The philosophy of Immanuel Kant is the watershed of modern thought, which irrevocably changed the landscape of the field and prepared the way for all the significant philosophical movements of the nineteenth and twentieth centuries. This 2006 volume, which complements The Cambridge Companion to Kant, covers every aspect of Kant's philosophy, with a particular focus on his moral and political philosophy. It also provides detailed coverage of Kant's historical context and of the enormous impact and influence that his work has (...) had on the subsequent history of philosophy. The bibliography also offers extensive and organized coverage of both classical and recent books on Kant. This volume thus provides the broadest and deepest introduction currently available on Kant and his place in modern philosophy, making accessible the philosophical enterprise of Kant to those coming to his work for the first time. (shrink)

In diesem Buch wird ein zweihundert Jahre altes Problem gelost: Wie beweist Kant in der Kritik der reinen Vernunft die Vollstandigkeit seiner Urteilstafel? Da diese Tafel, zusammen mit der Kategorientafel (die von ihr abhangt) das Herzstuck von Kants Hauptwerk ausmacht, gilt das Problem von jeher als Kernproblem der Kantinterpretation. Uberraschenderweise kann es durch sorgfaltige immanente Textauslegung gelost werden: Nachweisbar ist, dass das Leitfadenkapitel, also der unmittelbare Kontext der Urteilstafel innerhalb der Kritik, eine dicht geschriebene Argumentationsskizze zu einem strengen Vollstandigkeitsbeweis enthalt, (...) dessen Uberzeugungskraft nichts zu wunschen ubriglasst. Fur die Rekonstruktion dieses Beweises kommt es zunachst auf eine genaue Analyse der Behauptungen an, die Kant mit der Urteilstafel aufstellt. Diese Analyse prasentiert das erste Kapitel. Das zweite bietet dann einen ausfuhrlichen Satz-fur-Satz-Kommentar zu der fur den Vollstandigkeitsbeweis einschlagigen Textpassage und rekonstruiert ihn in allen Details. Das dritte Kapitel schliesslich untersucht den Begriff von 'formaler Logik', den Kant voraussetzt und von dem seine Behauptung abhangt, die in der Urteilstafel vorgenommene Aufzahlung logischer Formen sei vollstandig. Der im Anhang abgedruckte Essay behandelt die bis heute kaum beachtete Auseinandersetzung, die Gottlob Frege in seiner Begriffsschrift von 1879 mit der kantischen Urteilstafel Punkt fur Punkt gefuhrt hat. Freges Kritik an ihr wird im ersten Teil des Anhangs dargestellt und erlautert. Im zweiten Teil wird dann gezeigt, dass diese Kritik in allen Punkten auf grundlegenden Irrtumern und Missverstandnissen beruht. Als besonders schwerwiegender und folgenreicher Irrtum stellt sich Freges Ansicht heraus, die Regeln dessen, was Kant als formale Logik ansah, seien aus dem Axiomensystem der Begriffsschrift ableitbar. (shrink)

Many recent aestheticians have criticized the notion of disinterest. The aestheticians in question take the notion to have a vaguely Kantian pedigree. And in attacking this notion, they think of themselves as attempting to remove a cornerstone of Kant’s aesthetics. This procedure is hardly likely to be effective if what they attack bears little resemblance to Kant’s original notion. In this brief note, I want to show how far these anti-Kantian aestheticians have missed their mark.

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)

In der Reihe werden herausragende monographische Untersuchungen und Sammelbände zu allen Aspekten der Philosophie Kants veröffentlicht, ebenso zum systematischen Verhältnis seiner Philosophie zu anderen philosophischen Ansätzen in Geschichte und Gegenwart. Veröffentlicht werden Studien, die einen innovativen Charakter haben und ausdrückliche Desiderate der Forschung erfüllen. Die Publikationen repräsentieren damit den aktuellsten Stand der Forschung.

Philosophical aesthetics is an area in which many strands of contemporary philosophical thinking meet. The contributors to this volume are aware of the wider logical, epistemological, moral and metaphysical implications raised by conceptual problems specific to aesthetics. Three themes recur and are taken up from different angles in several of the papers: pleasure – its nature and role in the experience of art and beauty; preference – figuring prominently in aesthetic appraising, appreciating and judging; and value – aesthetic value in (...) particular, and the status of value in general. As these themes interweave, the complexities of aesthetics bring into focus some of the central issues in the philosophy of mind. The authors argue their cases with professional expertise and perceptive understanding of the arts, making significant and original contributions. This book should be of interest not only to philosophers but also to the readers who know, care and theorise about the arts. All the essays were commissioned for this volume, which is part of an informal series of books emerging from meetings sponsored by the Thyssen Foundation. (shrink)

Beauty, or at least natural beauty, is famously a symbol of the morally good in Kant's theory of taste. Natural beauty is also, we argue, a symbol of the systematicity of nature. This symbolic connection of beauty and systematicity in nature sheds light on the relation between the principles underlying the use of reflecting judgement. The connection also motivates a more general interpretive proposal: the fact that the imagination can symbolize ideas plays a crucial role in the theory of taste; (...) it is the mechanism that underlies pure judgements of taste, the operation by which the imagination ‘schematizes without a concept’. (shrink)

I try to identify the characteristic and distinguishing features of a theory of natural beauty (as opposed to the sublime) that can be found in Kant's Critique of Judgement. Lest this may seem superfluous, I argue first that, contrary to a common view, Kant's theory does not take the experience of beauty in nature as theoretically basic and that he does not deal with beauty in art only as a derivative case of aesthetic experience. I then try to understand what (...) it means to require, as Kant famously does, that beautiful nature has to look as if it were art. Does this commit him to a projectionist view, according to which we appreciate nature aesthetically only for what it really is not (namely art) rather than for what it is? Pursuing this question we find that for Kant nature can be the object of pure judgements of taste only insofar as nature can be explained scientifically, which in Kant's framework means purely mechanically. This ‘blind mechanism’ of nature plays an important role in Kant's explication of the moral significance the experience of beautiful nature has for us. (shrink)

In the third Critique Kant shifts the focus in his enquiry from the status of factual statements in the Critique of Pure Reason and the grounding of moral imperatives in the Critique of Practical Reason to investigating two methods of considering the world which go beyond the strictly verifiable. This is a move from evaluating the interplay of a ‘determinate’ set of facts and intellectual preconditions to forming what Kant calls ‘reflective’ judgements on these facts. There are two major questions (...) which the Critique of Judgement tackles. On the one hand Kant ambitiously considers how we might properly interpret a set of facts as comprising a larger teleological system and, on the other hand, he is interested in the seemingly quite separate issue of the appreciation of objects as beautiful. It is this latter issue which shall concern us here. Consistent with the reflective stand in the third Critique, Kant argues from the very outset that beauty is not an empirical concept with which we might describe the world. Beauty is not objective in the sense that size, colour or weight might be. Objective properties of this kind belong to the world of scientific understanding. Instead, he holds that judgements of aesthetic merit should be based upon the subjective pleasure we take in experiencing works of art and natural objects. (shrink)

The purpose of this paper is to give an interpretation of what Kant takes to be the moral importance of aesthetic experience. On my interpretation aesthetic experience pleases since, in general, it is the experience of our finding an object first the aim of our reflective judging efforts. However, satisfying such an aim only makes sense within Kant 's further account of beauty as the expression of aesthetic ideas. In the end I hold that on Kant 's account it is (...) only because beauty can express aesthetic ideas that aesthetic experience can be of moral importance. (shrink)

According to Kant, the singular judgement ‘This rose is beautiful’ is, or may be, aesthetic, while the general judgement ‘Roses in general are beautiful’ is not. What, then, is the logical relation between the two judgements? I argue that there is none, and that one cannot allow there to be any if one agrees with Kant that the judgement ‘This rose is beautiful’ cannot be made on the basis of testimony. The appearance of a logical relation between the two judgements (...) can, however, be explained in terms of what one does in making a judgement of taste. Finally, I describe an analogy between Kant's treatment of judgements of taste and J. L. Austin's treatment of explicit performative utterances, which I attribute to a deeper affinity between their respective projects. (shrink)

ZusammenfassungSpätestens seit Schopenhauer herrscht das Missverständnis, die ästhetische Beziehung eines schönen Objekts zu einem Subjekl verstehe Kant so, dass sie vom Objekt ausgehe, und zwar allein soweit das Subjekt in entsprechend ästhetischer Einstellung bleibe, nämlich willenlos‐passiv in rein rezeptiver Kontemplation. Es unterläuft indes allein darum, weil dabei nicht genügend berücksiclitigt wird, was Kant unter praktischer und vor allem theoretischer Einstellung versteht, auf denen er die ästhetische gerade dadürch begrundet, dass er über jene als Fundamente diese in bestimmter Weise noch hinausgehen (...) lässt. Holt man dies nach, so wird auch klar, dass ästhetische Einstellung nach Kant keineswegs in jener Rezeptivität bestehen kann, sondern sogar noch über theoretische und praktische hinaus als eine ganz besondere Spontaneität und Intentionalität ergehen muss und damit gerade aus äusserster Freiheit als äusserstem Willen. (shrink)

Immanuel Kant was a German philosopher. He is a central figure of modern philosophy, and set the terms by which all subsequent thinkers have had to grapple. He argued that human perception structures natural laws, and that reason is the source of morality. His thought continues to hold a major influence in contemporary thought, especially in fields such as metaphysics, epistemology, ethics, political philosophy, and aesthetics.

Salim Kemal clarifies the nature of aesthetic judgements and their epistemological status, and examines the scope of Kant's justification of their validity.

Integrating Kant's ideas on aesthetics and morality, Dr. Kemal explains how Kant's theories emphasize that art is critical to the development of culture and community goals. He clarifies Kant's often obscure efforts to justify artistic judgements and demonstrates Kant's claim that they have their own necessity. Containing explanations of many difficult terms present in Kant's Critique of Judgment, this study is a valuable guide to understanding Kant's association of beauty and morality.

My plan in this article is to begin by raising the question of the point of judgements of beauty, and then to examine Kant's account of beauty in the third Critique from the perspective opened up by that question. Having raised the question of the point, I will argue, first, that there is an implied answer to it in Kant's text, and, second, that the answer is ultimately unsatisfying in that it falsely assumes that there is a ‘need’, or ‘task’, (...) or ‘purpose’, that we all necessarily share, to conceptualize all that encounters us in our experience, and fit it into one unified and comprehensive system. It is only against this assumption of our transcendental cognitive interest that Kant can so much as seem to have a real story to tell about where the value that we claim for things in calling them ‘beautiful’ derives from. This, in effect, means that to the extent that Kant offers us any answer at all to the question of the point of judgements of beauty, that answer testifies to his general neglect of the question of the point of judgements. And my purpose is to draw attention to that neglect, and to begin to assess its significance for Kant's transcendental project in general and for his conception of beauty in particular. (shrink)

A number of recent studies have claimed to explain how Kant can or cannot accommodate pure judgements of ugliness in his aesthetic theory. In this paper I critically review the arguments on each side of the debate and then develop a new account of how Kant might explain the pure judgement of the ugly, namely, by appeal to the quickening of the faculties in their harmonious free play. Some implications and applications of such an explanation are then explored, including a (...) rethink of the nature of beauty and ugliness. (shrink)

Biographical note: The author is associate professor in ethics and political philosophy, Department of Philosophy, NTNU Trond.

I offer a critical reconstruction of Kant's thesis that aesthetic judgement is founded on the principle of the purposiveness of nature. This has been taken as equivalent to the claim that aesthetics is directly linked to the systematicity of nature in its empirical laws. I take issue both with Henry Allison, who seeks to marginalize this claim, and with Avner Baz, who highlights it in order to argue that Kant's aesthetics are merely instrumental for his epistemology. My solution is that (...) aesthetic judgement operates as an exemplary presentation of our general ability to schematise an intuition with a concept at the empirical level. I suggest that this counts as an empirical schematism. Although aesthetic judgement is not based on empirical systematicity, it can nevertheless offer indirect support for the latter in so far as it is a particular revelation of purposiveness in general. (shrink)

Introduction The aim of this book is to show that the Critique of Aesthetic Judgement is not a set of disconnected remarks about aesthetic matters more ...

In this illuminating study of Kant's theory of imagination and its role in interpretation, Rudolf A. Makkreel argues against the commonly held notion that Kant's transcendental philosophy is incompatible with hermeneutics. The charge that Kant's foundational philosophy is inadequate to the task of interpretation can be rebutted, explains Makkreel, if we fully understand the role of imagination in his work. In identifying this role, Makkreel also reevaluates the relationship among Kant's discussions of the feeling of life, common sense, and the (...) purposiveness of history. (shrink)

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

Keine ausführliche Beschreibung für "Kritik der logischen Konstanten" verfügbar.