Abstract

This article explores an overlooked motif in the Critique of Pure Reason: the Damsel in Distress. Kant uses the trope to motivate his first Critique on a narrative level. Reason is depicted as a high-born female subject in a hopeless predicament, unable to free herself. A hero rescues her, not by liberation, but by discipline, mirroring the myth where the rescued female is appropriated through marriage. The paper examines the parallels between this popular trope and the narrative of the first Critique, arguing that Kant’s choice of this motif is due to cultural and political biases. While this narrative aligns with Kant’s goal of establishing philosophy as a strict science, it marginalizes the also present, progressive potential of Kant’s concept of the highest faculty as a hermeneutical, world-making, and orienting capacity as means for universal cum critical thinking. The discussion proceeds from (1) argumentatively relevant methodological considerations, to showing that Kant (2) does use the damsel in distress in the Critique of Pure Reason. Subsequently, (3) with regard to the reasons for the choice of the narrative, it is argued that it is based on the convictions about the nature of women that Kant advocates in the Observations on the Beautiful and the Sublime and in his Anthropology. (4) Insofar as narratives and metaphors shape convictions and delineate the realm of the conceivable, Kant’s narrative choice undermines his own conception of reason, according to which the highest faculty is to be understood positively as an active, hermeneutic and orienting ability as well as a selfreflective basis for critical thinking. The discussion ends (5) with a conclusion.