A crucial feature of Kant's critical-period writing on the sublime is its grounding in moral psychology. Whereas in the pre-critical writings, the sublime is viewed as an inherently exhausting state of mind, in the critical-period writings it is presented as one that gains strength the more it is sustained. I account for this in terms of Kantian moral psychology, and explain that, for Kant, sound moral disposition is conceived as a sublime state of mind.

There can be no doubt that Kant thought we should be reflective: we ought to care to make up our own minds about how things are and what is worth doing. Philosophical objections to the Kantian reflective ideal have centred on concerns about the excessive control that the reflective person is supposed to exert over her own mental life, and Kantians who feel the force of these objections have recently drawn attention to Kant’s conception of moral virtue as it is (...) developed in his later work, chiefly the Metaphysics of Morals. Melissa Merritt’s book is a distinctive contribution to this recent turn to virtue in Kant scholarship. Merritt argues that we need a clearer, and textually more comprehensive, account of what reflection is, in order not only to understand Kant’s account of virtue, but also to appreciate how it effectively rebuts long-standing objections to the Kantian reflective ideal. (shrink)

The Roman statesman and philosopher Seneca recorded his moral philosophy and reflections on life as a highly original kind of correspondence. Letters on Ethics includes vivid descriptions of town and country life in Nero’s Italy, discussions of poetry and oratory, and philosophical training for Seneca’s friend Lucilius. This volume, the first complete English translation in nearly a century, makes the Letters more accessible than ever before. Written as much for a general audience as for Lucilius, these engaging letters offer advice (...) on how to deal with everything from nosy neighbors to sickness, pain, and death. Seneca uses the informal format of the letter to present the central ideas of Stoicism, for centuries the most influential philosophical system in the Mediterranean world. His lively and at times humorous expositions have made the Letters his most popular work and an enduring classic. Including an introduction and explanatory notes by Margaret Graver and A. A. Long, this authoritative edition will captivate a new generation of readers. (shrink)

I present and evaluate Johann Gottfried Herder's criticisms of Kant's account of the sublime and Herder's own theory of the sublime, as presented in his work, Kalligone. Herder's account and criticisms ought to be taken seriously, I argue, as (respectively) a non-reductive, naturalist aesthetics of the sublime, and as illuminating the metaphysical, moral, and political presuppositions underlying Kant's (and Burke's) accounts of the sublime.

The Complete Works of Lucius Annaeus Seneca is a fresh and compelling series of new English-language translations of his works in eight accessible volumes.

For Kant, the ideal of enlightenment is most fundamentally expressed as a self-developed soundness of judgment. But what does this mean when the judgment at issue is practical, i.e., concerns the good to be brought about through action? I argue that the moral context places special demands on the ideal of enlightenment. This is revealed through an interpretation of Kant’s prescription for moral pedagogy in the Critique of Practical Reason. The goal of the pedagogy is to cultivate the moral disposition, (...) and the method consists of training in judgment. Unfortunately, Kant seems to wind up somewhere short of this goal, leaving the young person with only an idle wish for a properly cultivated moral disposition. In this paper, I argue that when we address the special issues that arise when the enlightenment ideal is brought to bear on practical judgment — issues that stem from the intrinsic connection between practical judgment and agency — we will see that there is no lacuna in Kant’s account. (shrink)

1. Presumably the point of, say, inculcating a moral outlook lies in a concern with how people live. It may seem that the very idea of a moral outlook makes room for, and requires, the existence of moral theory, conceived as a discipline which seeks to formulate acceptable principles of conduct. It is then natural to think of ethics as a branch of philosophy related to moral theory, so conceived, rather as the philosophy of science is related to science. On (...) this view, the primary topic of ethics is the concept of right conduct, and the nature and justification of principles of behaviour. If there is a place for an interest in the concept of virtue, it is a secondary place. Virtue is a disposition to behave rightly; the nature of virtue is explained, as it were, from the outside in. (shrink)

S. 39: "My project in this paper is to develop the initial distinction which I have drawn between recognition and appraisal respect into a more detailed and specific account of each. These accounts will not merely be of intrinsic interest. Ultimately I will use them to illuminate the puzzles with which this paper began and to understand the idea of self-respect." 42 " Thus, insofar as respect within such a pursuit will depend on an appraisal of the participant from the (...) perspective of whatever standards are held to be appropriate to the pursuit, such respect will depend on a judgement to which excellences of character are thought relevant. Note that exactly what aspect of the person's character is thought to be relevant in this instance is his recognition respect (or lack of it) for the standards of the pursuit." 44 "This attitude fails of being appraisal respect in that my having it toward the person is conditional on those traits being such as to make him server a particular purpose that I happen to have" 44 - 45 "To sum up: Appraisal respect is an attitude of positibe appraisal of a person either judged as a person or as engaged in some more specific pursuit. In the first case, the appropriate grounds are features of the person's character: dispositions to act for particular reasons or a higher-level disposition to act for the best reasons. In the second case, though features of character do not exhaust the appropriate grounds for appraisal respect, some such character traits will be relevant (recognition respect for the standards of a particular pursuit). Also, the other features which constitute the appoprate excellences of the pursuit must be related to traits of character in the way specified. In both cases, the positive appraisal of the person, and of his traits, must be categorical. It cannot depend on the fact that the person, because of his traits, serves an interest or purpose of one's own." 45 "To have recognition respect for someone as a person is to give appropriate weight to the fact that he or she is a person by being willing to constrain one's behaviour in ways required by that fact." 45 "This is rather different from having an attitude of appraisal respect for someone as a person. The latter is a positive appraisal oif an individual made with regard ti those features which are excellences of persons. As such, it is not owed to everone, for it may or may not be merited. When it is, what is merited is just the positive appraisal itself." 47 "Second, the only beings who are approriate objects of appraisal respect are those who are capable of acting for reasons and hence capable of conceiving of various facts as meriting more or less consideration in deliberation.". (shrink)

The literature on the venerable aesthetic category of the sublime often provides us with lists of sublime phenomena — mountains, storms, deserts, volcanoes, oceans, the starry sky, and so on. But it has long been recognized that what matters is the experience of such objects. We then find that one of the most consistent claims about this experience is that it involves an element of fear. Meanwhile, the recognition of the sublime as a category of aesthetic appreciation implies that attraction, (...) admiration or pleasure is also present.1However, there is also a sense of fear and attraction when we watch car chases or fights. Neither of these is an occasion for the sublime so much as a visceral sort of excitement.2 As .. (shrink)

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of nature, (...) approaching the subject from a variety of angles. As well as developing Budd's own original ideas, the book provides a comprehensive treatment of Kant's classic aesthetics of nature, and an encyclopaedic critical survey of recent literature on the subject. (shrink)

In this book, Robert Doran offers the first in-depth treatment of the major theories of the sublime, from the ancient Greek treatise On the Sublime and its reception in early modern literary theory to the philosophical accounts of Burke and Kant. Doran explains how and why the sublime became a key concept of modern thought and shows how the various theories of sublimity are united by a common structure - the paradoxical experience of being at once overwhelmed and exalted - (...) and a common concern: the preservation of a notion of transcendence in the face of the secularization of modern culture. Combining intellectual history with literary theory and philosophical analysis, his book provides a new, searching and multilayered account of a concept that continues to stimulate thought about our responses to art, nature and human events. (shrink)

In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to (...) other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world. (shrink)

This book is the first to offer a detailed analysis of Aristotelian and Kantian ethics together, in a way that remains faithful to the texts and responsive to debates in contemporary ethics. Recent moral philosophy has seen a revival of interest in the concept of virtue, and with it a reassessment of the role of virtue in the work of Aristotle and Kant. This book brings that re-assessment to a new level of sophistication. Nancy Sherman argues that Kant preserves a (...) notion of virtue in his moral theory that bears recognisable traces of the Aristotelian and Stoic traditions, and that his complex anthropology of morals brings him into surprising alliance with Aristotle. She develops her argument through close readings of major texts by both Aristotle and Kant, illustrating points of congruence and contrast. (shrink)

The concept of the sublime was crucial to the thought of Immanuel Kant, who defined it as the experience of what is great in power, size, or number. From ancient times to the present, the aesthetic experience of the sublime has been associated with morality, but if we want to be able to exclude evil, fascistic, or terroristic uses of the sublime—the inescapable awe generated by the Nuremberg rallies, for example—we require a systematic justification of the claim that there are (...) internal moral constraints on the sublime. In _Kant on Sublimity and Morality_, Joshua Rayman argues that Kant alone provides the system by which we can bind sublimity to moral ideas, the exhibition of freedom, the production of respect, and violence towards inclinations. (shrink)

This book argues that political philosophy is central to early Stoic philosophy, and is deeply tied to the Stoics' conceptions of reason and wisdom. Broad in scope, it explores the Stoics' idea of the cosmic city, their notion of citizen-gods, as well as their account of the law.

Kant and Milton: fundamentals and foundations -- Kant's journey in the constellation of German Miltonism: toward the procedure of succession -- Kant's Miltonic transfer to exemplarity: the succession to Milton's "On his blindness" in the groundwork of the Metaphysics of morals -- Kantian tragic form and Kantian "storytelling" -- The Critique of practical reason and Samson agonistes -- Kant's Miltonic procedure of succession in a key moment of the Critique of judgment.

Introduction -- Aesthetic judgements, aesthetic principles, and aesthetic properties -- Aesthetic essence -- The acquaintance principle -- The intersubjective validity of aesthetic judgements -- The pure judgement of taste as an aesthetic reflective judgement -- Understanding music -- The characterization of aesthetic qualities by essential metaphors and quasi-metaphors -- Musical movement and aesthetic metaphors -- Aesthetic realism and emotional qualities of music -- On looking at a picture -- The look of a picture -- Wollheim on correspondence, projective properties, and (...) expressive perception -- Wittgenstein on aesthetics. (shrink)

In this book Robert R. Clewis shows how certain crucial concepts in Kant's aesthetics and practical philosophy - the sublime, enthusiasm, freedom, empirical and intellectual interests, the idea of a republic - fit together and deepen our understanding of Kant's philosophy. He examines the ways in which different kinds of sublimity reveal freedom and indirectly contribute to morality, and discusses how Kant's account of natural sublimity suggests that we have an indirect duty with regard to nature. Unlike many other studies (...) of these themes, this book examines both the pre-critical Observations and the remarks that Kant wrote in his copy of the Observations. Finally, Clewis takes seriously Kant's claim that enthusiasm is aesthetically sublime, and shows how this clarifies Kant's views of the French Revolution. His book will appeal to all who are interested in Kant's philosophy. (shrink)

This collection of essays by one of the preeminent Kant scholars of our time transforms our understanding of both Kant's aesthetics and his ethics. Guyer shows that at the very core of Kant's aesthetic theory, disinterestedness of taste becomes an experience of freedom and thus an essential accompaniment to morality itself. At the same time he reveals how Kant's moral theory includes a distinctive place for the cultivation of both general moral sentiments and particular attachments on the basis of the (...) most rigorous principle of duty. Kant's thought is placed in a rich historical context including such figures as Shaftesbury, Hutcheson, Hume, Burke, Kames, as well as Baumgarten, Mendelssohn, Schiller, and Hegel. Other topics treated are the sublime, natural versus artistic beauty, genius and art history, and duty and inclination. These essays extend and enrich the account of Kant's aesthetics in the author's earlier book, Kant and the Claims of Taste. (shrink)

This collection of texts on the Sublime provides the historical context for the foundation and discussion of one of the most important aesthetic debates of the Enlightenment. The significance of the Sublime in the eighteenth century ranged across a number of fields - literary criticism, empirical psychology, political economy, connoisseurship, landscape design and aesthetics, painting and the fine arts, and moral philosophy - and has continued to animate aesthetic and theoretical debates to this day. However, the unavailability of many of (...) the crucial texts of the founding tradition has resulted in a conception of the Sublime often limited to the definitions of its most famous theorist Edmund Burke. Andrew Ashfield and Peter de Bolla's anthology, which includes an introduction and notes to each entry, offers students and scholars ready access to a much deeper and more complex tradition of writings on the Sublime, many of them never before printed in modern editions. (shrink)

This book constitutes one of the most important contributions to recent Kant scholarship. In it, one of the pre-eminent interpreters of Kant, Henry Allison, offers a comprehensive, systematic, and philosophically astute account of all aspects of Kant's views on aesthetics. The first part of the book analyses Kant's conception of reflective judgment and its connections with both empirical knowledge and judgments of taste. The second and third parts treat two questions that Allison insists must be kept distinct: the normativity of (...) pure judgments of taste, and the moral and systematic significance of taste. The fourth part considers two important topics often neglected in the study of Kant's aesthetics: his conceptions of fine art, and the sublime. (shrink)

Kant claimed both that "moral feeling is the capacity to be affected by a moral judgment" and that moral motivation is motivation by principle. What are the psychological mechanism that could enable principles to motivate? This chapter develops in more detail a suggestion made elsewhere by the author that posits a connection between susceptibility to the discomfort of cognitive dissonance and moral motivation of a broadly Kantian kind. The chapter argues that the possession of principles is constitutively connected to one’s (...) status as a diachronic self and to one’s rational agentive capacities. If psychopaths are insensitive to cognitive dissonance, they cannot have or be motivated by principles. This provides an explanation of the failure of moral motivation in psychopaths that differs from the usual focus on lack of empathy. (shrink)

This chapter argues that Kant’s aesthetic theory of the sublime has particular relevance for his ethics of virtue. Kant contends that our readiness to revel in natural sublimity depends upon a background commitment to moral ends. Further lessons about the emotional register of the sublime allow us to understand how Kant can plausibly contend that the temperament of virtue is both sublime and joyous at the same time.