This chapter contains sections titled: The Invention of the Picturesque Style Olmsted and Central Park: Ethics, Politics, Aesthetics “The Gates” and the Meaning of the Park Notes.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant’s Critique of the Power of Judgment: Critical EssaysTed KinnamanPaul Guyer, editor. Kant’s Critique of the Power of Judgment: Critical Essays. Lanham, MD: Rowman & Littlefield, 2003. Pp. xxiii + 253. Cloth, $75.95. Paper, $27.95.The volume under review is a collection of essays on a wide range of topics concerning Kant's Critique of the Power of Judgment. All (...) the papers included here have been published previously, although many of them in places where they might not be easily accessible to English-speaking philosophers. While some of the articles will be familiar to Kant scholars, this collection should be useful to specialists and valuable to students first delving into the third Critique.One essay in the volume, Guyer's own piece on "Kant's Principles of Reflecting Judgment," will be of particular interest to Kant scholars. Guyer's thesis here is that the account of reflecting judgment Kant offers in the Critique of the Power of Judgment is both continuous with the account of regulative principles of reason in the Critique of Pure Reason and the basis of the unity of the third Critique as a whole. He supports this by demonstrating how each of the sorts of judgment discussed in the work can be seen as an application of the broader account of reflecting judgment in general. Guyer identifies five such applications, and shows that each of them has three features central to regulative principles: they set a goal of constructing a system within a certain specific range of cognitions; they require the suitability of objects for attainment of the goal in question, and thus are transcendental [End Page 499] and not merely logical principles; and they supply heuristic advice for the investigation of nature. Thus every form of judgment can with justice be considered as an instance of the general activity of reflecting, that is, finding a universal for a given particular.Several of the essays included here concern the most prominent issues relating to the Analytic of the Beautiful. Nick Zangwill's piece deals with the disinterestedness of aesthetic judgment, while Christopher Janaway's "Kant's Aesthetics and the Empty Cognitive Stock" debunks what he sees as misguided readings of the role of concepts in judgments of taste. In "The Idealism of Purposiveness," an excerpt from his 1993 book Kantian Aesthetics Pursued (Edinburgh, 1993), Anthony Savile criticizes what he calls the "established reading" of Kant's claim that beautiful objects exhibit "purposiveness without purpose." On this reading, to say that a thing is purposive without purpose is to say that it appears to be designed, but to no particular purpose. Savile argues instead that we should take purposiveness without purpose to indicate that an object is suitable for a function, but not as a result of conscious design. Articles by Eva Schaper (from her well-known book on Kant's aesthetics) and Malcolm Budd discuss the distinction between free and dependent beauty and the account of the sublime, respectively.Some of the other selections in the volume are interesting for their focus on somewhat neglected aspects of the third Critique. One such aspect is the role of the imagination in Kant's account of aesthetic appreciation, and by extension in cognition more generally. In "Imaginative Freedom and the German Enlightenment," Jane Kneller argues that appreciation of the role of imaginative freedom in Kant's account of aesthetic judgment helps to connect Kant to the Enlightenment rationalist tradition that saw the value of art in its ability to educate and improve those who appreciate it. This education cannot, of course, be of the most straightforward nature, since Kant emphatically argues that to judge a thing beautiful is altogether different from judging it morally good. Instead, Kneller argues, our awareness of our own imaginative freedom provides us with evidence of our ability to realize the "highest good" on earth, evidence otherwise denied us in Kant's philosophy. Also addressing the theme of imagination is Donald Crawford's "Kant's Theory of Creative Imagination," in which he points out striking parallels between Kant's account of the imagination's role in mathematics and in the creation of fine art.Another aspect of Kant... (shrink)

One main quandary that emerges in the context of Immanuel Kant’s moral ideal, The Highest Good, is that on the one hand Kant sets it as a moral demand, that is, as a principle that must be comprehended as an attainable end for man in practice while, on the other hand, it is set as a moral ideal, i.e. as something that cannot be concretized and realized within the empirical world. The main goal of this paper is to argue (...) for the realizability of the moral ideal by means of the principle of reflective judgment as a form of judgment that in fact clarifies human limitation. I assert that the very recognition of this limitation constitutes the possibility for hope in that ideal, or for striving towards it, and that this striving is the only way that the moral ideal can be concretized. I examine man’s recognition of self-limitation as a response to the moral demand to realize the moral ideal and the necessity of the power of imagination for this, used reflectively. Keywords: culture, final end, Highest Good, hope, imagination, Kant, moral ideal reflective judgment, ultimate end. (shrink)

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)

Kant argues in the Critique of the Teleological Power of Judgment that the first stage in resolving the problem of teleology is conceiving it correctly. He explains that the conflict between mechanism and teleology, properly conceived, is an antinomy of the power of judgment in its reflective use regarding regulative maxims, and not an antinomy of the power of judgment in its determining use regarding constitutive principles. The matter in hand does not concern (...) objective propositions regarding the possibility of objects or actual features of certain objects, namely, organisms. It is rather a methodological issue as to the appropriate way to explain the generation, development, and function of organisms. Taken in this manner as subjective maxims guiding the explanation and inquiry of organisms, the principles of mechanism and teleology need not necessarily be seen as contradictorily opposed but instead can be combined in the study of organisms. This, however, is not enough to complete the analysis of the antinomy of the teleological power of judgment. In order to show that there is an antinomy in this case, Kant has to establish that both seemingly conflicting maxims are necessary and natural to the human mind. He does it by grounding them in the ‘special character’ or peculiarity (Eigentümlichkeit) of the human understanding. However, it is not entirely clear just what exactly this peculiarity of the human understanding is. Paul Guyer argues that Kant suggests two different accounts of the peculiarity of the human intellect. According to one account, this peculiarity consists in the fact that our understanding forms general concepts and according to another, in its propensity to proceed from the parts to the whole. I will argue in this paper that Kant puts forward a single account, in which the combination of these two features demonstrate the peculiarity of the human understanding manifested in the encounter with organisms. This account explains the necessity of the regulative maxims of mechanism and teleology, and thus completes Kant’s analysis of the antinomy of the teleological power of judgment. (shrink)

One of the less comprehensible passages in Immanuel Kant’s Critique of the Power of Judgment is paragraph 9 (KU, AA 5: 216 – 219) where the author rhetorically asks: when we perform a pure judgment of taste, does taking pleasure in a beautiful object come first and only then does (any) aesthetic judgment follow or is it the other way around? The partial conclusions from elaborating this question will then be used to support (...) my assumption that art can be used as a revolutionary and empowering force, much in the way Walter Benjamin hoped the cinema could be used. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 594-596 [Access article in PDF] Immanuel Kant. Critique of the Power of Judgment. Edited by Paul Guyer. Translated by Paul Guyer and Eric Matthews. The Cambridge Edition of the Works of Immanuel Kant. New York: Cambridge University Press, 2000. Pp. lii + 423. Cloth, $64.95. With the publication of this volume, a long dark age, or (...) at least an age of frustrations, comes to an end for English-speaking students of Kant's third Critique. To be sure, translations of the Kritik der Urteilskraft into English have long been available, but hitherto none has been quite satisfactory. J.H. Bernard's (1892) contained numerous errors. James Creed Meredith's (1911-1928) was too free for scholarly purposes. Werner Pluhar's (1987), though systematic in its treatment of Kant's vocabulary, imposed so much restructuring and rewording on his sentences as to make the translator himself an intrusive presence throughout.The new version by Paul Guyer and Eric Matthews surpasses its predecessors in almost every respect. (It equals Pluhar's in including the First Introduction.) In keeping with the principles of the Cambridge Edition of Kant's writings, the translators make literal accuracy a primary desideratum, and leave the work of interpretation, to the greatest extent possible, to the reader. The title itself reflects this policy. The consistent rendering of Urteilskraft as "power of judgment," rather than the familiar "judgment," makes it unambiguous when Kant is talking about judgments and when he is talking about the capacity to make them. It is to be hoped that this will discourage the misconstrual of Kant's distinction between (using Guyer and Matthews's terms) the [End Page 594] "reflecting" and the "determining" powers of judgment as a distinction between two varieties of judgments.The translators' practice of preserving the grammatical complexity of Kant's sentences does sometimes make one wish for some help with his pronouns, since English does not preserve the information that gender carries in German. In most cases, though, one gains more than one loses in comprehension of Kant's reasoning by having his sentences rendered whole rather than in pieces.There are occasions when what is presumably intended as literal accuracy seems more like a needlessly unbending attitude toward idiom. To take one example, at §19, Kant is translated as saying: "whoever declares something to be beautiful wishes [will] that everyone should [solle] approve the object in question and similarly declare it to be beautiful" (121). Of course, wollen is ordinarily to be translated as "want" or "will," and perhaps sometimes as "wish"; but it also can mean "claim" or "hold" in certain contexts, and this seems to me to be one of them, as all previous translators have taken it to be. (One can wish that others would do something, but one cannot intelligibly be said to wish that they should do something.)Of course, no translation can please everyone. Those who were attached to the jingle of "purposiveness without a purpose" may be disappointed to find Zweckmäßigkeit ohne Zweck rendered here as "purposiveness without an end." But, given that there is no good alternative to "purposiveness" to render Zweckmäßigkeit, and that Zweck figures so prominently in Kant's ethical thought, where it is always, and rightly, rendered as "end," the need for consistency and accuracy surely justifies the sacrifice of consonance. Zweck der Natur and Naturzweck are distinguished as "end of nature" and "natural end," respectively (apart from a lapse over pages 34-35); Endzweck and letztes Zweck as "final end" and "ultimate end"; streiten and disputieren (in the "Resolution of the Antinomy of Taste," §57) as "argue" and "dispute." In this last pair it seems to me that Bernard's and Pluhar's "quarrel" would have been a better choice for the first term. The distinction between Streiten and Disputieren, as between "quarreling" and "disputing," is certainly delicate, but not groundless; a distinction between "arguing" and "disputing" seems completely artificial. However, in this as in all such difficult cases, the translators helpfully supply the German terms in... (shrink)

The Critique of the Power of Judgment is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This 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, first published in 2000, includes: the indispensable first draft of Kant's introduction to the work; an English edition notes (...) to the many differences between the first and second editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)

Traditionally, analytic philosophers writing on aesthetics have given short shrift to nature. The last thirty years, however, have seen a steady growth of interest in this area. The essays and books now available cover central philosophical issues concerning the nature of the aesthetic and the existence of norms for aesthetic judgement. They also intersect with important issues in environmental philosophy. More recent contributions have opened up new topics, such as the relationship between natural sound and music, the beauty of animals, (...) and the aesthetics of gardens. Using these materials, it is now easy to include a module on the aesthetics of nature as one part of an introductory course on aesthetics, or even to design an entire upper-level undergraduate or graduate seminar around the topic. Author Recommends: Don Mannison, 'Comments Stimulated by Reinhardt's Remarks: A Prolegomenon to a Human Chauvinistic Aesthetic'. Environmental Philosophy. Eds. Don Mannison, Michael McRobbie, and Richard Routley (Canberra: Australian National University, 1980), 212–16. Readers coming fresh to contemporary debates may find the lack of attention to natural beauty in twentieth-century philosophy somewhat puzzling. This paper, which defends the view that nature cannot be aesthetically appreciated as such, presents this attitude in a particularly pure form. Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). This seminal essay marks the beginning of contemporary discussion of the aesthetics of nature. Many of its ideas and themes continue to reverberate in contemporary debates. Allen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture (London: Routledge, 2000). This volume is a collection of Carlson's influential essays on environmental aesthetics. Chapters 4 and 5, 'Appreciation and the Natural Environment' and 'Nature, Aesthetic Judgment, and Objectivity', set the agenda for much subsequent discussion in the aesthetics of nature. Chapter 6, 'Nature and Positive Aesthetics', develops and defends the controversial idea that nature, unlike art, is always aesthetically good. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). In this paper, Berleant presents his influential idea of an 'engaged aesthetics' for nature. Yuriko Saito, 'The Aesthetics of Unscenic Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 101–11. This article develops Saito's idea that ethical considerations play a critical role in the aesthetics of nature, and presents a novel argument for Positive Aesthetics for nature. Malcolm Budd, The Aesthetic Appreciation of Nature: Essays on the Aesthetics of Nature (Oxford: Oxford University Press, 2002). This book collects Budd's papers on the aesthetics of nature, which contain important criticisms of Carlson's natural environmental model and the notion of Positive Aesthetics for nature. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). This paper argues for the importance of aesthetic appreciation that emphasizes emotional responses to nature. A philosophically sophisticated and influential treatment by a leading aesthetician. Ned Hettinger, 'Allen Carlson's Environmental Aesthetics and Protection of the Environment'. Environmental Ethics 27 (2005): 57–76. In this essay, an environmental philosopher gives careful and thorough consideration to the place of aesthetic considerations in environmental protection, focusing on Carlson's work. John Andrew Fisher, 'What the Hills are Alive With: In Defense of the Sounds of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 167–79. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). Most discussions of nature aesthetics focus on visual experiences; this essay is the first philosophical study of the aesthetics of natural sounds. A nuanced and original paper. Allen Carlson and Arnold Berleant. 'Introduction: The Aesthetics of Nature'. The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004), 11–42. A comprehensive review of the literature, this essay contains the best available bibliography on the subject. Online Materials: http://plato.stanford.edu/entries/environmental-aesthetics/ Environmental Aesthetics: Allen Carlson's entry in the Stanford Encyclopedia of Philosophy. http://www.aesthetics-online.org/articles/index.php?articles_id=17 Teaching Environmental Aesthetics: Allen Carlson's article on the American Society for Aesthetics Web site. http://www.uqtr.uquebec.ca/AE/Vol_6/ Volume 6 of AE: Canadian Aesthetics Journal /Revue canadienne d'esthetique: Papers by Thomas Heyd and Ira Newman on Allen Carlson's book Aesthetics and the Environment, along with a response from Carlson. http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=400 Paradoxes and Puzzles: Appreciating Gardens and Urban Nature: An essay by Stephanie Ross in the online journal Contemporary Aesthetics. Sample Syllabus for a three-week module in an undergraduate aesthetics course: This three week module can easily be adapted to fit shorter available class time or reduced reading expectations for students. A lighter two-week module, for instance, would drop the Hepburn reading and do either the Carroll essay or the Saito essay, but not both. Note that all readings for this module are reprinted in Allen Carlson and Arnold Berleant (eds.), The Aesthetics of Natural Environments (Peterborough, Ontario: Broadview Press, 2004). Week 1: Introduction Reading: Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Discussion of Hepburn's essay will allow the instructor to bring out the distinctive issues and themes of the aesthetics of nature. Week 2: Objectivity or Subjectivity? Readings: Allen Carlson, 'Appreciation and the Natural Environment'. Journal of Aesthetics and Art Criticism 37 (1979): 267–76. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. This section covers two very different approaches to thinking about the aesthetic appreciation of nature. Consideration of these provides an opportunity for students to reflect on nature's relationship to art, and on the character of aesthetic experience itself. Week 3: Pluralistic Approaches Readings: Yuriko Saito, 'Appreciating Nature on its Own Terms'. Environmental Ethics 20 (1998): 135–49. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. This section considers approaches that are motivated by perceived limitations of the two approaches mentioned above. In discussing these, students will focus on the significance, for the aesthetics of nature, of emotion and also of broader ethical considerations. Sample Syllabus for an upper-level undergraduate or graduate seminar: Books on Syllabus: Glenn Parsons, Aesthetics and Nature [AN] (London: Continuum Press, forthcoming November 2008). Allen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture [AE] (London: Routledge, 2000). Allen Carlson and Arnold Berleant (eds.), The Aesthetics of Natural Environments [ANE] (Peterborough, Ontario: Broadview Press, 2004). Week 1: Introduction Parsons, AN, ch. 1. Allen Carlson, 'Environmental Aesthetics'. The Routledge Companion to Aesthetics. Eds. Berys Gaut and Dominic Lopes (London: Routledge, 2001), 423–36. Don Mannison, 'Comments Stimulated by Reinhardt's Remarks: A Prolegomenon to a Human Chauvinistic Aesthetic'. Environmental Philosophy. Eds. Don Mannison, Michael McRobbie, and Richard Routley (Canberra: Australian National University, 1980), 212–16. Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Reprinted in ANE. Week 2: Imagination Parsons, AN, ch. 2. Thomas Heyd, 'Aesthetic Appreciation and the Many Stories About Nature'. British Journal of Aesthetics 41 (2001): 125–37. Reprinted in ANE. Emily Brady, 'Imagination and the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 139–47. Reprinted in ANE. Marcia Eaton, 'Fact and Fiction in the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 149–56. Reprinted in ANE. Week 3: Formalism Parsons, AN, ch. 3. Carlson, 'Formal Qualities and the Natural Environment', AE, ch. 3. Allen Carlson, 'On the Possibility of Quantifying Scenic Beauty'. Landscape Planning 4 (1977): 131–72. Ira Newman, 'Reflections on Allen Carlson's Aesthetics and the Environment'. AE: Canadian Aesthetics Journal /Revue canadienne d'esthetique 6 (2001) http://www.uqtr.uquebec.ca/AE/Vol_6/Carlson/newman.html>. Nick Zangwill, 'Formal Natural Beauty'. Proceedings of the Aristotelian Society 21 (2001): 209–24. Week 4: Science and Nature Aesthetics Parsons, AN, ch. 4. Aldo Leopold, 'Country'. A Sand County Almanac, with Essays on Conservation from Round River (New York, NY: Ballantine Books, 1966), 177–80. Carlson, 'Appreciation and the Natural Environment', AE, ch. 4. Carlson, 'Nature, Aesthetic Judgment, and Objectivity', AE, ch. 5. Glenn Parsons, 'The Aesthetics of Nature'. Philosophy Compass 2 (2007): 358–72. Week 5: Positive Aesthetics Carlson, 'Nature and Positive Aesthetics', AE, ch. 6. Eugene Hargrove, Foundations of Environmental Ethics (Denton, TX: Environmental Ethics Books, 1996), ch. 6. Yuriko Saito, 'The Aesthetics of Unscenic Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 101–11. Malcolm Budd, 'The Aesthetics of Nature'. Proceedings of the Aristotelian Society 100 (2000): 137–57. Glenn Parsons, 'Nature Appreciation, Science and Positive Aesthetics'. British Journal of Aesthetics 42 (2002): 279–95. Week 6: Animals Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. James T. Boulton (Notre Dame, IN: University of Notre Dame Press, 1968 [1757]), Pt. III, sec. VI. Holmes Rolston III, 'Beauty and the Beast: Aesthetic Experience of Wildlife'. Valuing Wildlife: Economic and Social Perspectives. Eds. Daniel J. Decker and Gary R. Goff (Boulder, CO: Westview Press, 1987), 187–96. Glenn Parsons, 'The Aesthetic Value of Animals'. Environmental Ethics 27 (2007): 151–69. Week 7: Pluralism Parsons, AN, ch. 5. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. Reprinted in ANE. Yuriko Saito, 'Appreciating Nature on its Own Terms'. Environmental Ethics 20 (1998): 135–49. Reprinted in ANE. Ronald Hepburn, 'Nature Humanized: Nature Respected'. Environmental Values 7 (1998): 267–79. Ronald Hepburn, 'Trivial and Serious in Aesthetic Appreciation of Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 65–80. Glenn Parsons and Allen Carlson, 'New Formalism and the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 62 (2004): 363–76. Week 8: Engagement Parsons, AN, ch. 6. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. Reprinted in ANE. Cheryl Foster, 'The Narrative and the Ambient in Environmental Aesthetics'. Journal of Aesthetics and Art Criticism 56 (1998): 127–37. Reprinted in ANE. Allen Carlson, 'Aesthetics and Engagement'. British Journal of Aesthetics 33 (1993): 220–27. Week 9: The Sublime Immanuel Kant, Critique of the Power of Judgment. Trans. P. Guyer and E. Matthews (Cambridge University Press, 2000 [1790]). Excerpts from sections 23–9. Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. James T. Boulton (Notre Dame, IN: University of Notre Dame Press, 1968 [1757]). Excerpts from Pt. II, sections 1–8. Ronald Hepburn, 'The Concept of the Sublime: Has it any Relevance for Philosophy Today?'. Dialectics and Humanism 15 (1988): 137–55. Stan Godlovitch, 'Icebreakers: Environmentalism and Natural Aesthetics'. Journal of Applied Philosophy 11 (1994): 15–30. Reprinted in ANE. Malcolm Budd, 'Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part I: The Sublime in Nature'. British Journal of Aesthetics 38 (1998): 233–50. Week 10: Aesthetic Preservation Parsons, AN, ch. 7. Janna Thompson, 'Aesthetics and the Value of Nature'. Environmental Ethics 17 (1995): 291–305. Holmes Rolston III, 'From Beauty to Duty: Aesthetics of Nature and Environmental Ethics'. Environment and the Arts: Perspectives on Environmental Aesthetics. Ed. Arnold Berleant (Aldershot, UK: Ashgate, 2002), 127–41. Ned Hettinger, 'Allen Carlson's Environmental Aesthetics and Protection of the Environment'. Environmental Ethics 27 (2005): 57–76. Keekok Lee, 'Beauty for Ever?'. Environmental Values 4 (1995): 213–25. Week 11: Gardens Parsons, AN, ch. 8. Mara Miller, The Garden as an Art (Albany, NY: State University of New York Press, 1993), ch. 1. Mara Miller, 'Gardens as Works of Art: The Problem of Uniqueness'. British Journal of Aesthetics 26 (1986): 252–6. Stephanie Ross, What Gardens Mean (Chicago, IL: University of Chicago Press, 1998), chs. 1, 7. Tom Leddy, 'Gardens in an Expanded Field'. British Journal of Aesthetics 28 (1988): 327–40. David Cooper, 'In Praise of Gardens'. British Journal of Aesthetics 43 (2003): 101–13. Week 12: Art in Nature Parsons, AN, ch. 9. Carlson, 'Is Environmental Art an Aesthetic Affront to Nature?', AE, ch. 10. Sheila Lintott, 'Ethically Evaluating Land Art: Is It Worth It?'. Ethics, Place & Environment 10 (2007): 263–77. Emily Brady, 'Aesthetic Regard for Nature in Environmental and Land Art'. Ethics, Place & Environment 10 (2007): 287–300. Focus Questions1. Are there any important differences between the aesthetic appreciation of art and the aesthetic appreciation of nature? If so, what are they?2. Is preserving nature for its aesthetic value a coherent idea?3. What is the ugliest natural thing or place you can think of? How might proponents of Positive Aesthetics for nature deal with your example?4. Does the concept of the sublime have any significance for our contemporary experience of nature? If it does, what relation does it bear to our aesthetic appreciation of nature?5. Watch Rivers and Tides (2001), the documentary film about the British environmental artist Andy Goldsworthy. Ethically speaking, how do you think we ought to regard his art-making? (shrink)

Kant's "Critique of Aesthetic Judgement," which is the first part of his larger Critique of Judgement, is enjoying a renewed interest. This renewed interest, however, has brought with it a renewed controversy over just how Kant's aesthetic theory should be understood. Of the many interpretative questions at issue, perhaps the most fundamental is what it is about an object, on Kant's accounting, that makes it beautiful. Traditionally, Kant has been understood as holding a formalist theory (...) of beauty. That is to say, beauty--or better, our appreciation of beauty--is a matter of the way an object is structured or organized. While there can be no doubt that Kant stresses the importance of form in the early sections of the "Critique," the later portions of the text advance what seems to be a quite different, perhaps even antithetical, paradigm of beauty. In these sections, Kant maintains that for an object to be beautiful it must have some content--specifically, the object must express some "idea." What makes an interpretation difficult is that Kant seems to stand on both sides of a wide gulf in modern aesthetic theory. Within a single work on aesthetics, Kant claims first that beauty depends upon form and, later, that it depends upon content. And, yet, it is typically thought that these positions are mutually exclusive. ;My dissertation is directed specifically to the question of what Kant considers as the features of an object responsible for beauty. Stated broadly, I argue that Kant's consistent position is that for an object to be considered as beautiful we must base our judgment upon how the object is organized , but with an eye to how well this organization is able to express an idea . More precisely, I claim that for Kant both form and expression of ideas are necessary conditions for beauty. To support my thesis I shall follow Kant's own procedure for identifying what makes an object beautiful. In the "Critique of Aesthetic Judgement," Kant considers the issue of beauty from the standpoint of an analysis and justification of the judgment that something is beautiful. That is to say, Kant first determines what is meant by such a judgment and then considers what features an object must possess if we are to claim legitimately that something is beautiful. After closely studying Kant's analysis and justification, I argue that an object can be judged as beautiful only if it is organized in such a way as to express an idea. ;In the first two chapters of my dissertation, I describe Kant's project in the Critique of Judgement generally and the "Critique of Aesthetic Judgement" more particularly. I devote Chapter III to a close study of the argument of the first half of the text in order to determine the extent to which Kant presents a coherent justification of judgments of beauty. I subsequently argue, in Chapter IV, that the early sections do not complete Kant's justification of judgments of beauty. Further, I argue for what must yet be shown for Kant to make his case. In the final two chapters, V and VI, I describe Kant's theory of expression, argue that it completes Kant's central argument, and, in the end, I support my interpretation that both form and expression of ideas constitute the requirements for beauty in Kant's theory. (shrink)

This paper deals with the so-called “external history” of the origin of Critique of the power of judgment that is based primarily on the philosopher’s correspondence in the period between May 1787 and October 1789. Two letters from Kant to Reinhold (28.12.1787 and 12.05.1789) as well as modifications in the interpretation of the term “aesthetics” in the first Critique (KrVA 22, B 35-36) are crucial for the evolution of the project Critique of Taste in (...) the book Critique of the Power of Judgment. Special attention was paid to the debate between some modern scholars and editors about the importance of the reports on ‘Grundlegung’ / ‘Grundlage’ of Critique of Taste in the initial phase of work on the text. However, the available evidence does not allow us to reconstruct the “internal history” of the development of Kant’s thought during the period of writing the third Critique. Some modern scholars try to establish other objective criteria for this kind of reconstruction by identification in the text of Critique direct or hidden hints or citations to the literature of the 18th century. The author considers that the use of so-called “reflections” from the philosopher’s manuscript heritage, which can be seen as the formation and development of certain concepts of Kant’s theory, can be fruitful. The well-known problem of dating the reflections can be partially solved if terminus a quo will be not the published works, but Kant’s lectures on anthropology and logic taught at that time. (shrink)

In this close analysis of Immanuel Kant’s aesthetics in his Critique of Judgment, Dr. Julie N. Books, explains why Kant fails to provide a convincing basis for his desired necessity and universality of our aesthetic judgments about beauty. Drawing upon her extensive background in the visual arts, art history, and philosophy, Dr. Books provides a unique discussion of Kant’s supersensible, illuminating how it cannot justify his a priori nature of our aesthetic judgments about beauty. She uses examples (...) from the history of art, including paintings by Michelangelo, Caravaggio, Rubens, and Constable, to support her views. This book will make a significant addition to courses on the philosophy of Kant, aesthetics, philosophy of art, metaphysics, the history of Western philosophy, ethics, psychology, and art history. (shrink)

Includes twelve of the most important modern critical discussions of the Critique of the Power of Judgment, written by the leading Kant scholars and aestheticians of the twentieth century.

My dissertation defends a non-mechanistic interpretation of Kant’s philosophy of nature. Inspired by the picture of nature in the Critique of Pure Reason and Metaphysical Foundations of Natural Science, most readers align Kant with Early Modern mechanists, who claim that we can know that the internally purposive form of causality characteristic of organisms has no place in nature. To these mechanistic readers, Kant banishes internal purposiveness from nature. To moderate mechanistic interpreters, because we cannot know whether there (...) are internally purposive things in nature and we can demonstrate that mechanism applies to nature, Kant pushes us to believe that any seemingly internally purposive natural products will eventually be explained in mechanistic terms. To strong mechanistic interpreters, Kant gives us the tools to know that there is no room for the special kind of teleology organisms exhibit in nature. My non-mechanistic interpretation rejects this trend by arguing that Kant urges us to believe that the internally purposive activity characteristic of organisms exists in nature. Belief in this context is a firm, positive, and voluntary attitude that aligns with and serves a subject’s interests and ends, and that has implications for the subject’s rational action, assertion, and deliberation. Kant’s stated goal in the third Critique is to bridge the gulf between freedom and nature. My non-mechanistic interpretation offers a new account of how Kant promises to construct this bridge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.3 (2002) 406-408 [Access article in PDF] Book Review Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment Henry E. Allison. Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment. New York: Cambridge University Press, 2001. Pp. xvi + 424. Cloth, $69.95. Paper, $24.95. In his new book, Henry Allison provides (...) a study of the two introductions and the first half of Kant's Critique of the Power of Judgment to stand alongside his previous books on Kant's theoretical and practical philosophy, Kant's Transcendental Idealism (1983) and Kant's Theory of Freedom (1990). Those books showed Allison's commitment to the unity and coherence of Kant's thought, and it is the aim of the present book to demonstrate the connections between the two halves of Kant's third Critique, that is, Kant's aesthetics and his teleology, as well as to demonstrate the connections between Kant's aesthetic theory and both his theoretical and his practical philosophy. In order to defend the unity of the third Critique, Allison defends Kant's characterization of the judgment of taste as a species of reflective judgment, and argues that our judgments of beauty depend upon the principle of the purposiveness of nature that is also the basis for judgments about the systematicity of natural laws. To display the connections between Kant's aesthetics and his theoretical philosophy, [End Page 406] Allison uses the first Critique's distinction between the quid facti and the quid juris to explicate the relation between Kant's "analytic of the beautiful" and his "deduction of pure aesthetic judgment"; he then defends the success of Kant's strategy for the deduction of judgments of taste by grounding them in the general conditions of the possibility of cognition. Finally, in order to explain Kant's connection between aesthetics and morality, Allison interprets Kant's theory of the "intellectual interest" in the beautiful as evidence of nature's amenability to our achievement of the ends of morality, an assurance that we need not be motivated in the first place to act as morality requires, but rather to prevent our motivation to be moral from being undermined by our own predisposition to radical evil. He then defends Kant's thesis that all beauty, and thus natural as well as artistic beauty, can be seen as an expression of aesthetic ideas, and specifically of the morally requisite idea of nature's amenability to the achievement of our moral objectives.There is much in this approach with which I can agree, and some with which I cannot. I agree that there is much in Kant's general conception of reflective judgment that illuminates his conception of judgments of beauty, yet I do not think that the principle of taste is analogous to the principle of the purposiveness of nature, because it does not play a role in making particular judgments of taste analogous to the role the latter principle plays in the conduct of scientific inquiry. My own interpretation of Kant's model for making particular judgments of taste is not fundamentally different from that which Allison offers under the rubric of the quid facti, although we disagree about which of the four "moments" of the "Analytic of the Beautiful" are part of the meaning of a judgment of beauty and which function more as grounds for making judgments with such a meaning. But I am not persuaded by Allison's defense of Kant's deduction of pure judgments of taste, that is, his answer to the quid juris, from the objections that I and others have raised to it. Finally, although there are large areas of agreement between our interpretations of Kant's theory of intellectual interest in the beautiful, the claim that aesthetic experience is evidence of nature's amenability to the realization of the ends that we adopt in the name of morality is only part of the story that Kant develops in the Critique of Aesthetic... (shrink)

During the twentieth century, the view that assertions and norms are valid insofar as they respond to principles independent of all local and temporal contexts came under attack from two perspectives: the partiality of translation and the intersubjective constitution of the self, understood as responsive to recognition. Defenses of universalism have by and large taken the form of a thinning out of substantive universalism into various forms of proceduralism. Alessandro Ferrara instead launches an entirely different strategy for transcending (...) the particularity of context without contradicting our pluralistic intuitions: a strategy centered on the exemplary universalism of judgment. Whereas exemplarity has long been thought to belong to the domain of aesthetics, this book explores the _other_ uses to which it can be put in our philosophical predicament, especially in the field of politics. After defining exemplarity and describing how something unique can possess universal significance, Ferrara addresses the force exerted by exemplarity, the nature of the judgment that discloses exemplarity, and the way in which the force of the example can bridge the difference between various contexts. Drawing not only on Kant's _Critique of the Power of Judgment_ but also on the work of Hannah Arendt, John Rawls, Ronald Dworkin, and Jürgen Habermas, Ferrara outlines a view of exemplary validity that is applicable to today's central philosophical issues, including public reason, human rights, radical evil, sovereignty, republicanism and liberalism, and religion in the public sphere. (shrink)

Whereas in Idea for a Universal History Kant without much hesitation resorts to biological concepts to understand history, this fundamentally changes in Critique of the Power of Judgment. In this work, history and biology are separated; they are understood as two different forms of teleological judgments. The teleological concepts that make history intelligible are divorced from their biological origins and introduced in an explicitly non-biological way of thinking. I argue that because of this shift, after the (...) Critique of the Power of Judgment Kant’s theory of history cannot any longer function as an independent confirmation of the possibility of human morality. Während es Kant in seiner Schrift Idee zu einer allgemeinen Geschichte in weltbürgerlicher Absicht für unproblematisch erachtet, biologische Konzepte auf die Geschichte anzuwenden, steht er diesem Unterfangen in der Kritik der Urteilskraft kritisch gegenüber. In seiner dritten Kritik trennt Kant Geschichte und Biologie: In ihnen treten jetzt unterschiedliche Formen teleologischer Urteile auf. Die teleologischen Konzepte, welche die Geschichte verständlich machen, werden von ihrer biologischen Herkunft getrennt und in einer explizit nicht-biologischen Weise eingeführt. Wie ich argumentiere, kann Kants Theorie der Geschichte aufgrund dieser Verschiebung nicht länger als unabhängige Bestätigung der Möglichkeit menschlicher Sittlichkeit herangezogen werden. (shrink)

As the title of her book indicates, Zuckert’s approach to Kant’s Critique of Judgment differs somewhat from that taken by many recent commentators. Rather than focusing narrowly on aspects of the CJ that are directly relevant to a particular philosophical issue, Zuckert offers an interpretation of the work as a whole that is aimed at vindicating Kant’s claim concerning its unity. According to her interpretation, the “Critique of Aesthetic Judgment” and the “Critique of Teleological (...) Judgment” are parts of an extended argument for a temporal and teleological conception of human subjectivity that differs significantly from the conception of subjectivity Kant develops in his other works. In Zuckert’s view, this new conception of the judging subject provides the unifying theme of the two main parts of the CJ, but it also marks a problematic transition within Kant’s critical philosophy. The CJ moves beyond the formal structures characteristic of transcendental subjectivity in its concern with the contingent, particular materials of human experience, history, and culture. Even as he offers his own formal idealism in support of a generally Leibnizean way of. (shrink)

The concept of Triebfeder, commonly translated into English as “incentive,” plays a crucial role in Kant’s moral philosophy. In the Critique of Practical Reason, in which a whole chapter is dedicated to the Triebfedern of pure practical reason, Kant argues that the moral law is not only the objective determining ground of the will but also functions as a Triebfeder, that is, as a subjective determining ground of the will. Kant’s concept of Trieb, by contrast, is much less clearly (...) defined, and its meaning remains in many ways ambivalent. In the second part of the Critique of the Power of Judgment, for instance, Kant refers to Blumenbach’s idea of Bildungstrieb in order to describe the unique formative powers of organic nature. This chapter offers a detailed comparison of the two etymologically related but philosophically distinct conceptions of Triebfeder and Trieb and draws special attention to the shift of focus that occurs in the third Critique. (shrink)

The aim of this dissertation is to propose and justify the thesis that Kant's theory of judgment, which plays a vital role in the Critique of Pure Reason, Critique of Practical Reason, and Critique of Judgment, is fundamentally theoretical in nature, and that this theory insures the unity of the critical philosophy. Most of the contemporary writers who have dealt with the question of the unity of Kant's philosophy on the basis of his (...) theory of judgement have emphasized the priority of either practical, aesthetic, or even political judgment. Such interpretations, however, seem at odds with the fact that Kant's theory of judgment is rooted in the non-practical, theoretical discipline of formal logic, a discipline that underlies the structure of all three Critiques. The "theoretical" understanding of judgment is first developed in the Critique of Pure Reason wherein Kant distinguishes between general and transcendental logic. This distinction governs the distinction between two ways of employing the same logical form of judgment, viz., indeterminately and determinately. The determinate-indeterminate distinction with respect to judging is elaborated in both the first and the second editions of the Critique of Pure Reason as well as in the Prolegomena and the Preface to the Metaphysical Foundations of Natural Science . ;In the Groundwork of the Metaphysics of Morals , Kant distinguishes between "general practical philosophy" and "the metaphysics of morals." In fact, general practical philosophy "differs from a metaphysics of morals in the same way that general logic is distinguished from transcendental philosophy." Thus, the distinction between general practical philosophy and the metaphysics of morals in Kant's practical philosophy represents the distinction between indeterminate and determinate functions of judging practically, i.e., of willing. ;In the Critique of Judgment , the determinate-indeterminate distinction is expressed by means of the distinction between determinative and reflective power of judgment . Kant shows that while the determinative Urteilskraft gives rise to scientific and moral judgments, the reflective Urteilskraft makes possible both aesthetic and teleological judgments by leaving something undetermined, viz., the cognizability of an object and the intentionality of the purposiveness of nature, respectively. (shrink)

The paper argues that much of Kant’s largely formalistic account of aesthetic appreciation stands on the idea that the judger is able to engage with the object of her judgment purely sensibly and hence non-conceptually or non-cognitively. This is to say that the judger must be able to ground her judgment on the immediate sensory affection by the object or on the object’s sensible form. The paper also argues that these two purely sensible grounds, accessible in the (...) aesthetic examination of objects, underlie the feeling involved in such judgments. In broader terms, the paper outlines how Kant’s account of aesthetic judgment suggests what might be called a contemplative model of perception. (shrink)

Show more ▾ There are various dichotomies in Kant’s philosophy: sensibility vs. rationality, nature vs. freedom, cognition vs. morality, noumenon vs. phenomenon, among others. There are also different ways of mediating these dichotomies, which is the systematic undertaking of Kant’s Critique of the Power of Judgment. One of the most important concepts in this work is the sublime, which exemplifies the connections between the different dichotomies; this fact means the concept’s construction is full of tension. On the (...) one hand, as a pure reflection of aesthetic judgment the sublime must be without interest or purpose, but on the other hand it is “based on the concept of reason” (KU AA:292). On the one hand, the sublime “represents merely the subjective play of the powers of the mind (imagination and reason) as harmonious” (KU AA5:258), but on the other hand, reason “exercises dominion over sensibility” and the imagination is “purposively determined in accordance with a law” of reason (KU AA5:268f). Taking into account these problems concerning the essential definition the sublime, this paper will first illustrate how the sublime embodies the a priori principle of aesthetic judgment through contrasting the judgment of the sublime with the judgment of taste in order to establish a basic logical frame for the judgment of the sublime. Second, this paper redefines the boundary between the mathematically and dynamically sublime in order to reveal both the coexistence of contemplation and movement within the sublime and the unrevealed function of reason and imagination. Finally, contrasting the sublime with moral feeling, this paper elaborates the turning-structure (from sensibility to rationality and from object-intuition to idea-exhibition) of the sublime. (shrink)

The seventh chapter is dedicated to Gottfried Leibniz. In a letter to the English philosopher Samuel Clark, Leibniz recalls the episode in the park in connection with his famous principle of the identity of the indistinguishable, or simply "Leibniz's law". The futile search for two exactly identical leaves or blades of grass highlights a metaphysical principle that extends to the smallest elements of nature. If there are not two exactly the same, then they all bear the stamp of uniqueness and (...) individuality, ultimately going back to the wisdom of the Creator. The ethical implications of this ontological axiom are obvious: to destroy a leaf, let alone a whole plant, means to get rid of something that will never appear again in exactly the same form. If there are many species of plants and if each species includes a myriad of subspecies, it is because they all must exist to actualize the infinite possibilities of Divine self-expression. The loss of biological diversity diminishes the richness of manifestations that God finds in the world. From the real park, the philosopher leads us into an allegorical garden depicting his understanding of matter. In paragraph 67 of Monadology, he urges us to imagine every part of matter like a garden full of plants and a pond full of fish. But every branch of a plant, every member of an animal, every drop of its juices is again the same garden or the same pond. Each part of matter, accordingly, is a garden within a garden within a garden — and so on ad infinitum. Thus, it can be said that the plant, as its capabilities become more relevant, expresses (a) the world, (b) God's vegetable view of (a), and (c) essence. As a non-verbal sign, it is oversaturated with meaning, it is entrusted to bear the weight of theological and metaphysical entities partially revealed through it. One can only welcome the philosopher's bold assumption that a plant is not a passive object available for manipulation by humans and animals, but a subject endowed with the ability to act. However, the weak point of this statement lies in the double comparison of animals with humans and plants with animals. The standard that all other living beings must meet is hopelessly anthropocentric, since it implies that animals are less perfect people, and plants are less perfect animals. Thus, an ancient metaphysical prejudice creeps into the philosophical system, which boldly put forward the vegetative idea of infinite matter and the expressive uniqueness of each leaf and each blade of grass. The eighth chapter deals with Immanuel Kant. In his penchant for abstraction, Kant reduces flowers to specimens of pure color, and tulips seem to him the purest of all. Its simple form does not distract us from the beauty of its pure color, and in this it perfectly matches the asceticism of Kant's philosophy and the austere splendor of his aesthetic thought. Kant views tulips as examples of completeness «belonging to no purpose», where by «purpose» he means those practical tasks associated with economic activity in the broad sense of the word. The meaning and essence of the tulip varies according to the field in which we encounter it: as a natural object of study and scientific inquiry, as a useful object of our practical interest, or as an alluring embodiment of the beautiful. In his personal writings of the 1760s, Kant defends the thesis that a plant is possible only in accordance with an idea, defining the latter as the a priori cognition of the understanding by which an object becomes possible. If the material aspects of human existence, according to Kant, do not deserve respect, then even less do non-human animals and plants, which have no share in the rationality of transcendental subjects. There is only one possibility of placing plants and animals under the umbrella of Kantian respect, and it has to do with human self-respect. Kant does not abandon the idea that flowers are vital links in the chain of plant reproduction by which the genus is preserved. In flowers, and in aesthetics in general, Kant sees a utopian prefiguration of human freedom. When he calls flowers «free beauty», he means their liberation from both natural necessity and conceptual understanding. (shrink)

This chapter contains sections titled: Change and the Arts Time and the Arts Time and Change in Gardens Music Makes the Passage of Time Audible Gardens Make the Passage of Time Visible Notes.

Contemporary ‘realists’ attack the Kantian influence on political philosophy. A main charge is that Kantians fail to understand the specificity of politics and neglect to develop a ‘distinctively political thought’ that differs from moral philosophy. Instead, the critics say, Kantians are guilty of an ‘ethics-first approach to politics,’ in which political theory is a mere application of moral principles. But what does this ethics-first approach have to do with Kant himself? Very little. This article shows how Kant’s approach to (...) political theory at a fundamental level includes political institutions, power, and coercion as well as disagreement, security, and coordination problems. In contrast to realists, Kant has a fundamental principle, which can explain why and guide how we ought to approach the political question, namely the norm of equal freedom. Yet, Kant’s theory does not take the form of a moralistic ought addressed to the isolated individual, but concerns a problem that we share as interdependent beings and that requires common institutions. The fruitfulness of the Kantian approach, then, is that it can take the political question seriously without being uncritical of actual politics and power, and that it can be normative without being moralistic. (shrink)

Kant’s theory of biology in the Critique of the Power of Judgment may be rejected as obsolete and attacked from two opposite perspectives. In light of recent advances in biology one can claim contra Kant, on the one hand, that biological phenomena, which Kant held could only be explicated with the help of teleological principles, can in fact be explained in an entirely mechanical manner, or on the other, that despite the irreducibility of biology to physico-mechanical (...) explanations, it is nonetheless proper science. I argue in response that Kant’s analysis of organisms is by no means obsolete. It reveals biology’s uniqueness in much the same way as several current theorists do. It brings to the fore the unique purposive characteristics of living phenomena, which are encapsulated in Kant’s concept of “natural end” and which must be explicated in natural terms in order for biology to become a science. I maintain that Kant’s reluctance to consider biology proper science is not a consequence of his critical philosophy but rather of his inability to complete this task. Kant lacked an appropriate theoretical framework, such as provided later by modern biology, which would enable the integration of the unique features of biology in an empirical system. Nevertheless, as I show in this paper, the conceptual problems with which Kant struggled attest more to the relevance and depth of his insights than to the shortcomings of his view. His contribution to the biological thought consists in insisting on an empirical approach to biology and in providing the essential philosophical underpinning of the autonomous status of biology. (shrink)

The ArgumentThe main subject examined in this paper is Immanuel Kant's controversy withPhilosophisches Magazinregarding Kant's new theory of judgments. J. A. Eberhard, editor ofPhilosophisches Magazin, and his colleagues wanted to vindicate the Wollfian traditional concept of judgments by undermining Kant's claims. As will be demonstrated, their arguments were effective mainly in exposing the ambiguity that was inherent in Kant's concept of the synthetic a priori; an ambiguity that resulted from Kant's desire—central to his (...) critique of metaphysics—to present judgments pertaining to mathematics, (dogmatic) metaphysics, and pure natural science as judgments which shared a common form. Exposing this ambiguity was not the intended result, and it was insufficient for the purpose of vindicating the Wollfian tradition. The contributors toPhilosophisches Magazinignored the important properties shared by the class of judgments falling under Kant's concept of synthetic a priori judgments. They also ignored the fact that their position was unable to account for the logical phenomena that motivated Kant to present a new theory of judgments. On the other hand, Kant's theory of judgments was insensitive to the important differences that exist among the distinct types of judgments falling under his concept of a synthetic a priori judgment. This latter point is clearly shown in the controversy regarding the novelty of Kant's concept of a synthetic a priori judgment, and in the controversy regarding the function of intuitions within synthetic judgments.A result of the controversy was that Kant's concept of the synthetic a priori, which he believed to be an exact concept, was revealed to be a metaphor: no more than an invitation to view certain intellectual fields in the light of others. On the other hand, Eberhard and his colleagues failed to come up with satisfactory answers to Kant's questions within their traditional concept of judgment. Both parties refused to acknowledge this result. Consequently, the search for a new logic, a new architectonic order, and a new unity within reason became a general problem for the new generation of philosophers. (shrink)

The paper elaborates the theory of imagination in Immanuel Kant's Critique of Pure Reason and Critique of Judgment. From the first Critique to the third Critique, the imagination emerges under different titles such as reproductive, productive or transcendental imagination. The paper shall try to decide whether its functions suggested in the first Critique and its performance in the third Critique are contradictory or developmental with respect to Kant's critical philosophy. (...) Thus, it will examine of the power and the scope of the imagination in the first Critique and of its status and performance in the third Critique. El artículo discute la teoría de la imaginación en la Crítica de la razón pura y la Crítica del juicio de Immanuel Kant. Desde la primera Crítica y hasta la tercera, la imaginación recibe diferentes calificativos, tales como imaginación reproductiva, productiva o trascendental. El trabajo intenta determinar si las funciones de la imaginación sugeridas en la primera Crítica y su papel en la tercera Crítica son contradictorias o si implican más bien un desarrollo respecto de la filosofía crítica de Kant. Para ello, se examina el poder y el alcance de la imaginación en la primera Crítica y su estatus y papel en la tercera. (shrink)

The influence of Immanuel Kant’s philosophy on the ideas of Gilles Deleuze was quite substantial. However, analyses of the correlation between the ideas of the two philosophers have not yet received proper research attention, especially in Russian-language literature. To reveal the essence and history of the development of Deleuze’s attitude to Kant, the former’s work, Kant’s Critical Philosophy: The Doctrine of the Faculties (1963), in which the French philosopher aims to find the potential limits of interpretation of Kant’s philosophy. (...) Deleuze appeals to Kant’s study of faculties, in which he finds contradictions and “gaps” that find their solution in the Critique of Judgment. Deleuze refers to the free coherence of the faculties as to “something third”, which gives options for reactualising Kant’s philosophy without striving to overcome it. I also provide a brief history of the issues related to Kant­ian philosophy, appearing in the works of Deleuze — from a course of lectures on the problem of grounds, given by the young Deleuze at the Lyceum Louis the Great in Paris, to his last article published in his lifetime, “Immanence: A Life”, in which Deleuze brings up the question of the transcendental field. Despite the fact that Kant and Deleuze are more often contrasted than considered as possible allies, and despite the cases of criticisms of Kant by Deleuze, I defend the thesis that their philosophical projects are firmly linked. Considering Kant’s presence in Deleuze’s study, I conclude that Kant’s philosophy has shaped some key aspects of the French philosopher’s thinking — in particular, the concept of “transcendental empiricism” — and also has influenced Deleuze’s ideas about difference, becoming, ground and immanence. (shrink)

The gist of the article is an attempt to derive the theory of the sign from Kant’s judgment of taste. Kant introduces the power of judgment as a mediating domain between cognition and action, nature and freedom. This third realm of signification is related to Locke’s theory of semiotics. Judgments of taste are made of signs that constitute the speech act “X is beautiful”. Thereby the aesthetics is constituted as semiotics wherein the predicate “is beautiful” is (...) a sign that signifies without the concepts. Hence, the normativity of the beautiful as the sign is not conceptual, stemming, instead, from the community. However, this community is not given in advance, but is derived from agreeing on the judgement of taste. (shrink)

The relationship between 20th-century phenomenology and the transcendental program launched by Immanuel Kant is crucial, but delicate. First there is Husserl, who seemed both attracted to and seriously critical of Kant's first Critique. Then there is Heidegger's ambition to scour the entire field of the three Critiques. Most important in this context, is probably his reading of the Critique of Pure Reason in Kant and the Problem of Metaphysics . Faithful to his notion of a salvaging (...) “destruction” of the philosophical tradition, Heidegger argues that the earliest version of Kant's work, the so-called A-deduction, is radically different from the philosophy promoted by the neo-Kantians. Kant, he claims, was not really interested in epistemology in the narrow meaning of the term. He was, rather, a philosopher verging upon a genuine ontology of Being, but who, for reasons that remain unknown, felt forced to leave these tracks behind in order to pursue the transcendental conditions of knowledge. Then there is the second Critique, which Heidegger approaches through a discussion of the Kantian notions of freedom and causality. And, finally, there are his remarks about the Critique of Judgment, scattered all over his writing on art from the early 1930s onwards. However, Heidegger never produces a proper, systematic account of the relevance of the third Critique. Such an account, I argue in this essay, is provided by Hans-Georg Gadamer. (shrink)

Prima facie, the concept of “drive” is not central or even relevant to the project of the Critique of the Power of Judgment. Other than one might expect, Kant, especially in the teleology, is not engaging with this concept and its cognates in great detail. On the other hand, the concept of “drive” is pivotal in his philosophy of history and culture as spelled out in the “Doctrine of Method” of the third Critique. For it is (...) nature that drives human nature to civilize, socialize, culturize, moralize and finally federalize. The chapter retraces this view in the third Critique on the backdrop of the “minor” writings on philosophy of history and related matters. The focus is on the question of whether Kant attributes to nature the function of the driving force of the development of the human mind as such and human culture and history in particular. (shrink)

Kant’s discussion of the highest good is subject to continuous disagreement between the proponents of two interpretations of this concept. According to the secular interpretation, Kant conceived of the highest good as a political ideal which can be realized through human agency alone, albeit only from the Critique of the Power of Judgement onwards. By way of contrast, proponents of the theological interpretation find Kant’s treatment of the highest good in his later works to be wholly coherent (...) with the discussions of this concept found in the second Critique. In their view, however, Kant never conceived of the highest good as a political ideal, and some go as far as to argue that it is the work of God alone. In this article, I defend a theologico-political account of the highest good that avoids the pitfalls of both readings. (shrink)

In the Critique of the Power of Judgment, Immanuel Kant proposes a puzzling account of the experience of the beautiful: that aesthetic judgments are both subjective and speak with a universal voice. 1 These properties – the subjective and the universal – seem mutually exclusive but Kant maintains that they are compatible if we explain aesthetic judgment in terms of the mind’s a priori structure, as explicated in his earlier Critique of Pure Reason. Kant (...) advances two major claims towards arguing for the compatibility of the subjectivity and universality of the experience of beauty: that aesthetic judgments are ‘disinterested’, and that the universality of an aesthetic judgment derives from the transcendental idealist’s account of ordinary spatio-temporal experience – that is, our ordinary cognitive framework can explain the experience of beauty. If correct, these two claims support the thesis that, while the experience of beauty is wholly subjective, it nevertheless speaks with a universal voice . I will move to interpret Kant’s theory of the beautiful with reference to his earlier two Critiques in order to better understand the marriage of subjectivity and universality. In turn, this re- veals a deeper symmetry between the disinterestedness of the experience of beauty and the freedom of moral action, allowing Kant to maintain, as he indeed does, that “beauty is the symbol of morality.”. (shrink)

The aim of Kant's Order of Reason is to give an account of Kant's conception of rational agency that clarifies and explains both the scope and nature of such activity, and elucidates the centrality of Kant's account of rational determination for his mature critical philosophy. As I see it, the core Kantian insight concerning rational determination is that the capacity for rationality is based in and derived from the capacity for exercising a very specific kind of (...) causality in the world–namely, free, or controlled, causality -/- The book consists of three parts. In the first I provide a historically contextualized but nevertheless rigorous metaphysical framework for understanding Kant's conception of mental activity, his theory of freedom, and its importance for understanding his conception of the difference between rational and non-rational forms of activity. I then argue that Kant has a control-centered or "enkratic" account of rational activity and agency. According to this view, control is the central and essential aspect of all rational activity, and a rational being is one that can exercise her diverse powers, or use her diverse intellectual faculties, in a manner that is under her own control. Building on this structure, in part two I show how Kant applies his conception of controlled activity to the various forms of activity of which the rational mind is capable, in increasing order of complexity (i.e. attention, conception, judgment, inference, and comprehension). I then put this account to work with respect to longstanding disputes regarding self-consciousness, reason, evil, and alienation. (shrink)

Kant’s Critique of Judgment represents one of the most important texts in modern philosophy. However, while its importance for 19th-century philosophy has been widely acknowledged, scholars have often overlooked its far-reaching influence on 20th-century thought. This book aims to account for the various interpretations of Kant’s notion of aesthetic judgment formulated in the last century. The book approaches the subject matter from both a historical and a theoretical point of view and in relation to different cultural (...) contexts, also exploring in an unprecedented way its influence on some very up-to-date philosophical developments and trends. It represents the first choral and comprehensive study on this missing piece in the history of modern and contemporary philosophy, capable of cutting in a unique way across different traditions, movements and geographical areas. All main themes of Kant’s aesthetics are investigated in this book, while at the same time showing how they have been interpreted in very different ways in the 20th century. With contributions by Alessandro Bertinetto, Patrice Canivez, Dario Cecchi, Diarmuid Costello, Nicola Emery, Serena Feloj, Günter Figal, Tom Huhn, Hans-Peter Krüger, Thomas W. Leddy, Stefano Marino, Claudio Paolucci, Anne Sauvagnargues, Dennis J. Schmidt, Arno Schubbach, Scott R. Stroud, Thomas Teufel, and Pietro Terzi. (shrink)

Immanuel Kant’s Critique of the Power of Judgment has recently received an increasing amount of attention from philosophers interested in the development of German Idealism, and with the recent publication of a new translation of the Third Critique, this trend is not likely to change any time soon. It is for this reason that Henry Allison’s latest book, Kant’s Theory of Taste: A Reading of the Critique of Aesthetic Judgment, comes at such (...) an opportune time. (shrink)

This article deals with the question of the reception and “history of effects” of Kant’s Critique of the Power of Judgment. More precisely, in the present contribution I take into examination some original and influential “appropriations” of Kant’s third Critique in the context of 20 th -century and contemporary hermeneutics, providing both a reconstruction and a critical interpretation of the readings of Kant’s work provided by Martin Heidegger, Hans-Georg Gadamer and nowadays Günter Figal. In the first (...) section I basically offer an overview of Kant’s conception of the power of judgment as an introduction to the topics investigated into detail in the following sections of this article. Then, I focus on the different interpretations of Kant’s Critique of the Power of Judgment offered by the abovementioned hermeneutical philosophers, showing that, in a quite surprising and theoretically stimulating way, in the development of a phenomenological-hermeneutical aesthetics and/or philosophy of art from Heidegger to Gadamer up to Figal, we can observe a progressive shift from a sort of “disinterest” in Kant’s conception of aesthetics in favour of Hegel’s philosophy of art, to an explicit critique of the supposed subjectivization of aesthetics by Kant and its problematic consequences, up to a full-blown rehabilitation and retrieval of the significance of Kant’s treatment of beauty in the third Critique as still essential for any serious philosophical aesthetics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 30.4 (2000) 15-37 [Access article in PDF] Kant's Strange LightRomanticism, Periodicity, and the Catachresis of Genius Orrin N. C. Wang We might say that in deconstruction history is always posed as a question, at once urgent, ubiquitous, and insoluble, whereas ideological demystification conceives of its relation to history as an answer, a solution, to its critical hermeneutic. Certainly, this critical truism has special force in Romantic studies, (...) a field very much shaped by the complex relation between deconstruction and ideological critique over the last twenty-five years. But it could just as well be said that the full implications of this relation are especially clarified by the field of Romantic studies, not least because its object of study replays the tensions between these two modes of inquiry. Studying Romanticism means knowing it as a historical period but also knowing it as a figure that stands for something else: an aesthetic practice, a form of consciousness, a political aspiration, an ideology, the possibility of historicity itself. That as a figure Romanticism can be either transhistorical or tied to its historical identity makes its situation all the more complicated and compelling. Romanticism especially dramatizes the interlocking relation between period identity and trope, and the investment of literary studies in that dynamic. Romanticism is the period metaphor that both stabilizes and disrupts the very concept of period metaphors.1 The deconstruction and demystification of Romanticism is very much about the deconstruction and demystification of history, its existence as either question or calculation, trope or immanent being.But even as Romanticism asserts its special relation to history it must also confront an opposite trajectory, how its meaning is best understood through a constellation of other, larger historical identities, such as the Enlightenment and modernity itself. At present the potential disciplinary reorganization of Romanticism into the long eighteenth century is the most vivid academic expression of the question, where does the historical specificity of Romanticism reside, within itself or something larger, or both?Sorting this issue out is certainly a historical proposition, but as Romanticism's special relation to history reminds us, it is also, in Paul de Man's sense, rhetorical. Which is to say, Romanticism's relation to history is, paradoxically, not special-or, more precisely, it is a trope for something pervasive among all the period fields of literary studies, insofar as they remain particular and distinct from one another. This includes those historical entities that might subsume or entangle with Romanticism itself, that would enact historicity by absorbing a field so intent on both the enabling and worrying of historical thought. Approached tropologically, the relation of Romanticism to these larger historical periods is not simply about events and formations that constitute [End Page 15] the boundaries of historical identities. It is also about best identifying and clarifying the workings of figure that create the intelligence of such periodicity.Such labor, what de Man designated innocently enough by the term "reading," calls for its own crossing of a particular set of boundaries. A philosophical text, generated by the entanglement between Romanticism and the eighteenth-century Enlightenment, might contain sections exemplary in their recording of the interstice between trope and historical periodization. Immanuel Kant's short meditation on genius in the third Critique is, like the rest of his book, about the limits and possibilities of the judging subject; his words on genius are also specifically about the artistically creative subject. In resolving the contradictions between aesthetic judgment and creation, Kant transforms the solar light of human genius into the historical genius of the Enlightenment, which is very much the linguistic genius of Romanticism. This all occurs in a register not of consciousness or of historical truth, but of something else before either's constative realization.Kant's text is especially telling in its reflexive expression of this situation, so much so that it helps illuminate the sharp distinction between deconstruction and ideological demystification. For if deconstruction always poses history as the pressure of an insoluble, omnipresent question, it does so through figure, before truth. In contrast, ideological demystification, with... (shrink)

Available from UMI in association with The British Library. Requires signed TDF. ;Kant's extensive discussion of the sublime has received scant attention. This neglect, indeed, is a general characteristic of the reception of Kant's aesthetics in the Anglo-American, and German traditions of philosophy in the twentieth century. The reasons behind it have been usefully summarised by Paul Guyer. ;My approach will be as follows. In Part One of this study , I shall first outline the sublime as (...) it is understood in sources available to Kant--notably the theories of Addison, and Burke. I will then trace how Kant adapts these approaches in his pre-Critical aesthetics, and how he goes beyond them by, in effect, stipulatively defining the sublime as a moral concept in his Critical ethics. In Part Two I will first set the scene for a consideration of Kant's mature theory of the sublime, by discussing how moral factors shape the overall strategy in The Critique of Judgement, and also figure in his account of the judgement of taste. I shall then go on to elaborate and critically review Kant's structures and sources of argument in those sections of the third Critique that deal with judgements of sublimity. In particular, I will argue that whilst his theory of sublimity does fit in well with the overall strategy of the third Critique, the pressures exerted upon it by the Critical ethics are such that he does not succeed in establishing the credentials of sublimity as an aesthetic concept. In Part Three , however, by using some of Kant's basic insights, I will hope to establish these credentials and to apply the theory so derived, to the work of art. I will then proceed to some more general conclusions. ;Considering the wide ground to be covered by this study, and the necessary limitations on its length, it will not be possible to give Kant's concepts and arguments the kind of extensive and finely detailed analysis which has been provided by Paul Guyer. I will be concerned, rather, to provide working definitions of Kant's major concepts, and to trace the broad development of his arguments. (shrink)

The role and nature of imagination in Kant's Critique of Pure Reason is intensively examined. In addition, the text of Kant's Anthropology from a Pragmatic Point of View will also be considered because it helps illustrate this issue. Imagination is the fundamental power of the mind responsible for any act of forming and putting together representations. A new interpretation of imagination in Kant is given which recognizes its necessary roles as the factor responsible for producing (...) space and time, as an essential component in perception, as the mediator of concepts and intuitions, and as the synthesizing agent which groups together representations into categories. ;The work is divided basically into two parts. The first part looks at the imagination in the Transcendental Aesthetic. It will be shown that space and time themselves are products of imagination. As pure and a priori intuitions space and time are objects of thought and thus are conditioned by the synthetic power of imagination. Moreover, as forms of intuitions space and time are also conditioned by imagination; hence, imagination is a necessary factor in spatial and temporal perception. ;The second part of the thesis concerns the role of imagination in the Transcendental Analytic. Here the role of the imagination is more pervasive. In the Metaphysical Deduction the thesis argues that the imagination is responsible for uniting representations into twelve categories which are the conditions of thinking in general. Therefore the categories themselves owe their origins to imagination. This interpretation hinges on Kant's distinction between transcendental and general logic, which the thesis will discuss in detail. In the Transcendental Deduction the imagination is responsible for taking up representations in such a way that results in their belonging to a single framework of consciousness, thus showing that the categories apply to a posteriori representations. In the Schematism the imagination is necessary in forming the schemata, which join together concepts and intuitions so that both empirical and transcendental judgments are produced. Finally, a critique of Heidegger's idea on imagination as the "common root" of sensibility and understanding will be offered. (shrink)

The book reconstructs the history of Western ethics. The approach chosen focuses the endless dialectic of moral codes, or different kinds of ethos, moral doctrines that are preached in order to bring about a reform of existing ethos, and ethical theories that have taken shape in the context of controversies about the ethos and moral doctrines as means of justifying or reforming moral doctrines. Such dialectic is what is meant here by the phrase ‘moral traditions’, taken as a name for (...) threads of moral discourse, made in turn of other interwoven threads, including transmission of shared codes, appeals to reform of prevailing custom, rational argument about the justification of some precept on the basis of some shared general teaching or principle, and rational argument about the ultimate basis for principles and justification of authoritative teaching. That is, the approach adopted to the reading of ethical texts depends on a firm belief in the fact that philosophers hardly created any ethical doctrine out of nothing. The main point this book tries to highlight is how different philosophical theories emerged and followed each other as a result of attempts at accounting for what was going on in the world of moral traditions. Changes were propelled by controversies between different schools, and highly abstract arguments were the unintended effects of moves made by controversialists forced to transform (and occasionally to turn upside down) their own doctrines in order to face the challenge posed by other arguments. This is the reason why the book examines not only texts that already enjoy pride of place in the history of philosophy (Aristotle, Kant, Hegel), but also other texts usually treated in the histories of religions (the Bible, the Talmud, the Quran), and others considered to be much less philosophical (Plutarchus, Pufendorf). -/- 1. Plato and a response to ethical scepticism. Two different traditions of morality in VI-V century Greece are described. The birth of philosophical questioning of traditional morality and temporal and spatial variation of custom is described within the context of the v century crisis, the demise of traditional aristocratic and tyrannical rule and the birth of democracy. Two conflicting answers to the challenge are reconstructed, namely conventionalist or immoralist theories formulated by the Sophists and the eudemonist and intellectualist Socratic theory. Plato’s own reformulation of Socrates answer to the Sophists is reconstructed. His psychological views, his classification of the four cardinal virtues and his political theory are described as parts of a unitary system, culminating in an extremely realist moral ontology identifying the idea of the good with the essence of the (moral and extra-moral) world itself. -/- 2. Aristotle and the invention of practical philosophy. Aristotle’s invention of practical philosophy as a field separated from first philosophy is shown to be an implication of his break with Plato moral ultra-realism. Aristotle’s agenda in his moral works is arguably dependent on a polemical intention, namely dismantling Socratic intellectualism. The semi-inductive or virtuously circular method of practical philosophy is illustrated, starting with the received opinions of the better and wiser individuals and trying dialectically to sift what is left of mistake and inconsistence in such opinions, finally trying to correct mistakes and make the overall practical science more consistent. The chapter illustrates then the relationship of individual ethics, or ‘monastics’, with the art and the science of the pater familias, or ‘economics’, and the science of the ruler and citizen, or politics. The nature of virtues, or better, excellences of character, is discussed, highlighting the basic role of hexis, or ‘disposition’. Prudence, or better practical wisdom, is the focus of the chapter. Its relationship with bouleusis or deliberation is examined, and its autonomous status vis-à-vis theoretical knowledge is stressed. -/- 3. Diogenes and philosophy as a way of life. The chapter provides an overview of Hellenistic ethics, which almost amounts to Hellenistic schools of philosophy, in so far as ‘philosophy’ became in these centuries primarily the name for a way of life. The typical character of the Cynical movement is highlighted, that of a school of life, not a school aimed at providing any kind of intellectual training was to be provided. -/- 4. Epicurus and ethics as self-care. The peculiar character of the Epicurean school is described, a combination of a science of well-being aiming, more than at pleasure as in the popular view, at reduction of useless suffering, of unnecessary needs, and at a balanced selection of pleasures of the best and most durable kind. -/- 5. Epictetus and ethics as therapy of the passions. The various phases of Stoicism are described, and the shifting place given to ethics in the Stoic system of idea, culminating in the paradoxical view of ethics, its impossibility in principle notwithstanding, as the only truly significant and necessary part of philosophy. Cicero is treated, showing how his own synthesis of various Hellenistic trends is as a truly philosophical enterprise, deserving serious consideration after one or two centuries when he was confined to the role of literate. Epictetus is chosen as the best example of what the Stoic tradition could yield, an art of living based on sophisticated introspection, in turn aimed at making a kind of cognitive therapy possible, dismantling obnoxious passions at their root by systematically correcting false representations. -/- 6. Philo and the reconciliation of Torah and Platonism. A reconstruction of basic ideas from a few books of the Hebrew Bible is provided, starting with the Prophetic tradition and the focus on God’s mercy as the source of motivation and standard for human behaviour. Then a comparative analysis is undertaken of a parallel tradition, namely the three codifications of the Torā (Law or, better, Instruction), highlighting how a core of moral ideas may be recognized as a basis and preamble of codification of civil law, cultural practice, and regulation of ritual purity. The importance of Leviticus is stressed as the turning point when emphasis mercy, typical of the Prophetic tradition, is combined with the legal tradition, yielding the change in sensibility of the Second Temple time. Philo of Alexandria is described as one of the three leading figures – together with Rabbi Hillel and Rabbi Yeshua – at the apex the emergence of the mentioned new sensibility, gradually including mercy as an essential part of justice and establishing the starting point of both the Rabbinic and the Christian tradition. This consists precisely in the precept of one’s neighbour’s love or of the golden rule, two eventually identical precepts whose meaning is arguably more sober and sensible than the long-lasting Christian tradition deriving from John and Augustine has made us believe and no novelty vis-à-vis so-called Ancient-Testament teachings. -/- 7. Augustine and Christianity as Neo-Platonism. The first section examines the moral doctrines of so-called 'ethical Treaties' from the Talmud, a group of treaties, among which the best known is Pirqé Avot, that were left out of the six "orders" of the canon as they did not fit in any of the six groups of issues ritual or legal on which the division was based. According to Maimonides, their peculiar theme is provided by the Deòt, 'opinions', i.e., mental dispositions, that is, the translation of the Greek term hexeis and Arab akhlak (in turn providing in this language the name for ethics as such). The three topics I reconstruct are: i) the notion of Torah: The Torah is understood as the world order itself, or as the ‘Wisdom’ that existed even before creation and was ‘the tool by which the world was built’; however, the Torah is an earthly and human entity, as it was "received" by humans, and from that very moment belongs to them; ii) the relationship between love of God and love of neighbour; the treaties require us to study and practice the Torah ‘for its own sake’, that is, require us to act out of love, not out of fear or hope of reward; iii) the idea of sanctification of daily life: having disappeared with the destruction of the Temple the possibility of any conflict between liturgical service and everyday life, the latter is assumed to be in itself divine service: to give food to the poor has the same value as sacrifices in the Temple, and as an implication, the insistence become recurrent on the goodness of created things in themselves along with a polemic against ascetic currents. The conclusions drawn are: i) the moral teachings of the Talmud and those of Yeshua are, rather than similar, virtually identical; one may safely say that the precept of love and the golden rule are central ones for all Talmudic rabbis, that mercy plays an indispensable role alongside with justice, and the latter is not a different thing from one’s neighbour’s love; ii) a peculiarity of Talmud rabbis facing Yeshua is the idea of study as worship, and knowledge as a source of justice; but this is an idea of Judaism after the Temple's destruction that cannot be attributed to the Pharisees of Yeshua’s time; iii) the relation of study and practice in the Talmud parallels that between faith and deeds in Paul's epistles, that is, respectively faith or learning are a necessary and sufficient condition to be recognized as righteous , but deeds are the inevitable effect of either faith or learning. The sayings ascribed to Yeshua are examined first, yielding the conclusion that a close equivalent may be found for every saying in Talmudic literature and yet the whole is ascribed to one rabbi, with rather consistent stress on God’s mercy and unconditional forgiving as the mark of true imitation of God. Thus, Yeshua’s teaching is pure Judaism. The third section describes briefly the galaxy of Gnostic currents and Manichaeism, trying to sketch the profile of moral teachings resulting from an encounter of Asian spiritual traditions, Hellenistic lore and sparks of teachings from apocalyptic Jewish currents. The last section summarizes the turbulent history of several encounters between Christian currents and Hellenistic philosophical schools. The first one was with late Cynicism. Recent, rather controversial, literature discovered the jargon and a few topics from the Stoic-Cynical popular philosophy in a few books from the New Testament itself. This, far from proving that Rabbi Yeshua had been influenced by cynic preachers, is a proof of the necessity felt by Christian preachers to translate the original ‘Christian’ teaching into a Greek lexicon deeply impregnated with cynic terminology. The second was with Platonism, yielding the mild and temperate moral teaching of Clemens of Alexandria, teaching the sanctity of nature and the human body, the joy of moderate fruition of ‘natural’ kinds of pleasures, and the beauty of the marital life – in short, the opposite of the standard picture of Medieval Christianity. Ambrose of Milan brings about a different kind of synthesis, namely with Middle Platonism, where Stoic themes prevail. The most shocking case is Augustine, where an early Manichean education is overcome in a former phase by a synthesis of Plotinian Neo-Platonism and Christian preaching, yielding a sustained polemic with the Manicheans and rather optimistic views on life and Creation, the body and sexuality, and Hebrew-Judaic tradition not far from Clemens of Alexandria. In a later phase, occasioned by controversy on the opposite front, with such Christian currents as the Pelagians and Donatists, Augustine comes back to heavily anti-Judaic and world-denying ascetic attitudes where is earlier Manichean upbringing seems to emerge again. The tragedy of medieval Christianity will be the later Augustine’s overwhelming influence. A final section is dedicated to the monastic tradition where a curious mixture of world-denying asceticism with an astonishingly penetrating ‘science’ of introspection emerges. -/- 8. Al Farabi and the reconciliation of Islam and Platonism. The Qurān and the qadit, that is, collections of sayings ascribed to the prophet Muhammad contain a wealth of precepts and catalogues of virtues mirroring moral contents from the Jewish and the Christian traditions, among them the basic notion of imitation of the Deity, where mercy is assumed to be its basic trait. An important tradition within Islam, namely Sufism, stressed to the utmost degree the role of mercy, turning Islam into a mystic doctrine centred on retreat from the world, abandonment to God’s will, and a peaceful and fraternal attitude to our fellow-beings. A secular literary tradition originating in the Sassanid Empire, the literature of advice to the Prince had for a time a widespread influence in the newly constituted Arabic-Islamic commonwealth. In a later phase, the legacy of Hellenic philosophy made its way into the intellectual elite of the Islamic world. The first important legacy was Platonic, and the Republic became the main text for Islamic Platonism. Al-Farabi wrote an enjoyable remake of the Platonic Republic, arguing that the citizen’s virtues were the basis on which the political building needs to rest. The secular lawgiver is enlightened by the light of reason in his everyday practice of governance, but room is made for the Prophet as the voice of revealed truth that confirms and completes the rational truth that philosophy may afford. In a second phase also Aristotelian and Stoic influence were assimilated. Miskawayh’s treatise was the masterwork at the time Arabic philosophy reached its Zenith. It is a treatment of the soul’s diseases and their remedies, combining the Aristotelian doctrine of the golden mean with the Stoic doctrine of the passions and elements of Galenic medicine. Towards the eleventh-twelve centuries a war raged among theologians and philosophers, finally won by the former with disappearance of philosophy as such. The newly established mainstream, yet, was no kind of intolerant fanaticism. It drew from the work of mystic theologian Al-Ghazālī, the best heir of Sufism, teaching a tolerant and peaceful attitude to our fellow-beings and a passive attitude to destiny as an expression of the Divine will. -/- 9. Moshe ben Maimon and the reconciliation of Torah and Aristotelian ethics. The encounter between the Talmudic tradition and Hellenic philosophy had taken place a first time in Alexandria at the time of Philo but the two traditions had parted way again. In fact, the kind of Platonic Judaism founded by Philo survived only within Christianity, in the fourth Gospel and then in writings by Clemens of Alexandria. The Talmudic literature had absorbed just less striking traits from the Hellenic Philosophy, namely an idea of ethics as care of the self and a role for the education of character as propaedeutic to theoretical knowledge. In the Arabic-Islamic world, a second round started when Jewish authors writing in Arabic undertook the task to prove the full compatibility of the tradition deriving from Torah and Platonic philosophy. The culmination of this attempt is provided by Moshe ben Maimon who tried to use Aristotelian ethics as a language into which the teaching from the Pirké Avot could be translated. -/- 10. Thomas Aquinas and the reconciliation of Christian morality and Aristotelian ethics. In the first section the fresh start is described of philosophical ethics in Latin Europe at the turn of the Millennium. In a first phase, Anselm and Peter Abelard built on a Platonic and Augustinian legacy. In this phase. remarkable innovations are introduced, including Abelard’s claim of the obliging character of erring consciousness. In a second phase, the rediscovery of Nicomachean Ethics thanks to Latin translation of Arabic versions gives birth to a new wave of ethical studies, recovering the very idea of Aristotelian practical philosophy, with the potential implication of full legitimization of natural morality, i.e. ethics without Revelation. Aquinas’s ethics is a theological ethics out of which it would be vain to try to extract a self-contained philosophical ethics. His treatment of topics in philosophical ethics, yet, does not boil down to repetition of Aristotelian arguments but is rather a creative reshaping of such arguments. For example, he introduces also in the practical philosophy a first principle parallel to the principle of non-contradiction; and he also carries out a synthesis of Aristotelianism, Stoicism, and neo-Platonism. Even though it is essentially moral theology, Aquinas’s doctrine - unlike Augustine – grants full citizenship to "natural" morality, firstly by rejecting the claim that the corruption of human nature due to the original sin is so radical as to leave "pure nature" incapable of moral goodness. The doctrine is presented in a more sophisticated formulation in a few of the Quaestiones, such as De Malo and De Veritate, in the Summa contra Gentes and in the commentaries to Aristotle than in the famous Summa Theologica, but the latter work includes the only or the largest exposition of some decisive part of the theory. Thus, the Summa Theologica should be read for what it is more than criticized for not being what it was not meant to be. It was not meant to be the brilliant synthesis of all that Reason he had been able to produce with what Revelation had added about which the Neo-Thomists used to dream, but rather a manual for the training of preachers and confessors, where theoretical claims are not too demanding and a few serious tensions are left. Besides a jump between the Prima Secundae and the Secunda Secundae, being the former an essay in virtue theory and the latter a handbook for confessors, the most serious tension is perhaps the one between the ethics of right reason presented in most of Ia-IIae and the eudemonistic ethics developed in quaestiones 1-5 of the same part; the alternative ethical theory which also may be found in Augustine, the Stoic view of a cosmic reason eventually coincident with the moral law, was believed by Anselm (followed by John Duns Scotus and William of Ockham) to be incompatible with eudemonism. It is questionable whether Thomas could reduce the tension proving that it is just an apparent tension, in so far as the right reason and bliss derived from knowledge of God tend to coincide, but this is just a conjecture. Thomas’s ethics is a virtue ethic, not a law-based one, and moral judgment focuses on the virtues, particularly charity, not on the commandments and even less on absolute prohibitions; Thomas, however, would not have considered a drastic alternative between law and the virtues such as the one which has been advanced in late twentieth-century philosophy to be justified. Nonetheless, when it discusses ‘special’ virtues, it ceases to be an ethics of virtue and becomes a disappointing and often contradictory discussion of legal and illegal acts. Such a discussion takes most of the time ‘reasonable’ middle positions on controversial issues but not the alternative approach that Aristotelianism would have made possible; even when some occasional Aristotelian claim shows up, such as money’s barrenness as a reason against usury, this seems to be made by an author who apparently ignores the Aristotelian Thomas of the Prima Secundae. It is an ethic of human autonomy which recognizes the binding character of the individual conscience and, potentially, even a duty to disobey unjust laws. It is true that what Thomas writes in his discussion of death penalty and persecution of heretics is simply disgusting, and yet we should blame Thomas the man, not Thomist ethical theory. Finally, Thomas’s ethics is not ethical ‘absolutism’, as both traditionalist Catholic theologians and secularist enemies of dogmatic morality tend to believe. It is instead an ethic of prudential judgment. Exceptions to this approach – or better results of logical fallacies – are such claims as the absolute character of negative precepts and of the existence of "intrinsically evil acts", claims that simply cease to make sense in the light of Thomas’s own distinction between human act and natural act, carrying consequences Thomas did not live long enough to draw or was not consistent enough to dare to draw. -/- 11. Francisco de Vitoria and casuistry. The first topic illustrated is the discussion about the notion of pura natura, namely the human condition after the original sin and before divine revelation. The core notion was already there in Aquinas but was later developed by Caietanus (Thomas de Vio) with a number of interesting implications: firstly a view of human nature as such much more positive than Augustine’s and his followers’ view, including both Calvinists and Jansenists; secondly, the implication that the philosopher’s morality, as opposed to the Christian’s morality, is a quite respectable kind of morality; thirdly, that theocracy and prosecution of the unfaithful lacked justification, with more far-fetching consequences than Aquinas himself had dared to draw. The second topic is casuistry, a new name for a comparatively older way of thinking, which was already there in late Stoicism and Cicero as well as in the Talmudic literature. This is an approach aimed at yielding probable enough solutions for doubtful cases even in absence of completely safe staring points. The genre developed from medieval reference books for confessors and became by the sixteenth-century a sophisticated tool-box for dealing with various fields of applied ethics. Francisco Vitoria, the main authority of Baroque Scholasticism, was a controversial figure, among the proponents of the new discipline of casuistry and a consistent proponent of more separation between the religious and the civil authority, stricter limits to the legitimacy of war, innate rights of non-Christian nations in the New World based on the notion of pura natura, providing a standard of ‘natural’ goodness, previous to revelation, on which the Indian nations were judged to live in a naturally good condition, provided with the institutions of family, justice, and religion had accordingly a right to full respect by Christian sovereigns. Bartolomé de Las Casas, arguing along similar lines, was the leader of a historical battle in defence of the rights of the Indios. -/- 12. Michel de Montaigne and the art of living. A short description of one of the Renaissance Phyrronism, one of the classical philosophies revived in the fifteenth and sixteenth century. Montaigne combines the sceptical epistemology with an understanding of ethics – indeed of philosophy as a whole – in terms of an art of living inspired by two basic ideas, sagesse, that is, practical wisdom as the only kind of rationality available after theology, science, and tradition have declared bankrupt, and an aesthetic ideal of self-transformation through the art of writing and introspection. -/- 13. Pierre Nicole and neo-Augustinianism. The chapter illustrates first the vicissitudes of Augustinianism newly born after the late medieval triumph of Thomist Aristotelianism in the alternative Protestant and Catholic versions processed by the Calvinists and the Jansenists. Then it illustrates the doctrines of Pierre Nicole, Blaise Pascal’s best disciple, on the impossibility of introspection, on the ubiquity of self-deception, on the incurably evil character of the passion of love, and on the two moralities, the one of the man of the world, the morality of honesty which is indispensable for granting peace and order but devoid of any true value for eternal salvation, since the same external behaviour may be prompted by opposite motivations, and the morality of charity, the only true one but also useless to society. The third topic is Pierre Malebranche’s view of self-deception as a ubiquitous phenomenon accounting for human action and responsibility and his reformulated theory of self-love, no less ubiquitous than for Nicole and yet not as incurably evil, given the distinction between morally indifferent and even necessary amour de soi and vicious amour proper, a distinction on which the whole of Rousseau’s moral and political theory rests. -/- 14. Samuel von Pufendorf and the new science of morality. The chapter is dedicated to the discovery of the idea of a ‘new moral science’. Hugo Grotius is discussed first highlighting the real character of his project, much closer to the Thomist idea of a natural law accessible to non-corrupted human reason when human beings are living in a state of pura natura. Then Hobbes’s combination of scepticism, voluntarism, and conventionalism is described and both the continuity with Grotius’s new science, in the search for non-revealed rational morality, and the break with him, in the adoption of voluntarism and refusal of an intellectualist view of natural law, are illustrated. Pufendorf’s work is illustrated as a synthesis of the two previous attempts and the – up to Schneewind underestimated – paradigmatic example of the new science of morality. -/- 15. Richard Cumberland and consequentialist voluntarism. The chapter gives an overview of eighteenth-century Anglican ethics, noticing how the Cambridge tradition gave special weight to natural theology as opposed to positive or revealed theology – and how two Cambridge fellows, John Gay and Thomas Brown, elaborated on Cumberland’s (and Malebranche’s, as well as Leibniz’s) strategy for finding a third way between intellectualist view and voluntarist view of the laws of nature. The result of their elaboration was a kind of a rational-choice account of the origins of natural laws, where a law-giver God chooses among a number possible sets of laws on a maximizing criterion, and God’s maximandum is happiness for his creatures. The chapter notices also how such a solution aimed at solving at once the problem of evil and that of the foundation of moral obligation by proving how God’s choice was justified as far as it was the one minimising the amount of suffering in the world. 16. Richard Price and intuitionism. The chapter describes first the doctrines of the Cambridge Platonists, an example of hyper-rationalist reaction to Calvinism. Secondly it describes the sophisticated and universally ignored – from Sidgwick to Anscombe –version of what was later labelled ‘ethical intuitionism’ – showing how it escapes familiar objections and misrepresentations of intuitionism – from Mill to Rawls – in grounding its argument on transcendental arguments while carefully avoiding recourse to introspection and psychological evidence, which has been taken as a too easy target by critics of intuitionism. Thirdly, the chapter discusses Whewell’s ‘philosophy of morality’, as opposed to ‘systematic morality’, not unlike Kant’s distinction between a pure and an empirical moral philosophy. Whewell worked out a systematization of traditional normative ethics as a first step before its rational justification; he believed that the point in the philosophy of morality is justifying a few rational truths about the structure of morality such as to rule hedonism, eudemonism, and consequentialism; yet a system of positive morality cannot be derived solely from such rational truths but requires consideration of the ongoing dialectics between idea and fact in historically given moralities. Whewell’s intuitionism turns out closer to Kantian ethics than commentators have made us believe until now, and quite different from what Sidgwick meant by intuitionism. -/- 17. Adam Smith and the morality of role-switch. The chapter describes first, Hutcheson’s attempt at basing the ‘new science’ of natural law on different bedrock than Pufendorf and the English Platonists, namely a moral sense, a faculty whose existence is assumed to be proved on an empirical basis. The second step is a reconstruction of Hume’s rejoinder in terms of a new science of man including morality on an ‘experimental’ basis, that is, a ‘Newtonian’ hypothetical-deductive approach, distinguished from Hutcheson’s allegedly uncritical descriptive approach to human nature. The third step is a reconstruction of Adam Smith theory of morality understood as emerging from a spontaneous interplay of exchanges of situations (the most basic meaning of the word ‘sympathy’ as construed by this author). -/- 18. Jeremy Bentham and utilitarianism. The bulk of the chapter is dedicated to the doctrines of Jeremy Bentham. The Enlightenment spirit that suggested the idea of a new morality, free from religion, is illustrated. The notion of utility is illustrated as well as the subsequent formulations of the principle of utility. The idea of felicific calculus is discussed, showing how its inner difficulties prompted several reformulations of the principle of utility in order to avoid undesirable implications of proposed formulations. The role of the thesis of spontaneous convergence between interest and duty is discussed, showing how it left numberless questions open, and the distinction between the virtues of prudence, justice and beneficence is described as a way out of the deadlocks of classical utilitarianism. After Bentham, Mill’s reformed utilitarianism is reconstructed, showing how it is a kind of mixed system – as closer to common sense as it gives up Bentham’s claims to consistency and simplicity – resulting as unintended consequences from the controversies in which Mill was too keen to engage. The hidden agenda of the controversy between Utilitarianism and Intuitionism, going beyond the image of the battle between Prejudice and Reason, is described, showing how both competing philosophical outlooks turn out to be more research programs than self-contained doctrinal bodies, and such programs appear to be implemented, and indeed radically transformed while in progress thanks to their enemies no less than to their supporters. -/- 19. Immanuel Kant, practical reason and judgment. The chapter argues that Kant took from Moses Mendelssohn the idea of a distinction between geometry of morals and a practical ethic. He was drastically misunderstood by his followers precisely on this point. He had learned from the sceptics and the Jansenists the lesson that men are prompted to act by deceptive ends, and he was aware that human actions are also empirical phenomena, where laws like the laws of Nature may be detected. His practical ethics made room for judgment as a holistic procedure for assessing the saliency of relevant moral qualities in one given situation; this procedure yields the same results as the geometry of morals does for abstract cases but does so immediately and without balancing conflicting duties with each other, since what makes for the salient quality of a situation is perceived from the very beginning. Kant's practical philosophy is richer than the received image, making room for an ‘empirical moral philosophy’ or moral anthropology including treatment of commerce, needs, value and price, happiness and well-being; the overall social theory and philosophy of history is less different from Adam Smith's than the received image makes believe; the paradox of happiness is central to Kant's philosophy; a distinction between happiness and well-being is clearly drawn; the distinction plays a basic role in establishing a link between the economic and the moral life. -/- 20. Georg Wilhelm Friedrich Hegel and the critique of abstract universalism. The chapter describes first the Romantic movement and the implications some of its concerns, rescuing passions, community, tradition, the individual as the bearer of a unique destiny, and the longing for organic unity between the individual, mankind and nature. Hegel’s contribution is discussed then, highlighting how, on the one hand, he shared a number of these concerns and on the other he had more rationalist leanings. The notion of morality is the pivotal point of the reconstruction, highlighting how Hegel construes this notion as a key to his own diagnosis of the malaise of modernity – the separation of individual and Gemeinschaft – and how his attack on Kant turns around this very idea. -/- 21. Friedrich Nietzsche against Christianity and the Enlightenment. The chapter illustrates first the idea of deconstruction of the back-world of values. Nietzsche claims to be legitimate heir of the French moralists, Leibniz, Kant and Hegel, in so far as he allegedly carries out to its deepest implications their discovery of what lies behind traditional naïve belief in the existence of an objective realm of values just waiting for description by the philosopher. The two exemplars form which genealogy draws inspiration are the classical philologist’s historical reconstructions of lost meanings and the chemist’s decomposition of elements. Then the genealogy of the notions of good and evil carried out in the first dissertation of Genealogy of morals is illustrated with its paradoxical conclusion that will to power is in fact the only ‘genuine’ kind of goodness. The third point illustrated is the dialectic of ascetism and self-realization with its ambiguous outcome. The suggested interpretation of such outcome is that Nietzsche’s normative ethics is a kind of virtue ethics taking an aesthetic ideal as a normative standard -/- 22. George Edward Moore and ideal utilitarianism. The chapter discusses the ideas of common sense and common-sense morality in Sidgwick. I argue that, far from aiming at overcoming common-sense morality, Sidgwick aimed purposely at grounding a consist code of morality by methods allegedly taken from the natural sciences to reach, also in ethics, the same kind of “mature” knowledge as in the natural sciences. His whole polemics with intuitionism was vitiated by the a priori assumption that the widespread ethos of the educated part of humankind, not the theories of the intuitionist philosophers, was what was worth considering as the expression of intuitionist ethics. In spite of a naïve positivist starting-point, Sidgwick was encouraged by his own approach in exploring the fruitfulness of coherentist methods for normative ethics. Thus, Sidgwick left an ambivalent legacy to twentieth-century ethics: the dogmatic idea of a “new” morality of a consequentialist kind, and the fruitful idea that we can argue rationally in normative ethics albeit without shared foundations. Then it reconstructs the background of ideas, concerns and intentions out of which Moore’s early essays, the preliminary version, and then the final version of Principia Ethica originated. I stress the role of religious concerns, as well as that of the Idealist legacy. I argue that PE is more a patchwork of rather diverging contributions than a unitary work, not to say the paradigm of a new school in Ethics. I add a comparison with Rashdall’s almost contemporary ethical work, suggesting that the latter defends the same general claims in a different way, one that manages to pave decisive objections in a more plausible way. I end by suggesting that the emergence of Analytic Ethics was a more ambiguous phenomenon than the received view would make us believe, and that the wheat (or some other gluten-free grain) of this tradition, that is, what logic can do for philosophy, should be separated from the chaff, that is, the confused and mutually incompatible legacies of Utilitarianism and Idealism. -/- 23. Edmund Husserl and the a-priori of action. The chapter illustrates first the idea of phenomenology and the Husserl’s project of a phenomenological ethic as illustrated in his 1908-1914 lectures. The key idea is dismissing psychology and trying to ground a new science of the a priori of action, within which a more restricted field of inquiry will be the science of right actions. Then the chapter illustrates the criticism of modern moral philosophy carried out in the 1920 lectures, where the main target is naturalism, understood in the Kantian meaning of primacy of common sense. The third point illustrate is Adolph Reinach’s theory of social acts as a key the grounding of norms, a view that basically sketches the very ideas ‘discovered’ later by Clarence I. Lewis, John Searle, Karl-Otto Apel and Jürgen Habermas. A final section is dedicated to Nicolai Hartman, who always refused to define himself a phenomenologist and yet developed a more articulated and detailed theory of ‘values’ – with surprising affinities with George E. Moore - than philosophers such as Max Scheler who claimed to Husserl’s legitimate heirs. -/- 24. Bertrand Russell and non-cognitivism. The chapter reconstructs first the discussion after Moore. The naturalistic-fallacy argument was widely accepted but twisted to prove instead that the intuitive character of the definition of ‘good’, its non-cognitive meaning, in a first phase identified with ‘emotive’ meaning. Alfred Julius Ayer is indicated as a typical proponent of such non-cognitivist meta-ethics. More detailed discussion is dedicated to Bertrand Russell’s ethics, a more nuanced and sophisticated doctrine, arguing that non-cognitivism does not condemn morality to arbitrariness and that the project of a rational normative ethics is still possible, heading finally to the justification of a kind of non-hedonist utilitarianism. Stevenson’s theory, another moderate version of emotivism is discussed at some length, showing how the author comes close to the discovery of the role of a pragmatic dimension of language as a basis for ethical argument. Last of all, the discussion from the Forties about Hume’s law is described, mentioning Karl Popper’s argument and Richard Hare’s early non-cognitivist but non-emotivist doctrine named prescriptivism. -/- 25. Elizabeth Anscombe and the revival of virtue ethics. The chapter discusses the three theses defended by Anscombe in 'Modern Moral Philosophy'. I argue that: a) her answer to the question "why should I be moral?" requires a solution of the problem of theodicy, and ignores any attempts to save the moral point of view without recourse to divine retribution; b) her notion of divine law is an odd one more neo-Augustinian than Biblical or Scholastic; c) her image of Kantian ethics and intuitionism is the impoverished image manufactured by consequentialist opponents for polemical purposes and that she seems strangely accept it; d) the difficulty of identifying the "relevant descriptions" of acts is not an argument in favour of an ethics of virtue and against consequentialism or Kantian ethics, and indeed the role of judgment in the latter is a response to the difficulties raised by the case of judgment concerning future action. A short look at further developments in the neo-naturalist current is given trough a reconstruction of Philippa Foot’s and Peter Geach’s critiques to the naturalist-fallacy argument and Alasdair MacIntyre’s grand reconstruction of the origins and allegedly unavoidable failure of the Enlightenment project of an autonomous ethic. -/- 26. Richard Hare and neo-Utilitarianism. The chapter addresses the issue of the complex process of self-transformation Utilitarianism underwent after Sidgwick’s and Moore’s fatal criticism and the unexpected Phoenix-like process of rebirth of a doctrine definitely refuted. A glimpse at this uproarious process is given through two examples. The first is Roy Harrod Wittgensteinian transformation of Utilitarianism in pure normative ethics depurated from hedonism as well as from whatsoever theory of the good. This results in preference utilitarianism combined with a ‘Kantian’ version of rule utilitarianism. The second is Richard Hare’s two-level preference utilitarianism where act utilitarianism plays the function of eventual rational justification of moral judgments and rule-utilitarianism that of action-guiding practical device. -/- 27. Hans-Georg Gadamer and rehabilitation of practical philosophy. The post-war rediscovery of ethics by many German thinkers and its culmination in the Sixties in the movement named ‘Rehabilitation of practical philosophy’ is described. Among the actors of such rehabilitation there were a few of Heidegger’s most brilliant disciples, and Hans-Georg Gadamer is chosen as a paradigmatic example. His reading of Aristotle’s lesson I reconstructed, starting with Heidegger’s lesson but then subtly subverting its outcome thanks to the recovery of the central role of the notion of phronesis. -/- 28. Karl-Otto Apel and the revival of Kantian ethics. Parallel to the neo-Aristotelian trend, there was in the Rehabilitation of practical philosophy a Kantian current. This started, instead than the rehabilitation of prudence, with the discovery of the pragmatic dimension of language carried out by Charles Peirce and the Oxford linguistic philosophy. On this basis, Karl-Otto Apel singled out as the decisive proponent of the linguistic and Kantian turn in German-speaking ethics, worked out the performative-contradiction argument while claiming that this was able to provide a new rational and universal basis for normative ethics. An examination of his argument is some detail is offered, followed by a more cursory reconstruction of Jürgen Habermas’s elaboration on Apel’s theory. -/- 29. John Rawls and public ethics as applied ethics. Rawls’s distinction between a “political” and a “metaphysical” approach to one central part of ethical theory, namely the theory of justice, is interpreted as a formulation of the same basic idea at the root of both the principles approach and neo-casuistry, both discussed in the following chapter, namely that it is possible to reach an agreement concerning positive moral judgments even though the discussion is still open – and in Rawls’ view never will be close – on the basic criteria for judgment. -/- 30. Beauchamp and Childress and bioethics as applied ethics. The chapter presents the revolution of applied ethics while stressing its methodological novelty, exemplified primarily by Beauchamp and Childress principles approach and then by Jonsen and Toulmin’s new casuistry. -/- . (shrink)

THE PURE INTUITIONS OF SPACE AND TIME and the pure concepts of understanding are the two basic elements in Kant's critical philosophy. Whereas his account of pure intuitions is relatively straightforward, his theory of categories is quite complicated. When he presents space and time as two forms of intuition, he never sees the need to prove that there are no other forms of intuition than these two. But when he presents his table of categories, he tries to prove its (...) completeness in one of the most obscure chapters of the first Critique, known as the "Metaphysical Deduction." Kant complicates his picture of categories by claiming two different functions for them: the logical and the real. The obscurity surrounding the relation of these two functions is the chief obstacle for understanding the "Transcendental Deduction," perhaps the most controversial chapter of the Critique. He further aggravates the problem in the "Schematism," perhaps the most oracular chapter of the Critique, by producing a set of categories quite different from the original set given in the "Metaphysical Deduction.". (shrink)

Kant's use of the leading thread of his table of logical forms of judgment to analyze judgments of taste yields more results than Allison's account allows. It reveals in judgments of taste the combination of two judgments: a descriptive judgment about the object, and a normative judgment about the judging subjects. Core arguments of Kant's critique of taste receive new light from this analysis.

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which (...) has followed, has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

This article will probe into Kant’s viewpoints about parent-child relationship so as to demonstrate that they are inspiring on the one hand—for example on dealing with the relationship as that pertinent to the thing in itself, but on the other hand, there are many flaws. His strategy on avoiding the difficulty of creating by man a being endowed with freedom depends merely on an one-sided comprehension of time, because according to Kant himself, there is a difference as to the time (...) between sensual forms of intuition and expressive form of transcendental imagination. In the Critique of Pure Reason, Kant gives a profound enunciation with respect to the two and the latter is related to free causality and categorical imperative in his moral philosophy. Once it refers to the rights of a being endowed with freedom and the time it requires to maintain them, it is problematic to assert that the creation of such beings is not concerned with, in any sense whatsoever, time and the sensual, mortal body. What is more, Kant failed to take into full consideration that parents are also beings endowed with freedom whose rights to the child are not totally dependent on the latter’s inherent rights but on their own inherent basis. Granting parents too few natural rights, Kant on the other hand allocates them too much obligations in that the parent-child relation is unbalanced in his field of view. Thirdly, he gives no consideration as to whether or not the empirical process of rearing children itself can also create some rights, which nevertheless, should be taken into account when temporal elements can be found from the very original parent-child relationship. (shrink)

Immanuel Kant's Critique of Judgment is widely recognized as a founding document of modern aesthetics, but its legacy has fallen into disrepute. In this book Katalin Makkai calls for the rediscovery of Kant's aesthetics, showing that its centerpiece, his investigation of the judgment of taste, paints a compelling portrait of our relationships with works of art that we love. At its heart is a scene of aesthetic encounter in which one feels oneself to be (...) 'animated' - brought to life - by an object, finding there to be something in one's experience of it, beyond what there is to know about it, that one wants to explore and articulate. Tracing Kant's insight that to judge is to reveal one's sense of what bears judging, and hence of what matters, Makkai situates Kant's aesthetics within his larger study, begun in the first Critique, of judgment's fundamental role in the life of the mind. (shrink)

What makes scientific knowledge possible? The philosopher Immanuel Kant in his magnum opus, the Critique of Pure Reason, had a fascinating and puzzling answer to this question. Scientific knowledge, for Kant, is made possible by the faculty of reason and its demand for systematic unity. In other words, cognition about empirical objects can aspire to be scientific only if it is rationally embedded within or transformed into a system. But how can such system form once we take (...) into account the perspectival nature of knowledge, i.e., its being situated in individual human cognitive faculties? My PhD thesis has a two-pronged objective: to reconstruct the complexity of the notion of systematicity in Kant’s Critique of Pure Reason; and to defend its plausibility in contemporary debates on the unity or plurality of scientific knowledge. As far as is concerned, Kant’s position is far from being clearly understood in the literature. Despite a renewed interest in Kant’s notion of systematicity in recent decades, existing contributions fail to offer a satisfactory account of it. The aim of my thesis is to provide a unified reading of reason’s systematicity as an essential feature of Kant’s analysis of the sources of cognition. In particular, I defend a novel account of theoretical reason the aims to support the following claims: systematicity is grounded in a legitimate use of reason’s ideas as prescriptive rules for empirical investigation; it is necessary to make empirical cognition possible and generate scientific hypotheses; and it gives us fundamental insights into Kant’s ‘empirical realism’ and his understanding of the role of metaphysics in science. With regard to, I show that Kant’s account of theoretical reason has much more to offer than generally acknowledged. In particular, I present it as providing a reconciling solution to the conflict between unity and pluralism in contemporary philosophy of science. Drawing inspiration from Kant’s ‘perspectivism,’ I argue that unity and pluralism are to be thought as mutually inclusive principles of scientific knowledge. (shrink)

The starting point of my study is Kant’s remark to the effect that Garve in his treatise on the connection between morality and politics presents arguments in defence of unjust principles. Recognition of these principles is, according to Kant, an inadvisable concession to those who are inclined to abuse it. I interpret this judgement by making a detailed comparison of the texts of the two treatises. I demonstrate that Garve’s work is an eclectic attempt to combine in one concept the (...) lessons of historical experience with the ideas drawn from British empiricism and German rationalism. These ideas were criticised by Kant in his “critical” period. There is a consensus among researchers that Garve condoned the expansionist policy of Frederick II of Prussia, totally denied that legality in international relations was possible and in general deserved the reputation of an conservative. From that point of view the key values for Garve were the security and well-being of the state. I offer an alternative interpretation of Garve’s position because I believe that the value of political stability plays an important role in it. Such an interpretation makes it possible to treat Garve’s narrative as it was assessed by Kant, i.e. as a concession to the common principles of political practice as a result of a failure to find the guiding theory. My study has established that the role of Garve’s work in the writing of Kant’s treatise Toward Perpetual Peace was more significant than Kant’s own words suggest. Besides, I show that it was under Garve’s influence that Kant turned to the problem of excessive complexity of the principles involved in the search for concrete political decisions. Garve obviously laments this complexity and yet makes these principles still more complex. Kant offers a simpler solution of the problem on the basis of his theory of morals and right. (shrink)

This essay investigates Kant’s understanding of the philosopher’s proper activity. It begins by examining Kant’s well-known claim in the Critique of Pure Reason that the philosopher is the legislator of human reason. Subsequently, it explicates Kant’s oft-overlooked description of the transcendental philosopher as an admirer of nature’s logical purposiveness, in the ‘First Introduction’ to the Critique of the Power of Judgment. These two accounts suggest very different ways of thinking about the philosopher’s character and concerns. For, (...) while Kant’s philosopher-legislator pursues the practical, world-transformative task of furthering reason’s moral vocation, the transcendental philosopher’s admiration of nature’s purposiveness is a form of a contemplative openness to the contingent but wonderful orderliness of things. I conclude that Kant ultimately recognizes that the tension between legislation and admiration is characteristic of the philosopher and that it is the heart of philosophy’s vitality. (shrink)