This paper discusses the phenomenological method’s reliance on imaginative procedures in view of ethnomethodological research. While ethnomethodology has often been seen in continuity with Alfred Schütz’ phenomenological sociology, it mainly parts ways with phenomenology by stressing that the decisive details structuring mutual understanding (gestures, bodily expressions, or the myriad trifles that regulate casual conversation) are „not imaginable, but can only be found out”. This paper reflects from a phenomenological perspective on what such a claim entails by first delineating this line (...) of criticism from other objections raised against the use of imaginative procedures in phenomenology and by showing how this line of questioning departs from the core philosophical debates concerning imaginabilitiy and unimaginability in the Kantian tradition. Further on, the paper offers an in-depth interpretation of the aforementioned ethnomethodological claim in order not only to outline its methodological implications for phenomenology, but also to show that it involves possible key insights for understanding interaction, which phenomenology needs to take into account despite its eidetic scope. (shrink)

Kant’s notion of common sense (Gemeinsinn) is crucial not only for his account of judgements of beauty, but also for the link he draws between the necessary conditions of such judgements and cognition in general. Contrary to existing interpretations which connect common sense to pleasure, I argue that it should be understood as the capacity to sense the harmony of the cognitive faculties through a sui generis sensation distinct from pleasure. This sensed harmony of the faculties is not only the (...) ground of judgements of beauty and the basis of pleasure in the beautiful, but is also essential, I argue, for the reflecting judgements through which we acquire empirical concepts. (shrink)

Journal of Philosophy of Education, Volume 55, Issue 6, Page 935-948, December 2021.

The harmonious free play of the imagination and understanding is at the heart of Kant’s account of beauty in the Critique of the Power of Judgement, but interpreters have long struggled to determine what Kant means when he claims the faculties are in a state of free play. In this article, I develop an interpretation of the free play of the faculties in terms of the freedom of attention. By appealing to the different way that we attend to objects in (...) aesthetic experience, we can explain how the faculties are free, even when the subject already possesses a concept of the object and is bound to the determinate form of the object in perception. (shrink)

Kant’s notion of (what I will call) rational sympathy solves a problem about how we can voluntarily fulfill our imperfect duty to adopt those ends of others which have value only because they have been set by rational agents, ends which I will refer to as merely permissible ends (MPEs). Others’ MPEs are individuated in terms of their own concepts of their MPEs, and we can only adopt their MPEs in terms of their concepts, since to adopt them in terms (...) of different concepts would be to adopt different ends. Others’ concepts of their MPEs may contain marks of the first person, and should contain no marks of law apart from permissibility. Rational sympathy allows us to adopt ends individuated in terms of concepts with marks of these kinds because rational sympathy allows us to voluntarily adopt others’ first-person perspectives in imagination, and to voluntarily shape our contingent feelings so that such concepts motivate us despite their underdetermination by law. (shrink)

One of the most influential recent developments in supposedly radical philosophy is ‘posthumanism’. This can be seen as the successor to ‘deconstructive postmodernism’. In each case, the claim of its proponents has been that cultures are oppressive by virtue of their elitism, and this elitism, fostered by the humanities, is being challenged. In each case, however, these philosophical ideas have served ruling elites by crippling opposition to their efforts to impose markets, concentrate wealth and power and treat everyone and everything (...) as mere instruments in a way that is not only undermining democracy and threatening economic, social and political stability through growing inequality, but is crippling efforts to deal with the global ecological crisis. Philosophers, Nietzsche claimed, are physicians of culture. Why should people claiming to be philosophers, or at least aligned with philosophers, subvert their own calling? In this paper I will suggest that with the expansion of education and the rise of neoliberalism, those involved in education and research, particularly in the humanities and social sciences, have been proletarianized, and most have accepted this proletarianization. They have been reduced to a fraction of the proletariat - wage-slaves without economic security and therefore dependent on the will of others on whom they are dependent. They are not ordinary wage-slaves, however, but wage-house-slaves, having salaries rather than wages. If, as Marx argued, social being determines consciousness, posthumanism can be understood as the expression of ressentiment of these house-slaves at their condition while simultaneously serving to affirm their superiority to field-slaves while serving their masters. Their work is supported because it provides ideological cover for their masters, the new transnational managerial class or corporatocracy as they expand their power through information technology, while absolving this corporatocracy from responsibility for the consequences of their growing power. In making this claim I will argue that the real target of deconstructionists and posthumanists, although this is now seldom appreciated, has been the humanism of the New Left, a revival of the Radical Enlightenment inspired by Renaissance civic humanism and the German Renaissance. (shrink)

This paper argues that Kant endorses a distinction between rational and natural sympathy, and it presents an interpretation of rational sympathy as a power of voluntarya posterioriproductive imagination. In rational sympathy we draw on the imagination’s voluntary powers (a) to subjectively unify the contents of intuition, in order to imaginatively put ourselves in others’ places, and (b) to associate imagined intuitional contents with the concepts others use to convey their feelings, in such a way that those contents prompt feelings in (...) us that are like their feelings. (shrink)

I argue for a new delimitation of what Kant means by ‘cognition [Erkenntnis]’, on the basis of the intermediate, transitional place that Kant gives to cognition in the ‘progression [Stufenleiter]’ of our representations and our consciousness of them. I show how cognition differs from mental acts lying earlier on this progression—such as sensing, intuiting, and perceiving—and also how cognition differs from acts lying later on this progression—such as explaining, having insight, and comprehending. I also argue that cognition should not be (...) confused with ‘knowledge [Wissen]’, insofar as knowledge represents the culmination of a separate orthogonal progression of acts of ‘holding-true’. Along the way, I show how having in focus the specific progression from representation, to consciousness, to cognition allows us to better appreciate the architectonic significance of the progression of Kant’s analysis in the first Critique, and also helps to illuminate the unity of Kant’s account of cognition itself across its variety of forms. (shrink)

This paper argues that Kant presents two different accounts of beauty, one that applies properly to art and one that applies properly to nature. The judgment of beauty that applies properly to nature can be free and thus judged without concepts. The work of art, however, is judged beautiful when it expresses aesthetic ideas. This distinction then enables me to explain several problematic passages in Kant's text: those that serve to distinguish these two conceptions of beauty from one another as (...) well as those passages in which Kant views them as overlapping. With respect to the latter, I argue that Kant lays especial significance on cases where we apply the conception of artistic beauty to natural objects, as in doing so we view nature as expressing ideas that step beyond nature. (shrink)

This paper contributes to the on-going research into the ways in which the humanities transformed the natural sciences in the late Eighteenth and early Nineteenth Centuries. By investigating the relationship between hermeneutics -- as developed by Herder -- and natural history, it shows how the methods used for the study of literary and artistic works played a crucial role in the emergence of key natural-scientific fields, including geography and ecology.

The aim of this paper is to extract from Kant's writings an account of the nature of the emotions and their function – and to do so despite the fact that Kant neither uses the term ‘emotion’ nor offers a systematic treatment of it. Kant's position, as I interpret it, challenges the contemporary trends that define emotions in terms of other mental states and defines them instead first and foremost as ‘feelings’. Although Kant's views on the nature of feelings have (...) drawn surprisingly little attention, I argue that the faculty of feeling has the distinct role of making us aware of the way our faculties relate to each other and to the world. As I show, feelings are affective appraisals of our activity, and as such they play an indispensable orientational function in the Kantian mind. After spelling out Kant's distinction between feeling and desire, I turn to the distinction between feeling and cognition and show that while feelings are non-cognitive states, they have a form of derived-intentionality. §4 argues that what feelings are about, in this derived sense, is our relationship to ourselves and the world: they function as affective appraisals of the state of our agency. §5 shows that this function is necessary to the activity of the mind insofar as it is orientational. Finally, §6 discusses the examples of epistemic pleasure and moral contentment and argues that they manifest the conditions of cognitive and moral agency respectively. (shrink)

Keskityn siihen miten Leibnizilla yksittäiset mielihyvän tai mielipahan tiedostamattomat havainnot voivat kasautua tai tiivistyä ja muodostaa vähitellen tunteita, joista tulemme tietoisiksi.

In many of his writings, Castoriadis argues that ‘the discovery of the imagination’ occurs in the works of Aristotle, Kant, Fichte, Freud, Heidegger and Merleau-Ponty. Although he has systematically encountered and interrogated the works of Aristotle, Kant, Freud, and Merleau-Ponty, the work of Fichte remains an enigmatic absence within the orbit of Castoriadis' work. This study is an attempt to address this enigma through a close reading of Fichte’s The Science of Knowledge.

No processo do conhecimento a imaginação desempenha para Hegel o estágio no qual a mente humana dissocia o objeto em dois diferentes conteúdos, o conteúdo-coisa do mundo externo e o conteúdo interno da própria mente, de tal modo que ambas as versões do mesmo devem corroborar-se mutuamemente ao modo de uma síntese simples de elementos heterogéneos que apenas em seu cotejamento reconhecem sua identidade. Na atividade de compreensão, ao contrário, este dualismo é suprassumido e, com ele, o empirismo e a (...) teoria correspondista da verdade que, aos olhos de Hegel, está em sua base. (shrink)

It has become typical to read Kant and Merleau-Ponty as offering competing approaches to perceptual experience. Kant is interpreted as an ‘intellectualist’ who regards perception as conceptual ‘all the way out’, while Merleau-Ponty is seen as Kant’s challenger, who argues that perception involves non-conceptual, embodied ‘coping’. In this paper, however, I argue that a closer examination of their views of perception, especially with respect to the notion of ‘schematism’, reveals a great deal of historical and philosophical continuity between them. By (...) analyzing Kant’s theory of schematism, the interpretation of it by the Neo-Kantian Pierre Lachièze-Rey, and Merleau-Ponty’s theory of the body schema, we find that aspects of Merleau-Ponty’s theory of perception are better understood as a development of Kant’s theory of perception. (shrink)

The paper elaborates the theory of imagination in Immanuel Kant's Critique of Pure Reason and Critique of Judgment. From the first Critique to the third Critique, the imagination emerges under different titles such as reproductive, productive or transcendental imagination. The paper shall try to decide whether its functions suggested in the first Critique and its performance in the third Critique are contradictory or developmental with respect to Kant's critical philosophy. Thus, it will examine of the power and the scope of (...) the imagination in the first Critique and of its status and performance in the third Critique. El artículo discute la teoría de la imaginación en la Crítica de la razón pura y la Crítica del juicio de Immanuel Kant. Desde la primera Crítica y hasta la tercera, la imaginación recibe diferentes calificativos, tales como imaginación reproductiva, productiva o trascendental. El trabajo intenta determinar si las funciones de la imaginación sugeridas en la primera Crítica y su papel en la tercera Crítica son contradictorias o si implican más bien un desarrollo respecto de la filosofía crítica de Kant. Para ello, se examina el poder y el alcance de la imaginación en la primera Crítica y su estatus y papel en la tercera. (shrink)

In the Critique of Pure Reason, Kant describes schematism as a (A141/B180–1). While most commentators treat this as Kant's metaphorical way of saying schematism is something too obscure to explain, I argue that we should follow up Kant's clue and treat schematism literally as Kunst. By letting our interpretation of schematism be guided by Kant's theoretically exact ways of using the term Kunst in the Critique of Judgment we gain valuable insight into the nature of schematism, as well as its (...) connection to Kant's concerns in the third Critique. (shrink)

In hisCritique of the Power of Judgement, Kant explicates the creation of works of fine art (schöne Kunst) in terms of aesthetic ideas. His analysis of aesthetic ideas claims that they are not concepts (Begriffe) and are therefore not definable or describable in determinate language. Nevertheless, Kant claims that aesthetic ideas are communicable via spirit (Geist), a special mental ability he associates with artistic genius. This paper argues that Kant's notion ofGeistis central to his analysis of fine art's expressive power. (...) The notion ofGeistconstitutes a conceptual link between Kant's aesthetic theory and that of G. W. F. Hegel, for whose analysisGeistis the subject. (shrink)

The aim of this paper is to determine whether Kant’s account of freedom fits with his theory of the human sciences. Several Kant scholars have recently acknowledged a tension between Kant’s metaphysics and his works on anthropology in particular. I believe that in order to clarify the issue at stake, the tension between Kant’s metaphysics and his anthropology should be broken down into three distinct problems. -/- First, Kant’s Anthropology studies the human being ‘as a freely acting being.’5 This approach (...) thus presupposes that such an inquiry can acknowledge freedom and appeal to it in its accounts of human behaviour. Yet the Critique of Pure Reason clearly asserts that ‘as regard [man’s] empirical character there is no freedom; and yet it is only in the light of this character that man can be studied.’ This, in contrast, seems to indicate that the human sciences should be carried out independently of freedom. -/- Second, the Anthropology seems to suggest that empirical factors encompassed by culture, civilisation and mores can have an impact on the human being’s moral status by generating some form of moral progress. Yet if freedom and moral agency are restricted to the domain of the intelligible, they cannot be influenced by anything empirical. -/- Third, the Anthropology provides numerous moral and prudential recommendations as to how one should behave in particular circumstances. Thus it seems to presuppose that anthropological knowledge, as well as the practical guidance based on this knowledge, can have an impact on the free choices we make. Yet how can the human sciences be legitimately, and efficaciously, prescriptive vis-à-vis our free choices? -/- Regarding the first problem, which I tackle in section I, I will hold that the human sciences can legitimately refer to ‘practical freedom’ understood as the power to determine one’s aims and to act independently of sensuous impulses, through intentions and the representation of purposes. I will address the second and third problems in two steps. Section II will tackle them negatively through a distinction between the conditions of moral agency and the conditions of moral improvement. It will allow me to argue that the possibility of any direct influence of the empirical on the intelligible is metaphysically invalid in principle, and hence, that empirical factors cannot effect any direct change in one’s moral character. In the third section, I will turn to the positive side of my account by focusing on the issue of the moral relevance of culture and civilisation as well as that of the human sciences (which study their influence), and suggest that they are morally relevant insofar as they make us more morally efficacious. (shrink)

The article explores Kant’s notion of the human being as the ultimate end of nature, presenting an ethical interpretation of this notion. The author of this article believes that the analysis of Kant’s assumptions will allow a deeper understanding of our own hermeneutical situation, in which ecological problems force us to rethink our relationship with nature and the meaning of human existence. Analyzing Kant’s early texts on Lisbon earthquake and his reflection on the sublime in the Critique of Judgement, the (...) author asks how the experience of an uncontrolled natural element complements Kant’s ethical vision of nature’s teleology. Emphasizing the importance of insight into human vulnerability for the implementation of moral purpose in nature, the article outlines guidelines for interpretation that allow the relevance of Kant’s position in the context of contemporary environmental ethics. (shrink)

This paper argues for a metacognitive reading of Kant’s doctrine of ‘aesthetic ideas’, according to which they enjoy the functional role of licensing a theory of art interpretation. I begin by offering a textualist reading of Kant’s doctrine of ‘aesthetic ideas’ and contest the received ‘semantic paradigm’ according to which aesthetic ideas either approximate the form or content of a rational idea. After showing the relationship between aesthetic ideas and artistic interpretation, I assess whether Kant’s theory delivers what we want (...) from a theory of artistic interpretation. I subsequently show how Schelling’s conception of artistic production and reception in the System of Transcendental Idealism (1800) draws from Kant’s doctrine of ‘aesthetic ideas’. After analyzing the relationship between Kant and Schelling’s accounts of art interpretation, I evaluate which account we ought to prefer. (shrink)

This article proposes a communicative, imitative, and reflective account of musical learning and expertise. It starts from an affirmative yet critical reading of Høffding and collaborators, notably their idea of a musical arch, meant to bridge distinctions between low-level procedural enactment and high-level reflective cognition. While we embrace much of their analysis, we argue that they uphold tensions between these levels. Drawing on recent enactivist thought, phenomenological and hermeneutic resources, and developmental psychology, we propose a ‘linguistic turn’ that allows us (...) to situate the enactive body in what has been called an ‘original communication-situation’. The original communication-situation encompasses procedural proto-linguistic behaviour and a reflexive level of linguistic co-intentionality procedurally coupled with other bodies. From this perspective, musical co-creation within the normative space of the musical arch is a dialectical actualization of vertical and horizontal experience, reflecting transformative accomplishments of symbolic bodies within a linguistic field of participatory sense-making. The normative space of musical performance is the result of emergent features of music as embodied social practice. (shrink)

In this review essay, I discuss three recent books on Kant's third Critique: Kant and the Claims of the Empirical World by Ido Gieger; Kant on Freedom, Nature, and Judgment by Kristi Sweet; and Kant’s Worldview: How Judgment Shapes Human Comprehension by Rudolf Makkreel.

In this paper, I discuss Kant’s concept-less schematism (KU, 5: 287) in the thirdCritique1and make three claims: 1) concept-less schematism is entirely consistent with the schematism in the firstCritique; 2) concept-less schematism is schematism with noempiricalconcept as an outcome; and 3) in accordance with 1) and 2), the imagination is free to synthesize the given manifold and leads to judgements of taste without this meaning either that the categories play no role at all or that these judgements are full-fledged cognitive (...) determining judgements. While most commentators read the freedom of the imagination as its independence from the understanding, I argue that the freedom of the imagination is based on a non-determining employment of the pure concepts of the understanding. The freedom of the aesthetic imagination consists in the temporal schematization of the categories without any complementary determination of the empirical concept. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 212 Seiten: 199-217.

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)

Two rival conceptions of well-being are reconstructed and contrasted, which have contended for philosophical pre-eminence throughout the Western conversation of philosophy. One view understands well-being as a life course in which as many as possible of a subject’s preferences are satisfied. The other view understands well-being as a life course in which some unique project of the subject comes to be realized. In the second part of the paper the aggregative view of well-being, championed by Hobbes and Locke is shown (...) to correlate with a radically or moderately understanding of freedom, and the holistic view of well-being with a positive notion of freedom, championed by Rousseau, Kierkegaard and Kohut. After showing how some of the conceptual difficulties of the radically negative view of freedom reverberate on the aggregative notion of well-being, in the final section some constitutive dimensions of the holistic view are discussed. (shrink)

El presente trabajo discute aspectos fundamentales de la concepción gadameriana del fenómeno de la comprensión. Partiendo del carácter holístico-anticipativo y, a la vez, histórico-fácticamente mediado de la comprensión, puesto de manifiesto por Heidegger, Gadamer subraya la productividad de los factores de distanciamiento y de la mediación histórica, como condiciones de posibilidad de la genuina apropiación comprensiva del sentido, la cual involucra siempre también el momento crítico de la puesta en cuestión de los propios presupuestos y la propia autocomprensión.

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)

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)

This paper explores Beck’s theory of original representing in order to discuss both its historical and theoretical relevance and its implications concerning Kant’s views on the capacity to judge. My first concern will be to highlight the main points of Beck’s Kant interpretation and to show at which points he misunderstands Kant. My analysis also contains a positive aspect, for I adopt Beck’s claim that there is only one possible standpoint from which critical philosophy ought to be judged. Unlike Beck, (...) I shall argue that this standpoint is that of Judgment’s normativity. I will consider the normative structure of Judgment from three perspectives: the proto-synthetic import of sensibility; the normative character of the pure concepts of the understanding; the lawfulness of the principles of the understanding. My basic idea is that only a normative account of Judgment can prove how and why all experience depends on the possibility of synthetic a priori judgments. On Kant’s account, the capacity to judge applies transcendental rules to establish the laws which make our experience and knowledge both possible and legitimate. Every single object is an object of experience only insofar as it conforms to the normative structure of Judgment. For Kant, to constitute an object means to apply the rules which make something possible as an object of experience and cognition. (shrink)

The aim of this paper is to resolve some of the inconsistencies within Kant’s theory of aesthetic ideas that have been left unaddressed by previous interpretations. Specifically, Kant’s text appears to be imbued with the following two tensions. First, there appears to be a conflict between his commitment to the view that mere sensations cannot function as vehicles for the communication of aesthetic ideas and his claim that musical tones, on account of being mere sensations, can express aesthetic ideas. Second, (...) his description of musical form as consisting of a play of aesthetic ideas that leave behind no thoughts appears to be incongruous with his formulation of aesthetic ideas as free imaginative representations that contain a wealth of thoughts and meanings. If what it means to express aesthetic ideas is precisely to stimulate much thinking, then how can an object exist that expresses aesthetic ideas, but without leaving any thoughts behind? I attempt to resolve these two perceived tensions by proposing a distinction between reflective and non-reflective aesthetic ideas communicated by form and mere sensations respectively. (shrink)

According to Kant’s Critique of the Power of Judgement, in the end all estimation of magnitude is sensible, or ‘aesthetic’, and the absolutely great in aesthetic estimation is called ‘the mathematical sublime’. This article identifies the relevant sensible element with an inner sensation of a temporal tension: in aesthetic comprehension, the imagination encounters an inevitable tension between the successive reproduction of a magnitude’s individual parts and the simultaneous unification of these parts. The sensation of this tension varies in degree and (...) facilitates aesthetic estimation in general. But in the special case where it comes to involve a sense of exceeding our imagination’s limit, we judge a magnitude to be mathematically sublime. Pace Kant, I argue that this limit is private and contingent rather than transcendental, such that the judgement of the mathematical sublime is neither universal a priori nor necessary. (shrink)

Kant interpreters are divided on the question of whether determinate cognition plays a role in the harmony of the faculties in aesthetic judgement. I provide a ‘non-cognitive’ interpretation that allows Kant’s statements regarding judgements of natural beauty to cohere such that determinate cognition need not be taken to perform any role in such judgements. I argue that, in aesthetic harmony, judgement privileges the free activity of the imagination over the cognizing function of the understanding for the purpose of unifying the (...) object, although the free imagination cannot violate the obscure concepts and principles of ordinary common sense. (shrink)

In the A-preface of the Critique of Pure Reason, Kant kindly warns his readers to pay special attention to the chapter on the “Deduction of the Pure Concepts of the Understanding.” Looking to mitigate the reader's effort, Kant goes on to explain the chapter's methodology, suggesting that the inquiry will have “two sides.” One side deals with the “objective validity” of the pure categories of the understanding; he calls this the “objective deduction.” The other deals with the powers of cognition (...) on which the understanding rests; he calls this the “subjective deduction.” Having gone to such great lengths to outline his method ahead of time, it comes as no small surprise that the actual chapter offers no clear indication of where the two deductions are located. In this essay, I attempt to solve this puzzle. On the way, I engage with both traditional and recent interpretations of the subjective deduction, arguing that they fail—in one way or another—to satisfy the criteria that Kant develops in the preface. (shrink)

This essay argues that, contrary to the prevailing view according to which reflection in Kant's aesthetic judgment is interpreted as ‘the logical actus of the understanding’, we should pay closer attention to Kant's own formulation of aesthetic reflection as ‘an action of the power of imagination’. Put differently, I contend in this essay that the rule that governs and orders the manifold in aesthetic judgment is imagination's own achievement, the achievement of the productive synthesis of the ‘fictive power’, entirely independent (...) of the understanding. While this view does not entail that the faculty of the understanding is not necessary in aesthetic reflection, a stronger emphasis on the role of imagination in aesthetic reflection allows us to realize that its schematizing and interpretive activity, while consistent with, goes well beyond the discursive demands of the understanding insofar as it intimates the supersensible ground of freedom that manifests itself as ‘the feeling of life’. Therefore, I show in this essay that the imagination's unique interpretive power has a special role in completing Kant's critical system by facilitating the connection of the sensible to the supersensible, which further helps us appreciate imagination's practical as opposed to merely cognitive significance. (shrink)

This article explores a German philosophy of metaphor, which proposed a close link between the body and the mind as the basis for metaphor, debunked the view that metaphor is just a decorative rhetorical device and questioned the distinction between the literal and the figurative. This philosophy of metaphor developed at the intersection between a reflection on language and thought and a reflection on the nature of beauty in aesthetics. Thinkers such as Giambattista Vico, Johann Wolfgang von Goethe, Jean Paul (...) and others laid the foundations for this philosophy and it was successively refined by Gustav Gerber, Alfred Biese and Friedrich Nietzsche. It influenced in its turn in various ways the linguistic study of metaphor and the psychology of metaphor as elaborated, for instance, by a lesser-known American scholar, Gertrude Buck. All these thinkers contributed to a philosophy and psychology of the metaphoric according to which metaphors are not only nice, but necessary for the structure and growth of human thought and language. Obvious parallels between this 19th-century philosophy of metaphor and the 20th-century theory of metaphor developed by Lakoff and his followers are examined throughout. (shrink)

I argue for a new delimitation of what Kant means by ‘cognition [Erkenntnis]’, on the basis of the intermediate, transitional place that Kant gives to cognition in the ‘progression [Stufenleiter]’ of our representations and our consciousness of them. I show how cognition differs from mental acts lying earlier on this progression—such as sensing, intuiting, and perceiving—and also how cognition differs from acts lying later on this progression—such as explaining, having insight, and comprehending. I also argue that cognition should not be (...) confused with ‘knowledge [Wissen]’, insofar as knowledge represents the culmination of a separate orthogonal progression of acts of ‘holding-true’. Along the way, I show how having in focus the specific progression from representation, to consciousness, to cognition (and beyond) allows us to better appreciate the architectonic significance of the progression of Kant’s analysis in the first Critique (and beyond), and also helps to illuminate the unity of Kant’s account of cognition itself across its variety of (empirical, mathematical, philosophical) forms. (shrink)

This article addresses the issue of future cosmopolitanism, building on a minimal reconstruction of what cosmopolitanism has been in the past. It will elucidate the notion of ‘political’ cosmopolitanism in its relation to a certain methodological option which is designated by the shorthand term ‘judgment’. Cosmopolitanism is not a new idea but a new version of it is constituted by ‘political’ cosmopolitanism, bound up with a judgmentbased, as opposed to principle-based, understanding of normativity.

In this essay, I investigate one aspect of Kant’s larger theory of the transcendental self. In the Prolegomena, Kant says that the transcendental self can be represented as a feeling of existence. In contrast to the view that Kant errs in describing the transcendental self in this fashion, I show that there exists a strand in Kant’s philosophy that permits us to interpret the representation of the transcendental self as a feeling of existence—as the obscurely conscious and temporally inaccessible modification (...) of the state of the discursive subject, which is built into all the representations of such a subject. I also provide an account of how the transcendental self can be legitimately understood both as an epistemic condition for the possibility of experience as well as the representation of a non-naturalistic feeling of existence. (shrink)

In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique, the Critique of the Power of Judgment. The latter contains two parts, the ‘Critique of the Aesthetic Power of Judgment’ and the ‘Critique of the Teleological Power of Judgment’. They reveal a new principle, namely the a priori principle of purposiveness (Zweckmäßigkeit) of our power of judgment, and thereby offer new a priori grounds for beauty and biology within (...) the framework of Kant's transcendental philosophy. They also unite the previous two Critiques, the Critique of Pure Reason and the Critique of Practical Reason. Besides contributing to general and systematic aspects within his transcendental philosophy, Kant's aesthetics also offers new insights into old problems. It deals with feeling versus experience, subjectivity versus objectivity, disinterested pleasure, aesthetic universality, free and adherent beauty, the sensus communis, genius, aesthetic ideas, beauty as the symbol of morality, beauty of nature versus beauty of art, the sublime, and the supersensible. In this article I will limit myself to this critical aesthetics of Kant. But I will also discuss the ugly and the possibility of beauty in mathematics and see whether Kant's theory can successfully explain or deal with them. I will also compare his theory with philosophical ideas from a very different tradition, namely from Confucius, not only as a challenge to Kant's theory, but also because there is a growing interest from the Chinese side in combining ideas from Confucius and Kant, an interest that might well become influential in both East and West during the 21st century. (shrink)

1993: GE’s NBC News unit issues an on-air apology to General Motors for staging a misleading simulated crash test. NBC agrees to pay GM’s estimated $1 million legal and investigation expenses.February 1994: The Justice Department brought a criminal antitrust case against General Electric, accusing it of conspiring with an arm of the South African DeBeers diamond cartel to fix prices in the $600 million world market for industrial diamonds. General Electric denied wrongdoing...

El objetivo principal de este artículo es sostener que el sentimiento de lo sublime - tal como es planteado por Kant en la Crítica de la facultad de juzgar- supone el vínculo de la mente con el cuerpo propio. De otro modo, no podríamos explicar la variación de las fuerzas vitales que caracteriza al sentimiento de lo sublime. Ahora bien, la conciencia de la propia corporalidad constituye una condición necesaria - aunque no suficiente- del sentimiento de lo sublime. Consideramos que (...) además de la conciencia de las propias fuerzas vitales, el sentimiento de lo sublime supone la referencia a un principio espiritual. Por estos motivos, creemos que el sentimiento de lo sublime implica una superposición del sentimiento de vida y el sentimiento del espíritu. Con el fin de iluminar algunos aspectos problemáticos presentes en la Crítica de la facultad de juzgar, analizaremos algunos pasajes pertenecientes a la Antropología en sentido pragmático. The principal aim of this article is to support that the feeling of the sublime -as it is considered by Kant in the Critique of the power of Judgment- supposes the link of the mind with the own body. Otherwise, we might not explain the variation of the vital forces that characterizes the feeling of the sublime. However, the conscience of the own corporeality constitutes a necessary condition -though not sufficient- of the feeling of the sublime. We think that besides the conscience of the own vital forces, the feeling of the sublime supposes the reference to a spiritual principle. For these reasons, we think that the feeling of the sublime implies an overlapping of the feeling of life and the feeling of the spirit. In order to illuminate some problematic aspects in the Critique of the Power of Judgment, we will analyze some passages belonging to the Anthropology from a Pragmatic Point of View. (shrink)

After tracing the rise in interest in the phenomenon of interpretation to events in the early post-Kantian period, I argue that this development is highly relevant to understanding contemporary philosophy's methodological status and its relation to fields such as science and literature. I argue that much of recent philosophy is best understood in terms of an "interpretive turn" that has now provided philosophy with a modest but valuable and distinctive role. I illustrate the procedure of philosophy in this key by (...) critically appropriating ideas about interpretation advanced by Harold Bloom and Richard Rorty, and by using hints about the role of history that arise from discussions of Kant's notion of genius. (shrink)

In the third Critique Kant shifts the focus in his enquiry from the status of factual statements in the Critique of Pure Reason and the grounding of moral imperatives in the Critique of Practical Reason to investigating two methods of considering the world which go beyond the strictly verifiable. This is a move from evaluating the interplay of a ‘determinate’ set of facts and intellectual preconditions to forming what Kant calls ‘reflective’ judgements on these facts. There are two major questions (...) which the Critique of Judgement tackles. On the one hand Kant ambitiously considers how we might properly interpret a set of facts as comprising a larger teleological system and, on the other hand, he is interested in the seemingly quite separate issue of the appreciation of objects as beautiful. It is this latter issue which shall concern us here. Consistent with the reflective stand in the third Critique, Kant argues from the very outset that beauty is not an empirical concept with which we might describe the world. Beauty is not objective in the sense that size, colour or weight might be. Objective properties of this kind belong to the world of scientific understanding. Instead, he holds that judgements of aesthetic merit should be based upon the subjective pleasure we take in experiencing works of art and natural objects. (shrink)