This article focuses on the intimate relationship between German aesthetic theory, particularly the philosophies of Kant and Schiller, and the pragmatic tradition of the nineteenth and early twentieth centuries. I argue that many aspects of Kantian aesthetic theory – his development of reflective judgement, genius, and common sense – are reflected in the thinking of C. S. Peirce. I conclude, however, that such a comparison risks selling short the way that German idealism influenced American thinkers and instead suggest that it (...) is more fruitful to concentrate on ‘aesthetic experience’. I argue that attending to the aesthetic dimensions of experience might re-orient contemporary approaches to pragmatism that continue to focus on the way that pragmatism might intervene in debates in epistemology and philosophy of language. (shrink)

In recent years Nick Zangwill has gone a long way in championing a moderate aesthetic formalism in an attempt to accommodate those objects that many of us call beautiful despite their lack of any formal beauty. While there is some dispute in the literature about the extent to which Kant can be interpreted as an aesthetic formalist, the appeal of his famous distinction between free and dependent beauty should present a fairly natural ally for Zangwill's project. Indeed, such an alliance (...) has been expressed by Zangwill, who first reaches for this ‘invaluable but misunderstood and underappreciated distinction’ in his ‘Feasible aesthetic formalism’ . Here, Zangwill claims that this essential distinction can be cut loose from Kant's terminology and views about aesthetic judgement. More recently he expresses more strongly that ‘Kant was also a moderate formalist, who opposes extreme formalism when he distinguished free and dependent beauty in §16 of the Critique of Judgement’ . Yet, a decade on from the initial suggestion, there has been little further exploration or elucidation of this move, or indeed this potential characterization of Kant's aesthetics. It is the aim of this paper to begin to address that deficiency by identifying the extent to which a moderate formalist position is available in Kant's aesthetic. I will suggest that Kant's account does not require substantial modification in order to cast him as a moderate formalist. Taking the time to isolate the plausible grounds for characterizing Kant's aesthetic in this way, this discussion will enable us to explore some of the rival interpretations of his work such that we may also identify the kind of Kantian the moderate formalist is likely to be. (shrink)

The Shadow of Totalitarianism develops a new way to think about the problem of evil in politics. Beginning with the commonplace idea that the rise of totalitarianism in the twentieth century marked the emergence of a new form of evil, Javier Burdman finds early seeds of thinking about this form in Immanuel Kant's moral philosophy. Far from being an isolated object of inquiry, evil, Burdman argues, has long shaped and been central to philosophical understandings of political action and judgment. Systematically (...) analyzing the relationship between evil, action, and judgment in the work of Kant, Hannah Arendt, and Jean-François Lyotard, The Shadow of Totalitarianism aligns evil in politics with a desire for moral certainty, hence the emphasis on the need to accept and affirm uncertainty in current ethical theories. The careful philosophical analysis through which Burdman develops this inquiry contributes to a better understanding of some of the theoretical complexities involved in the problem of evil and provides conceptual tools with which to approach it. (shrink)