on account of the existence of an interesting number of similarities between the aesthetical and the moral realms. Lastly, I clarify why only freedom can be exhibited by means of a symbol in Kantian aesthetics, and why the other two ideas of reason —namely God and the soul— are much more associated with the experience of the sublime. (shrink)

The Significance of Taste: Kant, Aesthetic and Reflective Judgment ROBERT B. PIPPIN 1? THE FUNDAMENTAL QUESTION of the "Analytic of the Beautiful" in the "Critique of Aesthetic Judgment" is easy enough to identify. On what basis, if any, could one claim some sort of universal a priori validity for judgments of the form, "This is beautiful"? In Kant's well-known analysis of this question, the issue is reformulated as: By what right could one claim that another person ought to feel (...) pleasure in the presence of certain objects? Let us call this the "basic question."' There is controversy enough about what Kant means by this basic question and how a deduction of the validity of such judgments is supposed to work. However, shortly after Kant began serious work on a "Critique of Taste" in ~787, the whole issue became even more complicated when the proposed work became a full-blown Critique of Judgment. The question of aesthetic judg- ment was presented within the new, larger topic of reflective judgment, was presumably thereby linked to the problem of teleological judgments, and so to the great general theme of the whole of the third Critique: the purposiveness I am grateful, for comments and criticisms, to Henry Allison, Volker Gerhardt, Rudolf Makkreel, Miles Rind, and to two anonymous referees for this journal. ' Kant's own formulation: "How is a judgment possible in which the subject, merely on the basis of his own feeling of pleasure in an object,.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Georg Simmel Reappears: “The Aesthetic Significance of the Face”James T. Siegel (bio)Michael Landmann, the editor of Georg Simmel’s collected works, tells this anecdote about him. Simmel had submitted a piece called “Psychological and Ethnological Studies on Music” as his doctoral dissertation. His examining committee refused to accept it. As the American translator of the piece retells Landmann’s anecdote, theyinstead granted the degree for a previously written distinguished (...) study on Kant’s monadology. While Zupitza [the committee’s chair] would have been willing to accept this study on music, if it were first “cleared of the numerous misspellings and stylistic errors,” Helmholtz was more skeptical: “Regardless of my other reservations, Simmel is entirely too confident in his conclusions. And the manner in which he presented the faculty with this piece which is so full of misspellings and stylistic superficialities, which evidently was not proofread, in which sentences which are cited from foreign languages can hardly be deciphered, does not attest to a great deal of reliability. Insofar, however, as he has quite a few illustrious predecessors for what he evidently takes to be the method or lack of method of scientific study, he may let them serve as some kind of personal excuse. I, however, believe that we will be doing him a greater service if we do not encourage him further in this direction.”[Landmann 17]1It seems it is Simmel’s fate to be dismissed yet still to be recognized, if not for the work at hand, for something else. Donald Levine, for instance, notes that in Talcott Parsons’s attempt to recuperate German and French sociology for the English-speaking world, there is no mention of Simmel. He says further that his studies of art “are not well known by art historians and critics” just as his work in the philosophy of history is ignored by historians. Simmel died in 1919, but there are still recurrent “discoveries” of Simmel, as witnessed by the sporadic bursts of translations into English. The Philosophy of Money, for instance, published in 1900, was not translated into English until 1978, the famous essay “The Stranger” in 1950, and so on. Just as Simmel left no students who worked in the way he did and no school of sociology, the revivals of Simmel, which usually are marked by a sense of anticipation (“now we will not only learn something; we will carry it forward”), tend to die away without leaving important (or at least recognizable) effects. [End Page 100]It is difficult to quote Simmel and to carry on his work through the usual modifications of something already in place. There is, instead, the attempt to present him “nonetheless.” Thus Donald Levine, to whom the English-speaking world is much indebted for his translations and presentations of Simmel, says: “[t]he presentation of a coherent account of the whole of Simmel’s social thought is complicated by the fact that coherence is generally not considered to be one of the hallmarks of Simmel’s writing” [11]. Levine writes this sentence in a piece he entitles “The Structure of Simmel’s Social Thought.” There are indeed a number of attempts to say what it is that Simmel was trying to do, as though readers had decided that Simmel is unclear but that “nonetheless” we can discern something of great value—just as his thesis committee in refusing his dissertation decided “nonetheless” that another piece would do. If Simmel did not deserve a degree for a piece on the ethnology and psychology of music, surely he deserved it for a work on Kant’s monadology. It seems to be Simmel’s talent to divert interest from whatever he is saying to something else—and always to something of interest and importance. Hence the fact that his influence is much greater than appears from the relative lack of citations to him and the absence not merely of a school of scholarship but of a style of writing traceable to him. His influence disappears at the moment it is most strongly felt. And just when he seems to be out of sight, forgotten, or used up, he reappears. 2Max Weber gives... (shrink)

This study characterizes Kant's understanding of the relation between aesthetic and moral judgment by examining the concept of sublimity in three of Kant's texts: the Beobachtungen uber das Gefuhl des Schonen und Erhabenen , the Bemerkungen in den " Beobachtungen uber das Gefuhl des Schonen und Erhabenen" , and the Kritik der Urteilskraft . Part I examines aesthetic and moral judgment in the Observations and the Remarks; Part II characterizes Kant's account in the later or critical period; and Part (...) III contains my English translation of the Remarks . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.3 (2002) 406-408 [Access article in PDF] Book Review Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment Henry E. Allison. Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment. New York: Cambridge University Press, 2001. Pp. xvi + 424. Cloth, $69.95. Paper, $24.95. In his new book, Henry Allison provides a study of the two introductions (...) and the first half of Kant's Critique of the Power of Judgment to stand alongside his previous books on Kant's theoretical and practical philosophy, Kant's Transcendental Idealism (1983) and Kant's Theory of Freedom (1990). Those books showed Allison's commitment to the unity and coherence of Kant's thought, and it is the aim of the present book to demonstrate the connections between the two halves of Kant's third Critique, that is, Kant's aesthetics and his teleology, as well as to demonstrate the connections between Kant's aesthetic theory and both his theoretical and his practical philosophy. In order to defend the unity of the third Critique, Allison defends Kant's characterization of the judgment of taste as a species of reflective judgment, and argues that our judgments of beauty depend upon the principle of the purposiveness of nature that is also the basis for judgments about the systematicity of natural laws. To display the connections between Kant's aesthetics and his theoretical philosophy, [End Page 406] Allison uses the first Critique's distinction between the quid facti and the quid juris to explicate the relation between Kant's "analytic of the beautiful" and his "deduction of pure aesthetic judgment"; he then defends the success of Kant's strategy for the deduction of judgments of taste by grounding them in the general conditions of the possibility of cognition. Finally, in order to explain Kant's connection between aesthetics and morality, Allison interprets Kant's theory of the "intellectual interest" in the beautiful as evidence of nature's amenability to our achievement of the ends of morality, an assurance that we need not be motivated in the first place to act as morality requires, but rather to prevent our motivation to be moral from being undermined by our own predisposition to radical evil. He then defends Kant's thesis that all beauty, and thus natural as well as artistic beauty, can be seen as an expression of aesthetic ideas, and specifically of the morally requisite idea of nature's amenability to the achievement of our moral objectives.There is much in this approach with which I can agree, and some with which I cannot. I agree that there is much in Kant's general conception of reflective judgment that illuminates his conception of judgments of beauty, yet I do not think that the principle of taste is analogous to the principle of the purposiveness of nature, because it does not play a role in making particular judgments of taste analogous to the role the latter principle plays in the conduct of scientific inquiry. My own interpretation of Kant's model for making particular judgments of taste is not fundamentally different from that which Allison offers under the rubric of the quid facti, although we disagree about which of the four "moments" of the "Analytic of the Beautiful" are part of the meaning of a judgment of beauty and which function more as grounds for making judgments with such a meaning. But I am not persuaded by Allison's defense of Kant's deduction of pure judgments of taste, that is, his answer to the quid juris, from the objections that I and others have raised to it. Finally, although there are large areas of agreement between our interpretations of Kant's theory of intellectual interest in the beautiful, the claim that aesthetic experience is evidence of nature's amenability to the realization of the ends that we adopt in the name of morality is only part of the story that Kant develops in the Critique of Aesthetic... (shrink)

: In this paper, I shall defend the thesis that the idea of a universal history in Kant’s third Critique is not legitimated from a theoretical and systematic point of view but instead from a practical point of view. In order to sustain this interpretation, I shall reconstruct parts of arguments from the entire Critique of Teleological Judgment. First, I shall argue that in the Analytic as in the Dialectic, the external purposiveness can legitimize only a teleological history of nature (...) but not a universal history. Second, I defend that in the Methodology, the idea of a universal history is grounded in an interest of pure practical reason. (shrink)

In this paper, I shall defend the thesis that the idea of a universal history in Kant’s third Critique is not legitimated from a theoretical and systematic point of view but instead from a practical point of view. In order to sustain this interpretation, I shall reconstruct parts of arguments from the entire Critique of Teleological Judgment. First, I shall argue that in the Analytic as in the Dialectic, the external purposiveness can legitimize only a teleological history of nature but (...) not a universal history. Second, I defend that in the Methodology, the idea of a universal history is grounded in an interest of pure practical reason. (shrink)

The key concept in Kant’s aesthetics is “aesthetic reflective judgment,” a critique of which is found in Part 1 of the Critique of the Power of Judgment (1790). It is a critique inasmuch as Kant unravels previous assumptions regarding aesthetic perception. For Kant, the comparative edge of a “judgment” implicates communicability, which in turn gives it a public face; yet “reflection” points to autonomy, and the “aesthetic” shifts the emphasis away from objective properties to the subjective response evoked (...) by the object. Contrary to the view he had inherited, Kant did not treat aesthetic judgments as confused perceptions or inferior cognitions, but rather put them in a category of their own. For Kant, aesthetic reflective judgments implicated not only the processes involved in understanding the empirical world but also the processes involved in ascribing ideas or meaning to experience (which go beyond what is given in perception/cognition). This “going beyond cognition” may have been referred to by Kant as non-cognitive, but it is conditioned on a way of cognizing the object. Kant describes the features of such judgments in the Analytic of the Beautiful before addressing their possibility in subtle ways throughout the Deduction of Pure Aesthetic Judgments. Kant’s critique gives rise to three apparent dichotomies: immediate intuition and prior learning; autonomy and communicability; and non-cognitive response and aesthetic ideas. An interpretation of Kant’s theory can be deemed correct to the degree that it succeeds in showing that the contradictions are only apparent. I will argue that the resulting positive account of Kant’s aesthetic theory offers an understanding of aesthetic reflective judgment that is quite different from the standard formalism that the critics of formalism usually target and by which they misrepresent Kant’s aesthetic theory. When I refer to Kant’s formalism, then, I mean something quite different by this than what is meant by “standard formalism.” The latter is the representation given Kant’s formalism by its contemporary critics and is the typical account of formalism found in the art theory and philosophy of art literature, as will be demonstrated. (shrink)

This new volume of the SAGE Social Thinkers series, The Social Thought of Georg Simmel provides a concise introduction to the work, life, and influences of Georg Simmel. Horst J. Helle closely examines the writings and ideas of Simmel that introduced a new way of looking at culture and society and helped establish sociology’s place among the academic fields. The book focuses on the key intellectual concerns of Simmel, including the process of individualization, religion, private and family (...) life, cities, and modernization. It is ideal for use as a self-contained volume or in conjunction with other sociological theory books. (shrink)

Marcus Verhaegh - Aesthetics and Cognition in Kant's Critical Philosophy - Journal of the History of Philosophy 45:2 Journal of the History of Philosophy 45.2 336-337 Muse Search Journals This Journal Contents Reviewed by Marcus Verhaegh Grand Valley State University Rebecca Kukla, editor. Aesthetics and Cognition in Kant's Critical Philosophy. Cambridge-New York: Cambridge University Press, 2006. Pp. xiii + 309. Cloth, $75.00. This collection of essays focuses on the Critique of Judgment, a work that offers material in (...) class='Hi'>aesthetics, but that also has much to teach us concerning the nature of non-aesthetic judgment, concept formation, teleology, and the task of investigating both the natural and moral realms. The pieces in the collection reflect.. (shrink)

In this paper, I argue that Darwin's On the Origin of Species can be interpreted as the culmination of an extended exercise of what Kant called ‘the reflecting power of judgement’ that issued in a form of reasoning that Hegel associates with inference by analogy and that Peirce associates with hypothesis and later assimilates to abduction. After some exegetical and rationally reconstructive work, I support this reading by showing that Darwin's theory of natural selection gave us a way of understanding (...) the purposive character of organic generation and growth that does not rely on an analogy with intentional agency and outlining some of the uses to which this new understanding was put in reasoning about mind and society by American intellectuals in the second half of the nineteenth century. In the process I hope to shed some light on the relationship between mechanistic and purposive explanation in judgements of nature. (shrink)

In this paper I claim that the metaphysical concept of culture has come to an end. Among the European authors Georg Simmel is the foremost who has deconstructed the myth of culture as a substantial totality beyond relations or prior to them. Two tenets of research have prepared the end of all-inclusive culture: First, Simmel's formal access that considers society as the modality of interactions and relations between individuals, thus overcoming the social evolutionism of Auguste Comte; second, his critical (...) exegesis of idealistic philosophy of history, thus leaving behind the Hegelian tradition. Although Simmel adheres in some statements to the outdated idea of morphological unity, his sociological and epistemological thinking paved the way for the concept of social identity as a network of series connected loosely by contiguity. This type of connection is confirmed by the present feeling of life as individual self-invention according to changing situations. (shrink)

Conceptions of evil have changed dramatically over time, and though humans continue to commit acts of cruelty against one another, today we possess a clearer, more moral way of analyzing them. In _Narrating Evil_, María Pía Lara explores what has changed in our understanding of evil, why the transformation matters, and how we can learn from this specific historical development. Drawing on Immanuel Kant's and Hannah Arendt's ideas about reflective judgment, Lara argues that narrative plays a key role in (...) helping societies acknowledge their pasts. Particular stories haunt our consciousness and lead to a kind of examination and dialogue that shape notions of morality. A powerful description of a crime can act as a filter, helping us to draw conclusions about what constitutes a moral wrong, and public debates over these narratives allow us to construct a more accurate picture of historical truth, leading to a better understanding of why such actions are possible. In building her argument, Lara considers Greek tragedies, Shakespeare's depictions of evil, Joseph Conrad's literary metaphors, and movies that portray human cruelty. Turning to such philosophers and writers as Jürgen Habermas, Walter Benjamin, Primo Levi, Giorgio Agamben, and Ariel Dorfman, Lara defines a reflexive relationship between an event, the narrative of the event, and the public reception of the narrative, and she proves that the stories of perpetrators and sufferers are always intertwined. The process of disclosure, debate, and the public fashioning of collective judgment are vital methods through which we make sense not only of new forms of cruelty but of past crimes as well. _Narrating Evil_ describes the steps of this process and why they are a crucial part of our attempt to build a different, more just world. (shrink)

In this essay I offer a partial rehabilitation of Cohen’s Kant interpretation. In particular, I will focus on the center of Cohen’s interpretation in KTE, reflected in the title itself: his interpretation of Kant’s concept of experience. “Kant hat einen neuen Begriff der Erfahrung entdeckt,”7 Cohen writes at the opening of the first edition of KTE (henceforth, KTE1), and while the exact nature of that new concept of experience is hard to pin down in the 1871 edition, he states it (...) succinctly in the second edition (henceforth KTE2): experience is Newtonian mathematical natural science.8 While this equation of experience with mathematical natural science has few contemporary defenders, I believe it is substantially correct, with one important qualification. Kant uses the term Erfahrung in a number of different senses in the Kritik der reinen Vernunft (henceforth, KrV). I will argue that a central, and neglected, sense of that key technical term aligns with Cohen’s reading; what Kant sometimes refers to as ‘universal experience’ (sometimes, simply ‘experience’) is, in broad outlines, correctly interpreted by Cohen as mathematical natural science. (shrink)

이 글의 주목적은 국내외 철학계에서 거의 수용된 바 없는 청년 짐멜의 ‘철학적 윤리학’ 비판을 칸트의 ‘정언명령’에 대한 그의 논의를 중심으로 고찰하는 것이다. 구체적 분석의 대상이 되는 텍스트는????도덕과학입문. 윤리학의 기본개념들에 대한 비판????(Einleitung in die Moralwissenschaft. Eine Kritik der ethischen Grundbegriffe) 1, 2권이다. 부차적으로 나는 그가 말하는 ‘기술적 윤리학’(deskriptive Ethik)이 훗날 루만이 내놓는 도덕사회학적 명제를 이미 상당부분 선취하고 있음을 시사하고자 한다. 짐멜은 철학적 윤리학이 사용하는 기본 개념들의 의미와 경계가 종종 불확실하고 동일한 개념이 완전히 상반된 원리들과 결합될 수 있다고 지적하였다. 바로 이러한 (...) 윤리학의 기본개념들을 비판하고 이를 통해 도덕 현상에 대한 하나의 과학을 예비하겠다는 것이 짐멜의 목표이다. 나는 정언명령에 대한 그의 논의를 단서로 해서 그가 어떻게 철학적 윤리학 내부로부터 비판적 재구성을 통해 도덕사회학적 사고로 나아가는지를 세밀하게 밝히고자 한다. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 445-446 [Access article in PDF] G. Felicitas Munzel. Kant's Conception of Moral Character: The "Critical" Link of Morality, Anthropology, and Reflective Judgment. Chicago: University of Chicago Press, 1999. Pp. xxii + 378. Cloth, $53.00. Paper, $24.00. Given the recent trend in Kant scholarship to seek a kinder, more caring philosopher behind the familiar rules and imperatives, a study focusing on (...) the place of "character" in Kant's thought is a timely contribution to a growing body of work. Indeed, G. Felicitas Munzel intends to go where no Kantian has gone before and show not only that Kant has a conception of character, but that it is "rich" (1) and "unique in the history of philosophy" (5). Considering his "corpus as a whole" (6), she sets out to demonstrate the "systematic importance" of the concept for Kant's thought (1) and reveal "a richer sense of familiar notions of his moral philosophy than is generally appreciated" (11).From the outset, however, high hopes prove hard to sustain. In Chapter 1, Munzel's exegetical efforts to link "character" with Denkungsart ("conduct of thought") and Gesinnung ("comportment of mind"), either delineate only familiar elements of Kant's thought or attribute to him views which philosopher and non-philosopher alike could hardly deny: in Kant's "rich" conception, character involves clear thinking and perfection, and is an "accomplished state" (67) presupposing sound reasoning and the capacity to think. In what becomes the dominant theme of the study, Munzel concludes that, for Kant, character is an activity in which the objective moral law is realized in subjects acting on maxims and from firm principles.In Chapter 2 the reader is subsequently led across a familiar terrain of causality, desire, and feeling, to learn that Kant is disinclined to inclination, but very much inclined to reason (71-2); and that character has a foot in both the empirical and intelligible orders of causality (74). The same goes for desire (95ff.) and aesthetic capacity (126ff.), where the "moral form" of character represents the union of reason and nature. A [End Page 445] similar story continues in Chapter 3 where Munzel considers Kant's view of religion and hopes to cast "new light" (142) upon and foster "fresh appreciation" (182) for "radical evil." Again, the reader spots comforting landmarks along the way and emerges into a world unchanged: for Kant, Munzel concludes, human conflict is a manifestation of evil with its roots in human nature; virtue involves progress or advance; and a well-established character brings inner and outer peace to human life (134-6).In the remainder of the book Munzel turns to the "structure and cultivation of character." Chapter 4 focuses on orientation, reflective principles, conscience, and discourse where, rambling through the Kantian landscape, one learns that common sense is a source of principles (198ff); maxims should be steadfastly adopted (208-9); and that morally upright persons should know their duty (210), tell the truth (246), and develop their capacities to the full (249). By this stage, that "character must be made subjectively rational" (252) has become a mantra, but lest the point remain unclear, Munzel expounds a metaphor (from Mendelssohn's Morgenstunden) of a traveler on life's journey, in order to emphasize that moral character involves being rational, competent, and accountable for one's actions (191ff.).In the final chapter, pedagogy becomes the main focus. It is a practice, Munzel contends, which determines the conditions under which character is formed (260). Mixed in the appropriate fashion, its elements combine to make "cultivation of moral judgment" the "essence of moral character" (259). Again, Munzel connects character to well-known Kantian doctrines, linking pedagogy to self-mastery (292) and a community of civic-minded citizens (258) in which the good of one promotes the well-being of all (288). In the world according to Kant, reason "grafts" virtue onto the stuff of nature to create an organic unity as—in Munzel's favorite metaphor (see 335-45... (shrink)

This generally fine, smooth and flowing translation is, in most respects, an improvement over that of J. M. Kennedy and one that artfully displays what Nietzsche called, in Ecce Homo, the opening salvo of his "campaign against morality." Aside from a few lapses, Hollingdale has conveyed the freshness, the subtle, the paradoxical turns of phrase, of Morgenröte. In the "Preface" composed in 1886 both Kennedy in his earlier translation and Hollingdale in this one miss the Hegelian significance of the key (...) phrase in section 4, the characterization of this pithy work as die Selbstaufhebung der Moral. What Nietzsche is surely saying is that his collection of "thoughts on the prejudices of morality" is a "self-suppression of morality," a negation of morality in one sense and its preservation in another, a critique of morality from a new moral point of view. This is made clear when he proposes his four cardinal virtues and when he makes clear that he does not deny that "many actions called immoral ought to be avoided and resisted, or that many called moral ought to be done and encouraged". Although the central theme of Daybreak is a critique of moral prejudices and an analysis of the origin of many moral values, the string of aphorisms comprising this work deal with numerous other themes, with "psychological observations", with reflections on the importance of the "feeling of power" in man, with the need for an appreciation of science and the overcoming of bombastic philosophical idealism and much more. With lynx's eyes Nietzsche uncovers the shameful origin of moral values and postures, wonders if the "knowledge-drive" in man will lead to his destruction, and repeatedly exposes fraud and hypocrisy almost everywhere. Despite the seriousness of his intentions, or because of it, Nietzsche adopts in this work what Tanner, in his introduction, calls a "light touch." Daybreak has lost little of its freshness, its sense of liberation from tradition, or its relevance. Even though Nietzsche's aphorisms sometimes misfire, they are typically insightful and stimulating. So much in his own philosophy and in psychoanalysis is foreshadowed in this compact series of aperçus that we are both informed about the seeds of his later thought and startled by his protopsychoanalytical insights. In Daybreak Nietzsche's subtle and experimental reflections are not marred by the later excesses, the bitterness, the hysteria, the swashbuckling prose. In many ways, Daybreak would serve as a fine introduction to his thought and his style of philosophizing.--George J. Stack, SUNY at Brockport. (shrink)

Many physicians assert that new cost-control mechanisms inappropriately interfere with clinical decision-making. They claim that high costs arise from poorly practiced medicine, and argue that effective utilization of resources is best promoted by advancing the scientific and ethical ideals of medicine. However, the claim is not warranted by empirical evidence. In this essay, I show how it rests upon aesthetic considerations associated with diagnostic elegance. I first consider scientific rationality generally. After a review of analytical empiricist and socio-historical approaches in (...) the philosophy of science, a form of Kant's aesthetic is used to explain how scientific discovery and justification are linked, and to show how meta-theoretical considerations associated with the goals and method of science work together with exemplars of practice. This analysis enables us to understand how the ideals of medicine as a science guide the initial patient history and physical exam in such a way that a parsimonious use of tests is indicated. Aesthetic considerations unite the basic scientific and ethical commitments of the modern medical paradigm and are central for rightly understanding clinical judgment. (shrink)

Over the past decade, scholarship on Kant’s practical philosophy has developed from a one-dimensional focus on his objective normative doctrines toward a more richly textured engagement with his views of character, virtue, and subjective moral consciousness. A significant contribution to this trend is made by G. Felicitas Munzel’s new study of the formal notion of character running throughout Kant’s mature works. As Munzel notes, the exhaustive attention that has long been focused on the Groundwork’s justification of fundamental moral principles has (...) obscured the equally crucial issue “of what it means for the human subject concretely to actualize such moral insight”. In Kant’s Conception of Moral Character, she provides a meticulously detailed and multi-dimensional answer to this question. Her book argues “not only that [Kant] has a very rich notion of moral character, but also that it is a conception of systematic importance for his thought, linking the formal moral with the critical, aesthetic, anthropological, and biological aspects of his philosophy”. While the book is almost entirely devoted to the latter exegetical aim, Munzel’s larger purpose is to highlight the gulf between Kant’s conception of moral character and the Aristotelian conception that underlies much recent philosophical work in virtue theory. By demonstrating the possibility of a notion of character focusing on the principled, rigorously controlled conduct of thought, she wants to present the Kantian account as one capable of contributing to contemporary debates about character, virtue, and moral education. (shrink)