It is well known that Kant connects judgment and feeling in the third Critique. However, the precise relationship between these two faculties remains virtually unexplored, in large part due to the unpopularity of Kant’s faculty psychology. This paper considers why, for Kant, judgment and feeling go together, arguing that he had good philosophical reasons for forging this connection. The discussion begins by situating these faculties within Kant’s mature faculty psychology. While the ‘power of judgment’ [Urteilskraft] is fundamentally reflective, feeling [Gefühl] (...) reveals itself as essentially non-discursive. Their systematic connection emerges through the principle of purposiveness [Zweckmäßigkeit], which the former legislates for the latter. I claim that we must understand this notion in terms of the suitability of the faculties for each other, as displayed in mere reflection. That is, we can only recognize the fitness of two things for each other through feeling, which, in turn, is the only way that we can engage in the activity of merely reflecting judgment. I conclude by gesturing at an even further way in which judgment and feeling are related, based on their mutual role in orienting all of the faculties of the human mind. (shrink)

My aim in this paper is to provide an account of practical judgement, for Kant, that situates it within his theory of judgement as a whole—particularly, with regards to the distinction between the determining and reflecting use of judgement. I argue that practical judgement is a kind of determining judgement, but also one in which reflecting judgement plays a significant role. More specifically, I claim that practical judgement arises from the cooperation of the reflecting power of judgement with the faculty (...) of reason—the former assisting the latter in the application of its principle. I conclude by considering a possible role for feeling in practical judgement. (shrink)

Drawing on resources from both the Analytical and Continental traditions, Form and World argues that a comprehension of Kant's aesthetics is necessary for grasping the scope and force of his epistemology. Fiona Hughes draws on phenomenological and aesthetic resources to bring out the continuing relevance of Kant's project. One of the difficulties faced in reading the Critique of Pure Reason is finding a way of reading the text as one continuous discussion. This book offers a reading at each stage of (...) Kant's epistemological argument, showing how various elements of Kant's argument, often thought of as extraneous or indefensible, can be integrated. This incisive study, arguing for the centrality of aesthetics in philosophy, and within experience in general, challenges a blind spot in the Anglo-American tradition of philosophy and will contribute to a growing interest in the general significance of aesthetic culture. (shrink)

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)

The role of the imagination within Kant’s Critical framework remains an issue for any attempt to unify the three Critique s through the Doctrine of the Faculties. This work provides a reading of the imagination that serves to unify the imagination through its formal capacity, or ability to recognize harmony and produce the necessary lawfulness that grounds the possibility of judgment. The argument of this work exists in 2 parts. 1) The imagination’s formal ability is present, yet concealed, as early (...) as the Schematism in the Critique of Pure Reason and reaches its fullest exposition in instances of harmonious free play in the Critique of the Power of Judgment. 2) This formal capacity is key to not only demonstrating the imagination as an original, unified, and independent faculty across Kant’s Critical framework, but also serves as grounds for the purposiveness of nature – a key aspect of Kantian aesthetics. (shrink)

In recent years, more and more people have become attracted by the idea that the imagination should play a central role in explaining our knowledge of what is possible and necessary and what would be the case if things were different from how they actually are. The biggest challenge for this account is to explain how the imagination can be restricted in such a way that it can play this epistemic role, for there are certainly also unrestricted uses of the (...) imagination in which it fails to yield the requisite knowledge. In this paper, I inquire how Kant’s account of the imagination could inspire the contemporary debate at this point. I first give an overview about Kant’s account of the imagination and its different roles for our cognition of the real world. I then show that some recent attempts to separate the epistemically valuable uses of the imagination from the epistemically worthless ones bear some striking similarities to Kant’s ideas about how the imagination helps us to get insight into metaphysical possibility. By discussing what Kant says about the method of a priori imaginative construction in the case of concepts such as that of matter and that of disembodied minds, I also point to those aspects of his view which make his views really distinct from all contemporary accounts, but which he himself thought bear the greatest potential of making the imagination a source of modal knowledge. (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)

Kant s view of the imagination is surrounded by one of the most salient and obscure discussions on his critical philosophy. Due to revisions and emendations and a seeming change in doctrine from the first to the third Critique, Kant s considered view of the imagination remains unclear. This collection of essays from Kant scholars illuminates the various treatments of imagination through its development in Kant s critical works. ".

In the Typic chapter of the Critique of Practical Reason, Kant aims to enable moral judgment by means of the law of nature, which serves as the ‘type’, or formal analogue, of moral law. The present monograph is the first comprehensive study of this key text. It provides a detailed commentary on the Typic, situates it within Kant’s ethics and his theory of symbolic representation, and critically engages with the relevant secondary literature.

Critics of Hannah Arendt's Lectures on Kant's Political Philosophy argue that Arendt fails to address the most important problem of political judgment, namely, validity. This essay shows that Arendt does indeed have an answer to the problem that preoccupies her critics, with one important caveat: she does not think that validity is the all-important problem of political judgment--the affirmation of human freedom is.

"Kant and the Capacity to Judge" will prove to be an important and influential event in Kant studies and in philosophy.

This paper develops an account of moral imagination that identifies the ways in which imaginative capacities contribute to our ability to make reason practical in the world, beyond their roles in moral perception and moral judgment. In section 1, I explain my understanding of what it means to qualify imagination as ‘moral,’ and go on in section 2 to identify four main conceptions of moral imagination as an aspect of practical reason in philosophical ethics. I briefly situate these alternative ideas (...) in relation to standard accounts of moral perception and judgment with reference to some guiding examples. In section 3, I argue that the fourth conception of moral imagination, moral imagination understood as the capacity to generate new possibilities for morally good action, is not well accounted for within the standard categories of practical reason. Section 4 clarifies the scope and importance of this capacity and defends its claim to increased theoretical attention. (shrink)

My aim in this article is to understand the role of imagination and practical judgment in Kant's moral philosophy. After a comparison of Kant with Rousseau, I explore Kant's moral philosophy itself — unlike Hannah Arendt, who finds in the enlarged mentality of the third Critique the ground for the activity of imagination in a shared world. Instead, I place the concept of moral legislation in its background, the reflection on particulars relevant to deliberation, and discuss the mutual relation of (...) reflection and determination. Not only reflection and determination work together; imagination and judgment imply one another essentially, as interpretation of what is relevant, and as a principle of orientation in the choice of the maxim against the backdrop of a uniform and ordered world. The concepts of analogy and symbolic exhibition turn out to be crucial for how reason represents to itself the reality of ideas in the world. (shrink)

First ed. published in Jahrbuch feur Philosophie und Pheanomenologische Forschung, v. 11, 1930.

O'Neill's central concern here is to explicate Kant's account of how we could have unconditional practical reasons to do as morality requires, where unconditional practical reasons are those not based upon arbitrarily chosen ends. But then, what is their basis? Kant's proposal, O'Neill argues, is that what makes a practical reason unconditional is its universal recognizability. An unconditional practical reason is one that can be seen to be a reason for action by any rational audience; its appeal relies on no (...) parochial concerns. Such universal appeal is captured by the categorical imperative test : only principles of action that pass this test can be universally recognized as yielding practical reasons. (shrink)