KantObservations on the Feeling of the Beautiful and the Sublime’ reveal a deep concern with the way in which the human drives to equality and unity lead inevitably to a drive for honour and its attendant delusions. He developed his thinking about these problems in the context of his reading of Rousseau. In his published Dreams of a Spirit-Seer, Kant tries to overcome the influence of the drive for honour by appealing to a metaphysics that is critical of itself. The (...) problem is how to distinguish what is grounded in reason when that reason is so easily influenced by others. (shrink)

The article deals with Kant’s doctrine of genius, presented in the Critique of the Power of Judgment, in connection with the latest discussion of which author of that time could have a decisive influence on Kant’s conception. In the first section, I reconstruct the line of Kant’s argument in CPJ §§ 46-50 where he explicates the nature of genius and show that its characteristics such as contrast to rules, the complementarity of taste, spirit as a principle of aesthetic ideas, the (...) proportion between the power of imagination and understanding become constitutive for his theory. In the second section, I refer to opinio communis in the research literature that Kant formed his theory of genius under the influence of the Scottish philosopher Alexander Gerard’s Essay on Genius. This opinion is shared by the vast majority of contemporary researchers. Still, its origins go back to the monograph of O. Schlapp. At the same time, other researchers claim that C. F. Gellert, or merely German philosophy of the XVIII century, had a significant influence on Kant’s theory. In the third section, on the example of Kant’s four propositions about genius head, the productive power of imagination, the proportion of understanding and the power of imagination, the difference of genius and scientific talent), I claim that similar views were common among various German and foreign authors of that time. Based on this, I argue that Kant’s conception of genius as a complex theory cannot be reduced to the influence of one author or one tradition. Hence its correct reconstruction should consider the rich and diverse material from different sources from aesthetics, poetics, rhetoric, art, and literature up to metaphysics. (shrink)

The paper inspects Anderson’s central thesis that Kant’s dogmatic slumber was interrupted by Hume’s critique of metaphysics in his Enquiry concerning Human Understanding, namely, by his critique of the rationalist principle of sufficient reason, which lies at the heart of dogmatic proofs of God’s existence. I recreate the meaning of “Hume’s objection,” define the larger role the principle of sufficient reason plays in Kant’s philosophy, and evaluate the explanatory potential of Anderson’s interpretation in view of Kant’s early and critical texts, (...) as well as his other autobiographical statements. Although Anderson’s hypothesis seems well-founded and even explicates the hidden connection between the entire critical project and the refutation of Spinozism, I argue it is almost impossible to reconcile it with the current research in Kant’s Entwicklungsgeschichte. (shrink)

O objetivo do presente artigo é duplo: em primeiro lugar, problematizar a Entstehungsgeschichte ou história do surgimento da filosofia crítica a partir de um expediente interpretativo bem definido, a saber, a identificação de certos motivos críticos que auxiliam na determinação de continuidades e rupturas no desenrolar do pensamento de Kant. Em segundo lugar, analisar a primeira obra de Kant, os Pensamentos sobre a verdadeira estimação das forças vivas, buscando aplicar a ela o expediente interpretativo discutido anteriormente e, assim, reconhecer alguns (...) motivos críticos que definem importantes linhas de continuidade na filosofia de Kant. (shrink)