This collection of essays by one of the foremost Kant scholars of our time is a welcome and timely addition to the literature. Henrich is a very prolific scholar, and the lack of English translations of most of his works may account in some measure for the fact that there has been surprisingly little sustained engagement with them by Anglo-American scholars, especially those working on Kant’s ethics. It is to be hoped that this volume will help provoke such an engagement.

A central doctrine of Kant's Critique of Pure Reason holds that the content of human experience is rooted in an affection of sensibility by unknowable things in themselves. This famous and puzzling affection doctrine raises two seemingly intractable old problems, which can be termed the Indispensability and the Consistency Problems. By what right does Kant present affection by supersensible entities as an indispensable requirement of experience? And how could any argument for such indispensability avoid violating the Critique's doctrine of noumenal (...) ignorance? This essay develops a new solution to both problems, setting out from the continuity between Kant's early and mature views on sensibility and mind-world relations. Kant's early writings subscribe to an interactionist cosmology opposed to both Leibniz's preestablished harmony and Malebranche's occasionalism. The modern debate on mind-world relations shaping Kant's early cosmology points us to a widely recognized motivation for interactionism, turning on a constraint on agency within certain noninteractionist cosmologies. In particular, Kant's early conversion to a libertarian theory of freedom, together with his rejection of occasionalism, provides the basis for a compelling argument for the indispensability of world-mind affection relations. Extended to the transcendental idealist framework, the same argument reveals noumenal affection as an indispensable presupposition of some knowledge claims consistently upheld by Kant. This leads in turn to a satisfying solution to the Consistency Problem, showing that the doctrine of noumenal affection is not merely consistent with, but is partly motivated by, Kant's commitment to noumenal ignorance. (shrink)

The Practice of Value explores the nature of value and its relation to the social and historical conditions under which human agents live. At the core of the book are the Tanner Lectures delivered at Berkeley in 2001 by Joseph Raz, who has been one of the leading figures in moral and legal philosophy since the 1970's. Raz argues that values depend importantly on social practices, but that we can make sense of this dependence without falling back on cultural relativism. (...) In response, three eminent philosophers, Christine Korsgaard, Robert Pippin, and Bernard Williams, offer their own distinctive reflections on the connections between value and practice. The book begins with an introduction by Jay Wallace, setting the scene for what follows, and ends with a response from Raz to his commentators. The result is a fascinating debate, accessible to readers throughout and beyond philosophy, about the relations between human values and human life. (shrink)

In this paper I argue that, on Kant's view, the work of genius serves as a sensible exhibition of the Idea of the highest good. In other words, the work of genius serves as a special sign that the world is hospitable to our moral ends and that the realization of our moral vocation in such a world may indeed be possible. In the first part of the paper, I demonstrate that the purpose of the highest good is not to (...) strengthen our motivation to accept the moral law as binding for us but, rather, to strengthen our motivation to persist in our already existent moral dispositions. In the second part, I show that the works of genius exhibit the Idea of the highest good and, consequently, strengthen our hope in its realization. Drawing on the results of the second part, the third part of the paper demonstrates that beauty, of both art and nature, symbolizes morality in a more substantive sense than that suggested by Henry Allison's “formalistic” interpretation. Since, on my view, fine art in Kant serves as a sensible representation of an undetermined conceptual content, or the Idea of the highest good, the fourth part of the paper addresses the vexed question of whether Kant's account of fine art already anticipates the cognitive role later attributed to it by the German Idealists. (shrink)

In this philosophically sophisticated and historically significant work, John H. Zammito reconstructs Kant's composition of The Critique of Judgment and reveals that it underwent three major transformations before publication. He shows that Kant not only made his "cognitive" turn, expanding the project from a "Critique of Taste" to a Critique of Judgment but he also made an "ethical" turn. This "ethical" turn was provoked by controversies in German philosophical and religious culture, in particular the writings of Johann Herder and the (...) Sturm und Drang movement in art and science, as well as the related pantheism controversy. Such topicality made the Third Critique pivotal in creating a "Kantian" movement in the 1790s, leading directly to German Idealism and Romanticism. The austerity and grandeur of Kant's philosophical writings sometimes make it hard to recognize them as the products of a historical individual situated in the particular constellation of his time and society. Here Kant emerges as a concrete historical figure struggling to preserve the achievements of cosmopolitan Aufkl-rung against challenges in natural science, religion, and politics in the late 1780s. More specifically Zammito suggests that Kant's Third Critique was animated throughout by a fierce personal rivalry with Herder and by a strong commitment to traditional Christian ideas of God and human moral freedom. "A work of extraordinary erudition. Zammito's study is both comprehensive and novel, connecting Kant's work with the aesthetic and religious controversies of the late eighteenth century. He seems to have read everything. I know of no comparable historical study of Kant's Third Critique."-Arnulf Zweig, translator and editor of Kant's ;IPhilosophical Correspondence, 1759-1799;X "An intricate, subtle, and exciting explanation of how Kant's thinking developed and adjusted to new challenges over the decade from the first edition of the Critique of Pure Reason to the appearance of the Critique of Judgment. "--John W. Burbidge, Review of Metaphysics "There has been for a long time a serious gap in English commentary on Kant's Critique of Judgment Zammito's book finally fills it. All students and scholars of Kant will want to consult it."--Frederick Beiser, Times Literary Supplement. (shrink)

Kant famously insisted that “the idea of the will of every rational being as a universally legislative will” is the supreme principle of morality. Recent interpreters have taken this emphasis on the self-legislation of the moral law as evidence that Kant endorsed a distinctively constructivist conception of morality according to which the moral law is a positive law, created by us. But a closer historical examination suggests otherwise. Kant developed his conception of legislation in the context of his opposition to (...) theological voluntarist accounts of morality and his engagement with conceptions of obligation found in his Wolffian predecessors. In order to defend important claims about the necessity and immediacy of moral obligation, Kant drew and refined a distinction between the legislation and authorship of the moral law in a way that precludes standard theological voluntarist theories and presents an obstacle to recent constructivist interpretations. A correct understanding of Kant's development and use of this distinction reveals that his conception of legislation leaves little room for constructivist moral anti-realism. (shrink)

Values of Beauty discusses major ideas and figures in the history of aesthetics from the beginning of the eighteenth century to the end of the twentieth century. The core of the book features Paul Guyer's essays on the epochal contribution of Immauel Kant, and sets Kant's work in the context of predecessors, contemporaries, and successors including David Hume, Alexander Gerard, Archibald Alison, Arthur Schopenhauer, and John Stuart Mill All of the essays emphasize the complexity rather than isolation of our aesthetic (...) experience of both nature and art; and the interconnection of aesthetic values such as beauty and sublimity on the one hand, and prudential and moral values on the other. Guyer emphasizes that the idea of the freedom of the imagination as the key to both artistic creation and aesthetic experience has been a common thread throughout the modern history of aesthetics, although the freedom of the imagination has been understood and connected to other forms of freedom in a variety of ways. (shrink)

In this collection comprising four of his most influential essays, Henrich proves himself unique in the conjunction of philosophical acumen, insight, and originality that he brings to Kant interpretation.

"Exemplary Originality": Kant on Genius and Imitation MARTIN GAMMON 1. INTRODUCTION ACCORDING TO ERNST CASSIRER, Kant 's discussion of genius in the Third Cri- tique stands "at the crossroads of all aesthetic discussions in the eighteenth century," in that he tries to accommodate the neo-Classical demand that art- works follow determinate rules to the Romantic insistence that aesthetic cre- ativity be free from such rules? In the Third Critique itself, Kant defends both of these criteria through the doctrine of "exemplary (...) originality." For Kant, the genius combines two qualities: on the one hand, "a talent for produc- ing that for which no rule can be given," so that "originality must be its primary property"; however, "since there may also be original nonsense, its products must at the same time be models, i.e., be exemplary; and consequently, though not themselves derived from imitation, they must serve that purpose for oth- ers, i.e., as a standard or rule for estimating."' On the basis of this exemplary originality, then, a genius puts "freedom from constraint of rules so into force in his art, that for art itself a new rule is won -- which is what shows a talent to be exemplary". Recently, some commentators have puzzled over the "air of paradox" sur- rounding Kant 's union of originality and exemplarity in works of genius. "If such works," Timothy Gould conjectures, "make advances on what is familiar and gain new ground, their very. (shrink)

“That the imagination should be both free and yet of itself conformable to law, that is, that it should carry autonomy with it, is a contradiction.” So Kant writes to express as a paradox the epistemological problem that the feeling on which an aesthetic judgment is based must be free of the constraint provided by determinate concepts, for otherwise there will be no reason why it should be pleasurable, yet must also be subject to some kind of rule, for otherwise (...) the claim of universal validity which this judgment asserts will be irrational. And so understood, the remark is entirely rhetorical, for it is the express purpose of Kant’s main argument in the Critique of Aesthetic Judgment to show that this conception of the judgment of taste is coherent rather than contradictory. But taken from its intended context, the remark need not be rhetorical, for it can be seen as an expression of competing demands for aesthetic integrity, or demands for individual freedom and social agreement in the creation and reception of art which, unlike the two epistemological constraints on aesthetic judgment, cannot be simultaneously satisfied but which instead introduce a permanent source of instability into the history of art and taste. Indeed, it is even fitting that Kant’s remark has to be taken out of context to be given this interpretation, for although Kant lays the theoretical basis for such a picture of art history he also tries to suppress its consequence and to avert the destruction of the eighteenth-century ideal of aesthetic stability which is its inevitable outcome. (shrink)

A view of socially constructed values created and sustained by social practices is examined. In many cases, it may be that the social dependence of evaluative beliefs testifies not to the social construction of value but to the social dependence of access to value. It is argued that if we maintain the view that some values are socially constituted, we do not have to fall prey to the seemingly inescapable conclusion of additional arguments and puzzles that bedevil some theses affirming (...) the social constitution of value. The social dependence of value has nothing to do with the affirmation of social practices as reasons for their own validity. Relevant social practices are sustaining practices necessary for the existence of value. (shrink)