Kant says that there is a close affinity between the sublime and moral feelings of respect. This suggests a relatively unexplored way that aesthetic experience could be morally improving. We could come to respect persons by experiencing them as sublime. Unfortunately, this is not at all our ordinary experience of people, and it’s not clear how one would come to it. In this paper I argue that this possibility is realized in the portraits of Thomas Eakins. Through a handful of (...) specific techniques, Eakins suggests an incomparable psychological depth to the subjects of his portraits, a suggestion that causes the viewer to experience that subject as sublime in a way not unlike their experience of a vast ocean or endless abyss. -/- . (shrink)

Putting together Kant's theory of emotion is complicated by two facts: (1) Kant has no term which is an obvious equivalent of "emotion" as used in contemporary English; (2) theorists disagree about what emotions are. These obstacles notwithstanding, my dissertation aims to provide the foundation for a reconstruction of Kant's theory of emotion that is both historically accurate and responsive to contemporary philosophical concerns. In contrast to available approaches which rest on contested assumptions about emotions, I start from the generally (...) accepted and reasonable premise that what we call "emotions" refers in Kant to a set of mental states, some of which he associates with the feeling of pleasure and displeasure ("feelings"), others with the faculty of desire ("desires"). I then proceed to examine the nature of these two kinds of mental states and their proper treatment. I argue that Kantian feelings are representations of objects' relation to the subject, that have a felt quality, and dispose their subject to certain behaviors. While feelings can only motivate action by causing desires and have no temporal direction, desires - except for certain wishes - are future-directed, which allows them to motivate actions immediately (but they need not bring action about). Equipped with this account of feelings and desires, I proceed to examine the kind of treatment Kant prescribes for them, and argue that feelings (except affects) should be cultivated, that is, acquired and improved so that they could be used to pursue rational ends, while inclinations, i.e., habitual sensuous desires, should generally be disciplined, that is, constrained by rules. The resultant picture is compelling because it rests on minimal assumptions about emotions and successfully incorporates the phenomenological, evaluative, and dispositional functions traditionally associated with emotions. (shrink)

In what follows, I will try to show how the sublime reveals a fundamental aspect of the subject as a human being: a striving to comprehend the absolute. Although at first this striving appears to lead to a futile pursuit – we cannot represent the absolute – we ultimately succeed in presenting it, thus re-affirming the fundamental role of intuition for the human being: the need to make our notions, concepts and ideas tangible. The sublime thus appears to be in (...) close relation to an aesthetic idea, symbols and art, manifesting a profound kinship between reason and the imagination. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

Kant typically is not identified with the tradition of virtue epistemology. Although he may not be a virtue epistemologist in a strict sense, I suggest that intellectual virtues and vices play a key role in his epistemology. Specifically, Kant identifies a serious intellectual vice that threatens to undermine reason, namely enthusiasm (Schwärmerei). Enthusiasts become so enamored with their own thinking that they refuse to subject reason to self-critique. The particular danger of enthusiasm is that reason colludes in its own destruction: (...) enthusiasm occurs when self-conceit and reason’s desire to transcend its boundaries mutually reinforce each other. I conclude by sketching an account of Kantian intellectual virtue that is consistent with Kantian moral virtue. (shrink)

Kant’s concept of grace in Religion within the Bounds of Mere Reason is a difficult topic, exegetically speaking. Obviously enough, Kant subscribes positively to a notion of divine assistance. This appears awkward given his rationalist ethics rooted in personal autonomy. This has given cause to interpreters of Kant’s philosophy of religion – both early commentators and today – to read Kant’s account of grace is uniquely rationalist. This would make grace a rational expectation given personal commitment to good works. The (...) argument of this paper is that grace is a hyperrationalist element in Kant’s practical philosophy because of the potentially problematic consequences of Kant’s views of human nature. Human nature is namely not particularly prone to be responsive to the rational moral law and therefore requires a number of pedagogical tools that facilitate moral agency. (shrink)

This paper argues that contrary to what is often thought, virtue for Kant is not just a matter of strength of will; it has an essential affective dimension. To support this claim, I show that certain affective dispositions, namely moral feelings and desires, are virtuous in the sense that they are constitutive of virtue at the affective level. There is thus an intrinsic connection between an agent’s practice of virtue and the cultivation of her affective dispositions.

This Element considers Kant's account of the sublime in the context of his predecessors both in the Anglophone and German rationalist traditions. Since Kant says with evident endorsement that 'we call sublime that which is absolutely great' and nothing in nature can in fact be absolutely great, Kant concludes that strictly speaking what is sublime can only be the human calling to perfect our rational capacity according to the standard of virtue that is thought through the moral law. The Element (...) takes account of the difference between respect and admiration as the two main varieties of sublime feeling, and concludes by considering the role of Stoicism in Kant's account of the sublime, particularly through the channel of Seneca. (shrink)

At the end of section §6 in the Analytic of the Beautiful, Kant defines taste as the “faculty for judging an object or a kind of representation through a satisfaction or dissatisfaction without any interest”. On the face of it, Kant’s definition of taste includes both; positive and negative judgments of taste. Moreover, Kant’s term ‘dissatisfaction’ implies not only that negative judgments of taste are those of the non-beautiful, but also that of the ugly, depending on the presence of an (...) actual displeasure. (shrink)

Immanuel Kant (1724–1804) argued that moral requirements are based on a standard of rationality he dubbed the “Categorical Imperative” (CI). Immorality thus involves a violation of the CI and is thereby irrational. Other philosophers, such as Locke and Hobbes, had also argued that moral requirements are based on standards of rationality. However, these standards were either desirebased instrumental principles of rationality or based on sui generis rational intuitions. Kant agreed with many of his predecessors that an analysis of practical reason (...) will reveal only the requirement that rational agents must conform to instrumental principles. Yet he argued that conformity to the CI (a non-instrumental principle) and hence to moral requirements themselves, can nevertheless be shown to be essential to rational agency. This argument was based on his striking doctrine that a rational will must be regarded as autonomous, or free in the sense of being the author of the law that binds it. The fundamental principle of morality — the CI — is none other than the law of an autonomous will. Thus, at the heart of Kant's moral philosophy is a conception of reason whose reach in practical affairs goes well beyond that of a Humean ‘slave’ to the passions. Moreover, it is the presence of this self-governing reason in each person that Kant thought offered decisive grounds for viewing each as possessed of equal worth and deserving of equal respect. (shrink)

Kant’s conception of remorse has not received focused discussion in the literature. I argue that he thinks we ought to experience remorse for both retributivist and consequentialist reasons. This account casts helpful light on his ideas of conversion and the descent into the hell of self-cognition. But while he prescribes a heartbreakingly painful experience of remorse, he acknowledges that excess remorse can threaten rational agency through distraction and suicide, and this raises questions about whether actual human beings ought to cultivate (...) their consciences in such a way as to experience remorse on his model. (shrink)

The German filmmaker Werner Herzog controversially associates “truth” and “reality” in film with Kant’s notion of the sublime by explicitly treating the sublime as a key element in developing his notion of ecstatic truth. I critically examine Herzog’s interpretation of Kant’s sublime and the relations he establishes between the sublime and his own key aesthetic notion of ecstatic truth. I examine how the sublime in Herzog’s films arises from encounters with the overwhelming force and power of nature experienced by his (...) characters in the feature films and participants in the documentaries. I question whether Kant’s conception of the sublime is the one that best aligns with Herzog’s aesthetic aims and I contrast Kant’s transcendental sublime with what I describe as the physiological sublime of Edmund Burke. I draw some conclusions about the moral dimension of the sublime in the context of the relationship between humans and nature within the frame of contemporary ecological concerns. (shrink)

The present article aims to inquire the negativity implied in the relation between man and nature in Kant’s early philosophy. This negativity will be treated from the realm of the theodicy as the dimension from where human fate can be posed. The characterization of this fate will be possible via ethical and aesthetic dimensions set out by Kant in his works dedicated to the subject of theodicy and philosophy of nature; i.e. Über Optimismus, which dates back to the 1750´s. Followingly, (...) we will discuss certain aspects of the author´s Universal History of Nature and Theory of Heaven, and thereafter we will refer ourselves to three minor works concerning earthquakes. In the last chapter we will point out how the comprehension of the aforementioned works are essential in order to define the sentiment of the sublime. In conclusion we will define the sublime as incompatible with optimism. (shrink)

ABSTRACT In this paper, I advance a new interpretation of the argumentative structure of the third Critique, which in turn clarifies the connection between its two apparently unrelated parts. I propose to read the third Critique as a response to Kant’s question of hope, which concerns the satisfaction of reason’s practical and theoretical interests. On this proposal, while the first part on aesthetics describes what we—as possessors of theoretical reason – may hope for, the second part, on teleology, describes what (...) we – as possessors of practical reason – may hope for. The main question of the third Critique is, ‘What may we hope if we act as we should, i.e. act rationally?’ Kant’s implicit answer is, ‘to attain the ideals of reason, which leads to happiness as a consequence of it.’ This novel reconstruction of the argumentative structure of the third Critique contributes to the literature by (i) explaining how the two parts of the third Critique on aesthetics and teleology are connected, (ii) clarifying how the ideals of reason are connected to hope and happiness, and (iii) showing how the spheres of nature and freedom can be synthetically unified through the faculty of judgment. (shrink)

Kant’s doctrine of aesthetic ideas, along with his brief treatment of ugliness, has been the focus of some recent literature. In this paper, I employ an original approach, which nonetheless draws from Kant’s oeuvre, to pin down the phenomenological complexity of a spectacular event that took place at the inception of the French Terror—the decapitation of Louis the XVI. To this end, the first section of the essay fleshes out an interpretative framework explicating how seeing the guillotine as an aesthetic (...) idea could serve as a means to actualise the revolutionary ideal. The second section introduces a reading of Schwärmerei and argues that this unruly genius is accountable for the creation of aesthetic idols, rendering a spurious aesthetic experience. Finally, in the last section, I argue that there is a significant distinction between Kant’s account of ugliness and loathing, and that the latter stands for neither a moral nor an aesthetic response to a morally repellent object, but rather is an extraordinary sensible response. (shrink)

This essay is going to show that the relationship between sublimity and morality in Kant’s precritical thinking doesn’t have a systematic philosophical form. The reason can be sought out in these two things: first, aesthetic feeling and moral feeling haven’t been distinguished clearly and have been defined in terms of each other. Second, morality is grounded in feeling, not pure practical reason and its a priori principle. In Observations on the Feeling of the Beautiful and Sublime, Kant invites human beings (...) to ground moral principles on general affection. Although these principles are universal, they are not speculative rules and every human being should find them in his bosom. These are the feeling of beauty and dignity of human nature. In Remarks in the Observations on the Feeling of the Beautiful and Sublime, Kant’s thinking about morality changes in the way that can be regarded as the basis of his thought in critical period. However, he still believes that moral feeling is a kind of feeling of pleasure and displeasure to which we are not passive, but we are active because of possessing moral freedom. (shrink)