V današnjih humanističnih vedah ne manjka sklicevanj na antropocen in ontološke premike, ki naj bi jih ta domnevno sprožil. Esej se osredotoči na več fiktivnih in kritičnih del – predvsem na roman Paula Bowlesa The Sheltering Sky iz leta 1949 – zato da bi podal vrsto trditev glede težavnosti predstavljanja razmerja med naravo kot področjem kavzalnosti, ki se podreja naravnim zakonom, na eni strani ter nominalno človeškim ali razumskim področjem, kamor sodijo dejanja, namere in različni upravičeni ali neupravičeni razlogi, na (...) drugi strani. Predvsem pa ga zanima raziskovanje želja, ki motivirajo prizadevanja po kontrastnih načinih reprezentiranja tega razmerja in na koncu vztraja na ključni vlogi reprezentacije, ki naredi upodabljanje takšnih dilem razumljivo, njihove predpostavke pa problematične. (shrink)

VSEBINAPredgovor k prvi izdajiPredgovor k drugi izdajiUvodI. O razliki med čistim in empiričnim spoznanjemII. V posesti imamo neka apriorna spoznanja, in celo navadni razum ni nikoli brez takšnih spoznanjIII. Filozofija potrebuje neko znanost, ki bi določila možnost, principe in obseg vseh apriornih spoznanjIV. O razliki med analitičnimi in sintetičnimi sodbamiV. V vseh teoretičnih znanostih uma so kot principi vsebovane apriorne sinteticne sodbeVI. Obča naloga čistega umaVII. Ideja in razdelitev posebne znanosti z imenom kritika čistega uma1. Transcendentalni nauk o elementihPrvi del. (...) Transcendentalna estetika§ 1.Prvi odsek. O prostoru§ 2. Metafizična ekspozicija tega pojma§ 3. Transcendentalna ekspozicija pojma prostoraSklepi iz gornjih pojmovDrugi odsek. O času§ 4. Metafizična ekspozicija pojma časa§ 5. Transcendentalna ekspozicija pojma časa§ 6. Sklepi iz teh pojmov§ 7. Pojasnilo§ 8. Obče opombe k transcendentalni estetikiZaključek transcendentalne estetikeDrugi del. Transcendentalna logikaUvod. Ideja transcendentalne logikeI. O logiki nasplohII. O transcendentalni logikiIII. O razdelitvi obče logike na analitiko in dialektikoIV. O razdelitvi transcendentalne logike na transcendentalno analitiko in dialektikoPrvi razdelek. Transcendentalna analitikaPrva knjiga. Analitika pojmovPrvo poglavje. O vodilu za odkrtije vseh čistih razumskih pojmovPrvi odsek. O logični rabi razuma nasplohDrugi odsek§ 9. O logični funkciji razuma v sodbahTretji odsek§ 10. O čistih razumskih pojmih ali kategorijah§ 11.§ 12.Drugo poglavje. O dedukciji čistih razumskih pojmovPrvi odsek§ 13. O principih transcendentalne dedukcije nasploh[§ 14.] Prehod k transcendentalni dedukciji kategorijDrugi odsek. Transcendentalna dedukcija čistih razumskih pojmov [B]§ 15. O možnosti povezave nasploh§ 16. O izvorni sintetični enotnosti apercepcije§ 17. Načelo sintetične enotnosti apercepcije je najvišji princip vse rabe razuma§ 18. Kaj je objektivna enotnost samozavedanja§ 19. Logična forma vseh sodb je v objektivni enotnosti apercepcije v njih vsebovanih pojmov§ 20. Vsi čutni zori so podvrženi kategorijam kot pogojem, pod katerimi se njihovo raznoterje edino lahko združi v eno zavest§ 21. Opomba§ 22. Kategorija nima nobene druge rabe za spoznanje reči, kot je njena aplikacija na predmete izkustva§ 23.§ 24. O aplikaciji kategorij na predmete čutov nasploh§ 25.§ 26. Transcendentalna dedukcija obče možne izkustvene rabe čistih razumskih pojmov§ 27. Rezultat te dedukcije razumskih pojmovDrugi odsek. O apriornih temeljih za možnost izkustva [A]Vnaprejšnje opozorilo1. O sintezi aprehenzije v zoru2. O sintezi reprodukcije v upodobitvi3. O sintezi rekognicije v pojmu4. Preliminarna razlaga možnosti kategorij kot apriornih spoznanjTretji odsek. O razmerju razuma do predmetov nasploh in možnosti, da jih spoznamo apriori [A]Sumarična predstavitev pravilnosti in edine možnosti te dedukcije čistih razumskih pojmov [A]Druga knjiga. Analitika načelUvod. O transcendentalni razsodni moči nasplohPrvo poglavje. O shematizmu čistih razumskih pojmov. (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)

Es heißt, der Philosoph Immanuel Kant habe die klassische Newtonsche Physik im Verstand auf den Begriff gebracht, der wie die klassische Natur auf Kausalität und Empirizität beruht. Die Vernunft, der er seine drei berühmten Kritiken gewidmet hat, hat Kant dagegen als a-kausal und nicht-empirisch gegen diesen klassischen Verstand abgesetzt. Erst in seinem Spätwerk, dem Opus postumum, hatte Kant versucht, die Natur dieser Vernunft dingfest zu machen. Mit seinen Worten: Von der Physik zur Metaphysik und von der Metaphysik wieder zur (...) Physik. Kant kannte jedoch noch keine nicht-Newtonsche Natur. Von dieser wissen wir erst seit 1900 mit der Entdeckung der Quanten durch Max Planck. Kant tappe deshalb hinsichtlich einer Natur der Vernunft im Dunkeln, erschloss aber ihre Grundprinzipien. Sie artikulieren sich in einer von mir leicht ergänzten These: Die Mathematik der Physik ist die reine Dichtung der reinen Vernunft. Er sprach auch von Natur ist Kunst. Die Frage ist nur, welche Mathematik welcher Natur als Kunst? Der Quantenphysiker und begnadete Experimentalphysiker Anton Zeilinger aus Wien forderte im Jahr 2013 in einem Vortrag in der Ludwig Maximilians-Universität in München einen neuen Kant der Quantenphysik, der auch diese endlich auf den Begriff bringt. Ich habe dies im Prolog vorgestellt. Im Epilog gibt Kant posthum seine Antwort auf diese Forderung von Zeilinger. Es ist meine These, das Kant die quantische Natur im Opus postumum schon auf den Begriff gebracht hat. Deshalb erweist sich Kant als Quantenphilosoph, was ich im vorliegenden Buch ausführlich erläutere. (shrink)

The search for God is dictated not from without but from a profound sense of one's own moral being and worthiness to be happy. The core of Immanuel Kant's argument remains relevant to the experience of ordinary men and women. He wished to strengthen, not undermine, belief in God and in the spiritual nature of humankind. This 1763 essay is imporrtant in understanding the development of Kant's thought. It exposed the flaw in the Cartesian argument that the existence of (...) a perfect being could be deduced from an idea or concept of such. Similarly, Kant saw the problem inherent in the Leibnizian view of a philosophical system modeled on mathematics: a philosopher who, like a mathematician, began with an arbitrary definition remained trapped in a circle of words. In The One Possible Basis for a Demonstration of the Existence of God , Kant diverged from the familiar forms of ontological argument. The result was a brilliant approach to divine being that anticipated his mature Critique of Pure Reason. With this Bison Book edition, The One Possible Basis appears in paperback for the first time. Gordon Treash's English translation, the only modern one, faces pages containing the original German. Treash, who is a professor of philosophy at Mount Allison University, Sackville, New Brunswick, edited, with Paul A. Bogaard, Metaphysics as Foundation: Essays in Honor of Ivor Leclerc . Also available as a Bison Book is Kant's last major essay, The Conflict of the Faculties (1992). (shrink)

Excerpt from Von der Macht des Gemüths Durch den Bloßen Vorsatz Seiner Krankhaften Gefühle Meister zu Seyn (R)c b, ca m Im mä imma: untergcotdnct an?) gpn ibm 89 ("nicht mtbfli'; nicht umgcfeb'tt b;t; (R)eift ficb ben Emma: (c)timmmgm unb 'jériw ben bt6 fi'énmß unkrmbnm, mm; bqä wahre £ebcß eeten_-mcban [oil. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books (...) uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Quine's Immanuel Kant lectures were delivered in English at Stanford University in 1980 under the title Science and Sensibilia. The English version of the text has never been published. An Italian translation by Michele Leonelli, La Scienza e I Dati di Senso appeared in 1987. These translations fill an important gap. Wissenschaft und Empfindung strikes me as the best presentation of Quine's physicalistic program.

Paul Guyer presents the first in-depth examination of the lifelong intellectual relationship between two of the greatest figures of the European Enlightenment, Immanuel Kant and Moses Mendelssohn. He explores their influence on each other and their disagreements, with particular focus on metaphysics, religion, and aesthetics.

While Immanuel Kant is recognized as one of history's most influential philosophers and ethicists, his thought and writings also contain significant clinical implications that deserve attention. His philosophy is briefly explained and shown to anticipate modern developments in understanding human consciousness and many principles for effective psychotherapy. Kant's "categorical imperative," in particular, implies and anticipates valuable clinical interventions. Kant's principles that are ethically "right" for clients turn out to be clinically "good" for them as well. 2012 APA, all rights (...) reserved). (shrink)

Immanuel Kant claims that transcendental idealism yields a form of realism at the empirical level. Polite silence might best describe the reception this assertion has garnered among even sympathetic interpreters. This book challenges that prejudice, offering a controversial presentation and rehabilitation of Kant's empirical realism that places his realist credentials at the centre of the account of representation he offers in the Critique of Pure Reason. This interpretation ranges over the major themes contained in the Analytic of Principles and (...) relevant portions of the Dialectic. Kant's analysis of the conditions necessary for determinate representation is shown to involve a realist understanding of the relation of mind and world. The realist character of Kant's account of empirical truth, and his commitment to the unity of nature, are defended against competing empiricist, pragmatist, and methodological readings. This title links Kant studies to contemporary philosophical debates, and will appeal to scholars and students of Kant, as well as epistemologists, metaphysicians, and philosophers of science interested in a powerful, experience-sensitive, form of realism. (shrink)

The fundamental task of philosophy since the seventeenth century has been to determine whether the essential principles of both knowledge and action can be discovered by human beings unaided by an external agency. No one philosopher contributed more to this enterprise than Kant, whose Critique of Pure Reason shook the very foundations of the intellectual world. Kant argued that the basic principles of the natural sciences are imposed on reality by human sensibility and understanding, and thus that human beings are (...) also free to impose their own free and rational agency on the world. This volume is the only systematic and comprehensive account of the full range of Kant 's writings available, and the first major overview of his work to be published in more than a dozen years. An internationally recognized team of Kant scholars explore Kant 's conceptual revolution in epistemology, metaphysics, philosophy of science, moral and political philosophy, aesthetics, and the philosophy of religion. The volume also traces the historical origins and consequences of Kant 's work. (shrink)

In this paper, I explore Wittgenstein’s inheritance of one specific strand of Kant’s criticism, in the Critique of Pure Reason, of reason’s inherent pretensions to totality. This exploration reveals new critical possibilities in Wittgenstein’s own philosophical method, challenging existing interpretations of Wittgenstein’s political thought as “conservative” and exhibiting the closeness of its connection to another inheritor of Kant’s critique of totality, the Frankfurt school’s criticism of “identity thinking” and the reification of reason to which it leads. Additionally, it shows how (...) Wittgenstein’s linguistic philosophy offers to challenge and undermine, in a historically novel way, the metaphysical assumptions underlying some of our most characteristic and ubiquitous social practices. (shrink)

Kant and the Claims of Taste, published here for the first time in paperback in a revised version, has become, since its initial publication in 1979, the standard commentary on Kant's aesthetic theory. The book offers a detailed account of Kant's views on judgments of taste, aesthetic pleasure, imagination and many other topics. For this new edition, Paul Guyer has provided a new foreword and has added a chapter on Kant's conception of fine art. This re-issue will complement the (...) author's companion volume, Kant and the Experience of Freedom, which places Kant's aesthetics in its historical context and examines the fundamental connection between Kant's aesthetics and his moral theory. (shrink)

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

Charles Peirce is often credited for being among the first, perhaps even the first, to develop a scientific metaphysics of indeterminism. After rejecting the received view that Peirce developed his views from Darwin and Maxwell, I argue that Peirce's view results from his synthesis of Immanuel Kant's critical philosophy and George Boole's contributions to formal logic. Specifically, I claim that Kant's conception of the laws of logic as the basis for his architectonic, when combined with Boole's view of probability, (...) yields Peirce's metaphysics of probabilistic laws. Indeterminism provides, therefore, an excellent illustration of how Peirce attempted to use logic to clarify metaphysical problems.Since everyone must have conceptions of things in general, it is most important that they should be carefully constructed. I shall enter into no criticism of the different methods of metaphysical research, but shall merely say that in the opinions of several great thinkers, the only successful mode yet lighted upon is that of adopting our logic as our metaphysics. (W1: 490, 1866)2. (shrink)

Immanuel Kant's Critique of Pure Reason, first published in 1781, is one of the landmarks of Western philosophy, a radical departure from everything that went before and an inescapable influence on all philosophy since its publication. This Companion is the first collective commentary on this work in English. The seventeen chapters have been written by an international team of scholars, including some of the best-known figures in the field as well as emerging younger talents. The first two chapters situate (...) Kant's project against the background of continental rationalism and British empiricism, the dominant schools of early modern philosophy. Eleven chapters then expound and assess all the main arguments of the Critique. Finally, four chapters recount the enormous influence of the Critique on subsequent philosophical movements, including German Idealism and Neo-Kantianism, twentieth-century continental philosophy, and twentieth-century Anglo-American analytic philosophy. The book concludes with an extensive bibliography. (shrink)

Through a reexamination of Immanuel Kant and his philosophical legacy, this volume explores the philosophic presuppositions of the possibility of progress and our belief in reason's capacity not only to improve the material well-being of humanity but also to promote our true vocation as moral beings.

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.

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)

Based on lectures given to graduate students by Wilfrid Sellars.

Recent work in the history of philosophy of science details the Kantianism of philosophers often thought opposed to one another, e.g., Hans Reichenbach, C.I. Lewis, Rudolf Carnap, and Thomas Kuhn. Historians of philosophy of science in the last two decades have been particularly interested in the Kantianism of Reichenbach, Carnap, and Kuhn, and more recently, of Lewis. While recent historical work focuses on recovering the threatened-to-be-forgotten Kantian themes of early twentieth-century philosophy of science, we should not elide the differences between (...) the Kantian strands running throughout this work. In this paper, I disentangle a few of these strands in the work of Reichenbach and Lewis focusing especially on their theories of relativized, constitutive a priori principles in empirical knowledge. In particular, I highlight three related differences between Reichenbach and Lewis concerning their motivations in analyzing scientific knowledge and scientific practice, their differing conceptions of constitutivity, and their relativization of constitutive a priori principles. In light of these differences, I argue Lewis’s Kantianism is more similar to Kuhn’s Kantianism than Reichenbach’s, and so might be of more contemporary relevance to social and practice-based approaches to the philosophy of science. (shrink)

Two foremost spokesmen for the German Enlightenment, Moses Mendelssohn and Immanuel Kant, continued the defence of the separation of church and state that was at the heart of the Enlightenment in general and advocated by such great predecessors as Roger Williams and John Locke and contemporaries such as James Madison. The difference between Mendelssohn and Kant on which I focus here is that while Mendelssohn argues against his critics that Judaism is the appropriate religion for a specific people without (...) being appropriate for all, thus implying more generally that different religions are appropriate for groups with different histories, Kant argues first that Judaism is not a genuine religion at all, second that Christianity provides the most suitable symbols or aesthetic representations of the core truths of the religion of reason, and finally that in any case all historical religion will ultimately fade away in favour of the pure religion of reason. Kant’s assumptions are tendentious and his conclusion implausible; Mendelssohn’s view that religion and differences of religion are here to stay provides a far stronger basis for genuine toleration and a strict separation of church and state. (shrink)

There is a classical paradox in education that also affects the epistemic virtues: the paradox inherent in the demand to develop general strategies for training persons to be free and creative individuals. This problem becomes particularly salient with respect to the epistemic virtue ofcreativity, the more so if we consider a radical form of creativity, namely,genius. This paper explores a historical constellation in which rigorous claims about the standards for knowledge and morality were developed, along with a highly influential notion (...) of genius: the philosophy of Kant and of immediate post‐Kantian philosophers. The paper shows how in this historical moment came together a new notion of “science,” a theory of “genius” and of virtues, and an analysis of the promises and difficulties inherent in educating a virtuous or creative individual. In this constellation of ideas, there also emerges a potentially fruitful account of how to teach intellectual creativity. (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)

D'après un chapitre fameux de la Critique de la raison pure les idées cosmologiques, en visant " l'ensemble de tous les phénomènes " ou encore " la tonalité absolue de l'ensemble des choses existantes ", nous jettent, selon Kant, dans d'intenables contradictions : " On y applique en effet l'idée de l'absolue totalité, laquelle n'a de valeur que comme condition des choses en soi, à des phénomènes qui n'existent que dans notre représentation. " Pourtant, le projet d'une constitution systématique de (...) l'Univers ne se cantonne pas aux écrits dits " précritiques ". L'enthousiasme cosmologique du jeune Kant, qui entreprend une synthèse de la métaphysique wolffienne avec la mécanique de Newton, n'est pas une simple erreur de jeunesse. Pas d'avantage, l'acharnement cosmologique du dernier Kant, spéculant sur les forces motrices gravitationnelles et sur l'éther cosmique, n'est à mettre au compte d'un pêché de vieillesse. Dès lors que l'origine mécanique du système de l'Univers est en jeu, la critique des idées cosmologiques et la récupération d'une partie d'entre elles peuvent être un bon moyen d'évincer la conception d'un Dieu créateur au profit d'un Dieu plus discret. Le Dieu de la loi morale plutôt que celui du ciel étoilé... (shrink)

“This volume’s twenty-one essays present a spectrum of contemporary understandings and interpretations of the philosophy of Immanuel Kant. In the three general areas of Kant’s Critique of Pure Reason, his ethical theory, and his aesthetics, various particular aspects of Kant’s philosophy are examined in depth. Connecting papers discuss his concept of synthetic and analytic and debate the meaning of the categorical imperative. A wide range of post-war scholarship is represented: all of the papers have been written since 1945, and (...) three appear in this volume for the first time. No philosopher has had a greater influence on contemporary thought than Kant; his influence and the place of his ideas in contemporary philosophical argument are evidenced and illuminated in these essays.”- Publisher. (shrink)

John Rawls lectured directly on the history of modern moral philosophy throughout his 30‐year teaching career at Harvard, and his lectures from the final version of the course were published as Lectures on the History of Moral Philosophy (LHMP). This chapter casts some light on Rawls's central attempt to demonstrate the superiority of a position inspired by Immanuel Kant over utilitarianism by focusing on Rawls's treatment of Kant in both Theory of Justice and LHMP. It focuses on Rawls's treatment (...) of Adam Smith and Kant, where in both of those authors the relation between deontological and teleological approaches being more complex than Rawls sometimes suggests. (shrink)

This study examines the filiation of a philosophical concept in relation to its use by the major 20th century thinker C.G. Jung. It shows how Jung's theory of synchronicity stems from a long and deep preoccupation with such central themes as the mind-body problem.

Contrary to both his own intentions and the views of both older and more recent commentators, I argue that Kant’s aesthetics remains within the confines of eighteenth-century aesthetics as a branch of empirical psychology, as it was then practiced. Kant established a plausible connection between aesthetic experience and judgment on the one hand and cognition in general on the other, through his explanatory concept of the free play of our cognitive powers. However, there is nothing distinctly ‘a priori’ or ‘transcendental’ (...) in his claim that this state of mind is what causes our pleasure in beauty or other aesthetic properties. Nor did Kant establish a genuinely a priori or transcendental principle that all human beings have the same disposition to experience a free play of their cognitive powers, let alone in response to the same objects. This failure, however, in no way limits the continuing significance of Kant’s aesthetic theory.Keywords: Alexander Gerard; Henry Home, Lord Kames; Immanuel Kant; Beauty; Taste; Free play of the cognitive powers. (shrink)

Two claims stand behind my title. I will argue first that, if we read Immanuel Kant’s moral philosophy the way I do, in which rationality is the means to the end of human freedom rather than being an end in itself, then Kant offers a fuller example of what Stanley Cavell calls Emersonian perfectionism, but which I will call Cavell’s own perfectionism, than Cavell himself has recognized even in his most sympathetic account of Kant, and can help us see (...) the full power of such perfectionism. Second, I will argue that there is a deep affinity between the views of moral education with which Kant and Cavell accompany their examples of moral perfectionism, in that each thinks that examples of the possibility of actually.. (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)