This new translation is an extremely welcome addition to the continuing Cambridge Edition of Kant’s works. English-speaking readers of the third Critique have long been hampered by the lack of an adequate translation of this important and difficult work. James Creed Meredith’s much-reprinted translation has charm and elegance, but it is often too loose to be useful for scholarly purposes. Moreover it does not include the first version of Kant’s introduction, the so-called “First Introduction,” which is now recognized as indispensable (...) for an understanding of the work. Werner Pluhar’s more recent translation, which does include the First Introduction, is highly accurate when it confines itself to rendering Kant’s German. However, it is often more of a reconstruction than a translation, containing so many interpretative interpolations that it is often difficult to separate out Kant’s original text from the translator’s contributions. Paul Guyer and Eric Matthews have provided a translation that compares to or exceeds Pluhar’s in its literal approach to the German, but that confines all interpretative material to footnotes and endnotes, so that the text itself, with all its unclarities and ambiguities, lies open to view. In addition, Guyer, as editor of the volume, has provided a great deal of valuable supplementary material. This includes an introduction with an outline of the work and details of the history of its composition and publication, and a wealth of endnotes offering clarifications of the text, background information, and, most strikingly, many references to related passages in Kant’s voluminous writings, particularly in connection with Kant’s earlier writings related to aesthetics. The edition also records differences among the first three editions of the work, and—of particular interest—erasures from and additions to Kant’s manuscript of the First Introduction. Although the introduction and endnotes reflect interpretative views that are sometimes disputable, this supplementary material makes the present edition into a valuable resource even for those able to read the text in German. (shrink)

In _An Introduction to Kant’s Aesthetics_, Christian Wenzel discusses and demystifies Kant’s Critique of the Power of Judgment, guiding the reader each step of the way and placing key points of discussion in the context of Kant’s other work. Explains difficult concepts in plain language, using numerous examples and a helpful glossary. Proceeds in the same order as Kant’s text for ease of reference and comprehension. Includes an illuminating foreword by Henry E. Allison. Offers twenty-six further-reading sections, commenting briefly on (...) books and articles from the English, German, and French, that are relevant for each topic Provides an extensive bibliography and a chapter summarizing Kant's main points. (shrink)

This entirely new translation of Critique of Pure Reason by Paul Guyer and Allan Wood is the most accurate and informative English translation ever produced of this epochal philosophical text. Though its simple, direct style will make it suitable for all new readers of Kant, the translation displays a philosophical and textual sophistication that will enlighten Kant scholars as well. This translation recreates as far as possible a text with the same interpretative nuances and richness as the original.

In 1938 Wittgenstein delivered a short course of lectures on aesthetics to a small group of students at Cambridge. The present volume has been compiled from notes taken down at the time by three of the students: Rush Rhees, Yorick Smythies, and James Taylor. They have been supplemented by notes of conversations on Freud (to whom reference was made in the course on aesthetics) between Wittgenstein and Rush Rhees, and by notes of some lectures on religious belief. As very little (...) is known of Wittgenstein's views on these subjects from his published works, these notes should be of considerable interest to students of contemporary philosophy. Further, their fresh and informal style should recommend Wittgenstein to those who find his Tractatus and Philosophical Investigations a little formidable. (shrink)

Wittgenstein finished part 1 of the Philosophical Investigations in the spring of 1945. From 1946 to 1949 he worked on the philosophy of psychology almost without interruption. The present two-volume work comprises many of his writings over this period. Some of the remarks contained here were culled for part 2 of the Investigations ; others were set aside and appear in the collection known as Zettel . The great majority, however, although of excellent quality, have hitherto remained unpublished. This bilingual (...) edition of the Remarks on the Philosophy of Psychology presents the first English translation of an essential body of Wittegenstein's work. It elaborates Wittgenstein's views on psychological concepts such as expectation, sensation, knowing how to follow a rule, and knowledge of the sensations of other persons. It also shows strong emphasis on the "anthropological" aspect of Wittgenstein's thought. Philosophers, as well as anthropologists, psychologists, and sociologists will welcome this important publication. (shrink)

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...) introduction to the work; the only English edition notes to the many differences between the first (1790) and second (1793) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this new edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)

This first volume contains discussions of the brain, methods for analyzing behavior, thought, consciousness, attention, association, time, and memory.

In this book, translated from the German by the author, Joachim Schulte uses the discussions of psychological concepts in Wittgenstein's late manuscripts as a basis of reconstructing the central arguments and ideas developed by Wittgenstein during that period. This reconstruction yields valuable insights not only in the philosophy of psychology, but also in aesthetics and the theory of meaning.

Ob die Kategorien schon bei der Wahrnehmung eine Rolle spielen, wird von Kant-Interpreten unterschiedlich gesehen. Peter Rohs etwa argumentiert für eine Unabhängigkeit und Selbständigkeit der Wahrnehmung gegenüber dem Verstand. Die intuitive Synthesis der Einbildungskraft müsse auf eigenen Füßen stehen können und Bilder und „singuläre Sinne“ der Anwendung der Begriffe vorausgehen. McDowell hingegen spricht sich gegen eine solche Selbständigkeit der Wahrnehmung aus. Setzte man sie voraus, käme der Verstand immer zu spät . Die Argumente beider Seiten sollen am Text Kants untersucht (...) werden . Es liegt hier ein echtes Sachproblem vor. Die gegenwärtige, hauptsächlich amerikanische Diskussion um eine etwaige Notwendigkeit kognitiver Funktionen bei der Wahrnehmung stößt auf ganz ähnliche Probleme wie wir sie schon bei Kant finden, nur daß man sich dieser Ähnlichkeit außerhalb von Kantkreisen oft nicht bewußt zu sein scheint. (shrink)

For some aestheticians, Wittgenstein's notion of _seeing as (or aspect perception) could be used to explain perception of artworks as artworks (artistic appreciation). This paper urges that the idea of aspect perception cannot provide such a model, even for a perceptualist about artistic appreciation (like the author). First, this would be inconsistent with Wittgenstein's argumentative strategy in key passages in _Philosophical Investigations Part Two. Second, the characteristics of aspect perception make it unsuitable as a model, whatever Wittgenstein's intentions. Moreover (one (...) of Wittgenstein's own contentions), a suitably rich account of perception does not require this appeal to aspects. (shrink)

One of the cornerstone books of Western philosophy, Critique of Pure Reason is Kant's seminal treatise, where he seeks to define the nature of reason itself and builds his own unique system of philosophical thought with an approach known as transcendental idealism. He argues that human knowledge is limited by the capacity for perception and attempts a logical designation of two varieties of knowledge: a posteriori, the knowledge acquired through experience; and a priori, knowledge not derived through experience. This accurate (...) translation by J. M. D. Meiklejohn offers a simple and direct rendering of Kant's work that is suitable for readers at all levels. (shrink)

Laurence Goldstein gives a straightforward and lively account of some of the central themes of Wittgenstein's writings on meaning, mind, and mathematics.

An argument is presented to the effect that the ability to feel or to experience meaning conditions the ability to mean, and is thus essential to our notion of meaning. The experience of meaning is manifested in the "fine shades" of use and behavior. Theses, so obvious in music, constitute understanding music, which makes music understanding so relevant to understanding language. Applying these notions of understanding, feeling, and experience--as well as their explication in terms of comparisons, internal relation, and mastery (...) of technique--to music, where they are so apt and natural, is fertile both for the philosophy of language and the philosophy of music. (edited). (shrink)

Wittgenstein’s first account of meaning was that sentences are pictures: the meaning of a sentence is a state of affairs it portrays. States of affairs are arrangements of some basic entities, the Objects. Sentences consist of names of Objects; an arrangement of such names, i.e., a sentence, shows how the named Objects are arranged. A sentence says that the state of affairs it thus pictures exists, hence it is true or false. That theory of meaning as picturing is based on (...) a primitive relation of naming, but what it is for an item to name another the Tractatus does not say. (shrink)