How to interpret autonomy plays a crucial role that leads to different readings in Kant’s moral metaphysics, philosophy of religion and moral psychology. In this paper I argue for a two-layered conception of autonomy with varying degrees of justification for each: autonomy as a capacity and autonomy as a paragon-like paradigm. I argue that all healthy rational humans possess the inalienable capacity of autonomy, i. e. share the universal ground for the communicability of objective basic moral principles. This initial understanding (...) stands for autonomy as a capacity about which we can talk of universal validity and justification. Nevertheless, the way a person fully actualizes herself, her freedom, namely autonomy, is shaped by her initial conception of autonomy and moral view of the world. Autonomy as an organic experience of real moral agents, which means an ongoing, non-static, irreducible and inexplicable judgmental process concerning one’s actualization of oneself gives way to consider autonomy as a godlike state of the soul even though one cannot provide objective validity for this. (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)

In this paper I propose an interpretation of Kant’s notion of the highest good which bears political, ethical, and religious layers simultaneously. I argue that a proper analysis of what Kant allows us to hope for necessarily involves what we should hope for as moral agents. I argue that Kant’s conception of the highest good plays a crucial role in his moral theory as it designates the ideal “context” of moral experience which can be described as “a moral world”. Each (...) of these three layers or aspects of the moral world (i.e., political, ethical, and religious) as the interrelated contexts in and through which we realize our moral agency is inextricably linked with the highest good. Without any dichotomy between secular or religious conceptualization of the highest good, in the political and in certain aspects of the ethical contexts we should adopt certain hopes as an implicit aspect of being virtuous, whereas from a religious perspective we are able to, and we may legitimately adopt hope and faith about the cosmic/ teleological context of our moral experience. (shrink)

Abstract In the Critique of the Power of Judgment, Kant refers to the pleasure that we feel when judging that an object is beautiful as the pleasure of "mere reflection". Yet Kant never makes explicit what exactly is the relationship between the activity of "mere reflection" and the feeling of pleasure. I discuss several contemporary accounts of the pleasure of taste and argue that none of them is fully accurate, since, in each case, they leave open the possibility that one (...) can reflect without having a feeling of pleasure, and hence allow a possible skepticism of taste. I then present my own account, which can better explain why Kant thinks that when one reflects one must also have a feeling of pleasure. My view, which emphasizes the role of attention in Kant, depicts well what we do when we judge something to be beautiful. It can also suggest a way to explain the relation between judgments of taste and moral feeling, and begin to show how the faculty of feeling fills a gap in the system of our cognitive faculties. (shrink)

This essay links Jean-Luc Marion's phenomenology of fine art to his description of Christian love. It does so by carefully showing how Marion's overall project is closely related to Kant's well-known account of the relationship between aesthetics and morality. While Kant and Marion both believe that aesthetic experience can lay the groundwork for moral action, their contrasting views of morality lead them to very different articulations of such a relationship. While Kant sees encounters with fine art as preparing individuals for (...) the particular kinds of disinterested judgments characteristic of moral decision-making, Marion sees artwork as preparing the subject for the openness toward intuitive excess that is necessary for love. (shrink)

In The Sources of Normativity Korsgaard introduces her conception of practical identities understood as the source of moral obligations. This conception forms a point of transition from Korsgaard’s theory of action to her solution to the problem of the authority of moral norms. In order to describe how universal categorical reasoning is compatible with the moral content of particular practical decisions, Korsgaard needs to show how our contingent practical identities can be reconciled with what she defines as the universally shared (...) identity that expresses our humanity. To make this reconciliation work, she devises an argument for the public shareability of reasons amended by her reinterpretation of the Kantian as if principle. I suggest that, in doing so, Korsgaard steps too far away from Kant’s architectonic approach to the question of why moral norms bind us, and that, consequently, the Korsgaardian reconciliation between the two kinds of identities, as it stands, cannot be accomplished. (shrink)

The conception of two kinds of practical identities, which Korsgaard introduces in the Sources of Normativity, helps her explain how universal categorical reasoning is compatible with the moral content of individual practical decisions. Based on this conception, she devises an interpretation of the Kantian as if principle amended by her argument for the public shareability of reasons. I suggest that, in doing so, Korsgaard steps too far away from Kant’s architectonic approach to the question of why moral norms bind us, (...) and that, as a result, the Korsgaardian explanation, as it stands, cannot be accomplished. (shrink)

This essay develops an account of the link between Kant's aesthetics and his ethics. It does so by articulating a Kantian account of moral psychology by way of aesthetic reflective judgements of sublimity. Since judgements of sublimity enrich the picture of a Kantian subject by forcefully revealing the unbounded power of the faculty of reason, I investigate the possibility that judgements of this kind could serve as a basis for moral motivation. The paper first shows how judgements of sublimity help (...) a subject recognize reason's unbounded nature, and proceeds to analyse the practical effects of a subject judging itself sublime. When judgements of sublimity have as their object the unbounded and unsythesizable power of reason, they may thereby serve as the basis for both the recognition of our moral vocation, and the grounds for determining the will to act from respect for it. Since a judgement of sublimity produces for Kant the experience of an enlivening emotion and an outflowing of vital forces, the paper then develops Kant's concept of “life” motivated by a recognition of its practical orientation. In this way sublimity rather than beauty can be interpreted as symbolic hypotyposis of morality. The paper then takes up less favourable interpretations of the practical effects of self-predicated judgements of sublimity, and constructs critical responses to such positions. I conclude, following Adorno, by stressing the historical and social dimension of the capacities for both making sublime judgements, and being morally enlivened by them. (shrink)

There have been more articles on Kant's aesthetics in the history of the Journal than on the next four leading figures in the history of aesthetics combined. I argue that this is because Kant's aesthetic theory consists of multiple levels of theory that makes it accessible to and important for multiple approaches to the subject itself. Continuing issues for both Kant interpretation and for aesthetics in general arise at each of these levels, including the plausibility of the claim to universal (...) validity in judgments of taste, the nature of the free play of the imagination in aesthetic experience, the character of aesthetic pleasure, the proper objects of aesthetic judgment, and the moral significance of aesthetic experience. (shrink)

ABSTRACTMatthen usefully distinguishes between mere ‘r-pleasures’ and ‘f-pleasures’: ‘facilitating’ pleasures that are valuable in drawing out the ‘self-reinforcing’ characteristic of good art. But there are reasons, especially from a Kantian Critical perspective with which Matthen sympathizes, to worry about any such ‘hedonistic’ approach to aesthetics, however valuable its general account of pleasure may be. Especially deserving of emphasis are the role of objectivity and the significance of aesthetic goals other than pleasure.