This edition contains the Critique of Aesthetic Judgement and Critique of Teleological Judgement. The introductions and notes that accompanied the translations in the original two volumes have now been dropped in order to make the translations available in a single volume.

Kant's Critique of Judgement analyses our experience of the beautiful and the sublime in relation to nature, morality, and theology. Meredith's classic translation is here lightly revised and supplemented with a bilingual glossary. The edition also includes the important First Introduction.

Kant's attempt to establish the principles behind the faculty of judgment remains one of the most important works on human reason.

This edition contains the Critique of Aesthetic Judgement and Critique of Teleological Judgement. The introductions and notes that accompanied the translations in the original two volumes have now been dropped in order to make the translations available in a single volume.

In this book, Lara Ostaric argues that Kant’s seminal Critique of Judgment is properly understood as completing his Critical system. The two seemingly disparate halves of the text are unified under this larger project insofar as both aesthetic and teleological judgment indirectly exhibit the final end of reason, the Ideas of the highest good and the postulates, as if obtaining in nature. She relates Kant’s discussion of aesthetic and teleological judgment to important yet under-explored concepts in (...) his philosophy, and helps the reader to recognize the relevance of his aesthetics and teleology for our understanding of fine arts and genius, the possibility of pure judgments of ugliness, Kant’s philosophy of history, his philosophy of religion, and his conception of autonomy. Ostaric’s novel and thoroughly integrative presentation of Kant’s system will be of interest not only to Kant scholars but also to those working in religious studies, art history, political theory, and intellectual history. (shrink)

A new translation of a classic work of philosophy promises not only to refresh its long-familiar language, but also to stimulate and to enrich our understanding of the author and his achievement. Werner S. Pluhar's recent translation of Kant's epochal Critique of Judgment succeeds in both respects. The appearance of this translation is well-timed: as Mary Gregor points out in her foreword to the book, there is at present a revival of interest in Kant-studies of unprecedented magnitude. We (...) may also add that interest in aesthetics has similarly reached a new pitch. It is indeed auspicious then to have in modern English that text which has been justly said to be the crowning phase of the critical philosophy, and which also represents the watershed of modern aesthetics. (shrink)

This collection brings together many of the most influential criticisms of Kantian philosophy, from his own time to the present day. Volume I is historical, including Kant criticism from Schiller to Buchdahl. It contains some previously untranslated material. Volumes II, III and IV include recent essays on Kant, covering the major aspects of his work. Volume II looks at the Critique of Pure Reason, Volume III at Kant's moral and political philosophy, and Volume IV at the Critique of (...) Judgement and the relation of the third Critique to the other two. The volumes will be of great value to anyone with a serious interest in Kant's philosophy. (shrink)

The relevance of Kant to Plessner’s work was long all but ignored and there is hardly any mention of Plessner in the Kant literature. The Plessner renaissance beginning in the 1990s, however, has brought with it a stronger focus on the methodological construction of his theory, so that the Kant connection has at least been acknowledged, but the particular relevance of Kant’s Critique of Judgement has not been systematically explicated. In this essay, I investigate the connection between Kant’s notion (...) of reflective—specifically teleological—judgment and Plessner’s theory. I begin by setting out the characteristics of teleological judgment, with two points being of particular importance: the temporal structure of the final cause and Kant’s reference to an understanding other than the human, that is, to an ordering power other than the human. In a second step, I work out Plessner’s conceptualization of the spatiotemporal appearance of organisms and the way he understands the other of human understanding as nature’s—or history’s—historically evolved and mutable capacity for self-order. He arrives at these conclusions by way of a methodologically controlled process of questioning derived from Kant, which he calls the “principle of the open question.”. (shrink)

European Journal of Philosophy, EarlyView.

In response to the significant increase of judgment and judgmentalism in contemporary film and television, 'A Critique of Judgment in Film and Television' investigates the evolving connections between the aesthetics and ethics of judgment. The volume ultimately contemplates whether we should, and can, do without judgment, questions that are just the beginning of a much-needed re-examination. The individual contributions of the collection all work towards a very specific focus on judgment that is unprecedented in (...) its transdisciplinary composition and contemporary relevance. By exploring examples of entertainment that aim to instigate judgment, 'A Critique of Judgment in Film and Television' advances the as yet underdeveloped area of research into television and philosophy. (shrink)

I argue that Marcuse follows Kant’s critical distinction in mapping three basic forms of judgment: cognitive, moral, and aesthetic, all united by the underlying structure of purposiveness. Marcuse argues in Eros and Civilization that psychoanalysis has falsely identified repression as moral judgment with material need. With the gradual disappearance of material need, however, the authority of repression disappears, creating the possibility for freedom. However, the vacuum left by moral authority is replaced by cognitive and aesthetic judgments seeking to (...) take morality’s place. (shrink)

Providing a unique interpretation of Kant's theory of judgement as integral to his overall project, Claudia Brodsky explores his continued relevance to contemporary theoretical concerns. The Linguistic Condition traces how Kant combined sensus communis, or common sense with the communicative nature of judgement to reveal that, for him, acts of judgement are dependent on their linguistic articulation, so that in Kantian philosophy language and judgement are inextricably linked. In this first in-depth analysis of language in the Critique of Judgement, (...) Brodsky forms creative connections between literature and philosophy. (shrink)

Kant's theory of judgment establishes the conceptual framework for understanding the subtle relationships between the experimental scientist, the modern instrument, and nature's atomic particles. The principle of purposiveness which governs judgment has also a role in implicitly guiding modern experimental science. In Part 1 we explore Kant's philosophy of science as he shows how knowledge of material nature and unobservable entities is possible. In Part 2 we examine the way in which Kant's treatment of judgment, with its (...) operating principle of purposiveness, enters into his critical project and underlies the possibility of rational science. In Part 3 we show that the centrality given to judgment in Kant's conception of science provides philosophical insight into the investigation of atomic substances in modern chemistry. (shrink)

Kant says that the Critique of Judgment offers a “transcendental deduction” for the principle of the purposiveness of nature, or PPN. This is the proposition that empirical laws must be viewed as “having been given by an understanding (even though not ours)” so that they can be unified in a system. I argue that if we take the PPN to concern the application to appearances of ideas of pure reason, we can understand why its transcendental deduction is so (...) important to Kant’s philosophical project, and why he is correct in thinking that it does not mark a retraction of his central philosophical views. (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)

Reframes philosophical understanding of, and engagement with, tragedy. In The Tragedy of Philosophy Andrew Cooper challenges the prevailing idea of the death of tragedy, arguing that this assumption reflects a problematic view of both tragedy and philosophy—one that stifles the profound contribution that tragedy could provide to philosophy today. To build this case, Cooper presents a novel reading of Immanuel Kant’s Critique of Judgment. Although this text is normally understood as the final attempt to seal philosophy from the (...) threat of tragedy, Cooper argues that Kant’s project is rather a creative engagement with a tragedy that is specific to philosophy, namely, the inevitable failure of attempts to master nature through knowledge. Kant’s encounter with the tragedy of philosophy turns philosophy’s gaze from an exclusive focus on knowledge to matters of living well in a world that does not bend itself to our desires. Tracing the impact of Kant’s Critique of Judgment on some of the most famous theories of tragedy, including those of G. W. F. Hegel, Friedrich Nietzsche, Martin Heidegger, and Cornelius Castoriadis, Cooper demonstrates how these philosophers extend the project found in both Kant and the Greek tragedies: the attempt to grasp nature as a domain hospitable to human life. (shrink)

This essay explores Immanuel Kant’s notion of artistic genius and how it relates to the modern conception of the interrelated ideas of nature and freedom as they appear in his Critique of Judgement. Genius works as a unique concept in Kant’s oeuvre, showing how art provides a harmony within what, in Reformational philosophy, they call the “ground-motive” “nature-freedom.” The concept of originality as it relates to genius has the potential for an alternative reading to what was held subsequent to (...) Kant and what is still held today, one that puts the emphasis on a certain relationality. Hannah Arendt’s conception of freedom and Jacques Derrida’s reading of Kant are also relevant. This essay’s reading of Kant’s genius, defined by its multifaceted network of relational forces, shows a way out of the bind of the binary nature and freedom. By explicating Kant’s notion of artistic genius, one is able to better understand art and its function: probing the complex relationship that humans have with themselves and the rest of creation. (shrink)

Rousseau’s influence on Kant in the realm of ethical theory is well established. Just as Kant credits Hume with inspiring his critique of metaphysics, Kant admits a debt to Rousseau as an inspiration for his egalitarian approach to ethics. There is reason to suspect, however, that Rousseau’s influence extends beyond the realm of ethics, and into Kant’s Critique of Judgment. While ostensibly a work about aesthetic and teleological judgment stemming from the line of aesthetic thought that (...) includes the Earl of Shaftsbury, some commentators, most notably Hannah Arendt, have read the third Critique as a political treatise. In doing so, she attributes to Kant the first truly democratic political theory by heralding the egalitarianism within his theory of judgment as a true revolution in the realm of political philosophy. Unfortunately, such politically minded commentators have failed to spot the Rousseauian heritage of the concepts that permeate the book. This heritage is especially problematic for Arendt who understands Rousseau’s philosophy as justifying the kind of tyranny found in modern day despotism. In neglecting to explore the link between Rousseau and Kant’s theory of judgment, Arendt’s analysis of Kant overreaches. This paper seeks to temper her championing of Kant by demonstrating the extent of Rousseauian influence on the third Critique in order to better understand Kant’s place in the history of political theory. (shrink)

This paper proposes an interpretative framework for some developments of the philosophy of nature after Kant. I emphasize the critique of the economy of nature in the Critique of judgement. I argue that it resulted in a split of a previous structure of knowledge; such a structure articulated natural theology and natural philosophy on the basis of the consideration of the order displayed by living beings, both in their internal organisation and their ecological distribution. The possibility of a (...) philosophical discourse on nature that is neither mathematical nor theological stemmed from this shift. I call “hermeneutics of nature” such a program, since it aims at unpacking an immanent meaning in nature that is not explicated by the sciences of nature, which are dealing with the laws of nature. The Naturphilosophie, undertaken by Schelling, as well as the philosophies of nature of Hegel and Schopenhauer, are several realizations of this program. I highlight the structural traits that they share, such as a pregnant sense of conflicts in nature, an emphasis on the riddles of gender, and above all a prominent status given to organisms as a clue to the meaning of nature. Finally, I try to sketch the ramifications of this hermeneutics of nature in contemporary philosophy, especially phenomenology, and argue that the coming philosophy of nature, as shown by the attempts of syntheses between phenomenology and ecology, seems to depart from this hermeneutical program. (shrink)

The purpose of this dissertation is to establish an interpretive framework for the study of Kant's Critique of Judgment. The central themes of the text are presented in the first chapter in terms of two different problems. The first is referred to as the prima facie problem. This problem concerns the search for a transcendental principle for the faculty of judgment corresponding to the principles established for understanding and reason in the first two critiques. The second is (...) referred to as the systematic problem. This problem concerns the search for a transcendental principle which can mediate between the domains of understanding and reason and provide for a "unity of transition" between nature and freedom. ;The value of this interpretation is demonstrated in the second chapter through a criticism of Paul Guyer's work on the third critique, Kant and the Claims of Taste . This criticism focuses on Guyer's interpretive method and scholarship. ;The interpretation is developed further in the third and fourth chapters in which specific problems that have not been dealt with adequately in the recent literature in English are addressed. The systematic argument of the two introductions that Kant prepared for the text is presented in the third chapter. Finally, the fourth chapter focuses on the deduction of pure aesthetical judgments and advances an account of this argument that is shown to be preferable to the account of Guyer as well as that developed by Donald Crawford in his study Kant's Aesthetic Theory. (shrink)

This paper claims that Kant’s conception of culture provides a new means of understanding how the two parts of the Critique of Judgment fit together. Kant claims that culture is both the ‘ultimate purpose’ of nature and to be defined in terms of ‘art in general’ (of which the fine arts are a subtype). In the Critique of Teleological Judgment, culture, as the last empirically cognizable telos of nature, serves as the mediating link between nature and (...) freedom, while in the Critique of Aesthetic Judgment, the connection between art and morality passes through culture. In either case, Kant offers distinct, yet interdependent, arguments for how culture demonstrates the amenability of nature to its supersensible ground: the central question Kant claims in the Introduction that the work seeks to answer. Thus, not only does this account advance a concept essential to both parts of the work; it also demonstrates how the two parts can be conceived as complementary, with each supplementing the other to solve Kant’s central question. As such, understanding the Critique of Judgment in terms of culture enables us to see how the two parts of the work do not merely share points of similarity or common themes, but presuppose one another in order to understand how nature is amenable to freedom. (shrink)

Michel Chaouli invites novice and expert alike to set out on the path of thinking, with help from Kant’s Critique of Judgment, about the force of aesthetic experience, the essence of art, and the relationship of beauty and meaning. Each chapter unfolds the significance of a key concept for Kant’s thought and our own ideas.

Kant's Critique of Judgment has often been interpreted by scholars as comprising separate treatments of three uneasily connected topics: beauty, biology, and empirical knowledge. Rachel Zuckert's book interprets the Critique as a unified argument concerning all three domains. She argues that on Kant's view, human beings demonstrate a distinctive cognitive ability in appreciating beauty and understanding organic life: an ability to anticipate a whole that we do not completely understand according to preconceived categories. This ability is necessary, (...) moreover, for human beings to gain knowledge of nature in its empirical character as it is, not as we might assume it to be. Her wide-ranging and original study will be valuable for readers in all areas of Kant's philosophy. (shrink)

Philosophical aesthetics have seen an amazing revival over the past decade, as a radical questioning of the very grounds of Western epistemology has revealed that descriptions of what used to be seen as specific to aesthetic experience can instead be viewed as a general model for human cognition. In this revival, no text in the classical corpus of Western philosophy has been more frequently discussed and debated than the dense, complex paragraphs inserted into Kant's Critique of Judgment as (...) sections 23-29: the Analytic of the Sublime. This book is a rigorous explication de texte, a close reading of these sections. The Analytic of the Sublime, he points out, tries to argue that human thought is always constituted through a similar incompatibility between different intellectual and affective faculties. These lessons thus try to isolate the analysis of a differend of feeling in Kant's text, which is also the analysis of a feeling of differend, and to connect this feeling with the transport that leads all thought (critical thought included) to its limits. (shrink)

Hegel, it has been claimed, conceives of truth as material. Such a conception of truth was far from dominant in the nineteenth century, and Hegel’s championing of it might be misinterpreted as indicating a willfully anachronistic, pre-Critical streak in his thought. I argue that this is not the case by exploring a principal motivating factor for Hegel’s position on truth. This factor is a problem concerning the general form of judgment—a problem that, for Hegel, precludes object-based correspondence from functioning (...) as truth. Far from being willfully anachronistic or pre-Critical, Hegel’s conception of truth proves to be intimatelylinked to and informed by Kant’s Critical project. (shrink)

The present article considers the problem of the preservation of pleasure in Kant’s Critique of Judgment. The problem stems from the fact that the Critique of Judgment contains not one but two distinct definitions of pleasure. In the definition of pleasure in §10 of the Analytic of the Beautiful Kant emphasizes that all pleasure is characterized by the tendency to preserve itself. On the other hand, in the definition of §VII of the unpublished Introduction Kant makes (...) a sharp distinction between interested and disinterested pleasures, whereby only the former kind is defined by the tendency for self-preservation. Yet, how can the disinterested pleasure of the beautiful preserve itself, given that insofar as it is disinterested it can be based on neither desire for its own preservation nor continued existence of the object? In addressing this issue, most commentators erroneously reintroduce desire in the pleasure of aesthetic reflection. By contrast, I propose to resolve this issue by turning to Kant’s account of lingering in §12 of the Analytic of the Beautiful and, more importantly, §§43-53 of the Deduction, where Kant affords his conception of aesthetic ideas. (shrink)

First published in 1938. The aim of this book is to expound Kant’s _Critique of Judgement _by interpreting all the details in the light of what Kant himself declares to be his fundamental problem. _A Commentary on Kant’s Critique of Judgement _provides an excellent introduction to Kant’s third critique, and will be of interest to students of philosophy.

In this paper I discuss two questions. What does Kant understand by mechanical explanation in the Critique of judgment? And why does he think that mechanical explanation is the only type of the explanation of nature available to us? According to the interpretation proposed, mechanical explanations in the Critique of judgment refer to a particular species of empirical causal laws. Mechanical laws aim to explain nature by reference to the causal interaction between the forces of the (...) parts of matter and the way in which they form into complex material wholes. Just like any other empirical causal law, however, mechanical laws can never be known with full certainty. The conception according to which we can explain all of nature by means of mechanical laws, it turns out, is based on what Kant calls ‘regulative’ or ‘reflective’ considerations about nature. Nothing in Kant’s Critique of judgment suggests that these considerations can ever be justified by reference to how the natural world really is. I suggest that what, upon first consideration, appears to be a thoroughly mechanistic conception of nature in Kant is much more limited than one might have expected. (shrink)

In the literature on Hannah Arendt’s Lectures on Kant’s Political Philosophy, two sorts of claim have been made by different interpreters. First, there is Beiner’s observation that there is a shift in Arendt’s thoughts on judgment, which has led to the idea that Arendt develops two distinct theories of judgment. The second sort of claim concerns Arendt’s use of Kant’s transcendental principles. At its core, it has led to the critique that Arendt detranscendentalizes — or empiricalizes — (...) Kant, by linking Kant’s judgments of taste to an empirical sociability. In this article, I argue against both of these claims. Early fragments of Arendt’s on judgment make clear that she develops only one theory of judgment. It is only that it is not until later in her life that she fully elaborates it. Nor does Arendt confuse Kant’s idea of enlarged thinking with an actual dialogue with others. In fact, Arendt introduces an interesting interdependence between judgment and speech, or communication. I develop my argument by first outlining the problems Arendt hoped to resolve via judgment. Through my reading of the Lectures on Kant’s Political Philosophy, I show how Arendt interprets Kant’s Critique of Judgment not as his theory of aesthetic judgments, but as an answer to the more general question ‘How do I judge?’ I also clarify the difference Arendt draws between common sense and community sense. With community sense, Arendt uncovers a foundation not only for men as political beings but also for the idea of humanity. This finding is often overlooked in the literature. I conclude with another Arendtian distinction that is often overlooked, that between spectators and the solitary philosopher. (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)

When I began working on my dissertation on Kant’s aesthetic theory in 1971, I was able to read virtually all of the extant literature on the Critique of Judgment in English, German, andFrench going back to Hermann Cohen’s Kants Begr¨undung der A¨ sthetik of 1889, while also reading most of what I wanted to read of eighteenth-century British and German aesthetics before Kant—not because I had paid my dues to Evelyn Wood, but just because there was not all (...) that much to read.1 I pity the graduate student who sets out to write a dissertation on the third Critique now: since Donald Crawford, Francis Coleman, Jens Kulenkampff, Eva Schaper, and I published books on Kant’s aesthetics between 1974 and 1979 there has been a continuing flood of articles (this journal receives more submissions on Kant’s aesthetics annually than on any other historical topic) and books, a flood that has only accelerated since 2000. Confining myself only to monographs and anthologies on Kant’s aesthetics or the third Critique as a whole (but not those devoted exclusively to teleology) in English, German, and French on my shelves, and no doubt missing some, at least in German and French, I find twenty-eight monographs and anthologies published in the period between 1980 and 1999 and another twenty-seven just since 2000. (Indeed, two more have arrived on my desk since this article was written.)3 Someone setting out to work on the third Critique now has at least as many books from the last decade alone to read as I had in 1971 from the eight preceding decades. The present review will make only a small dent in this pile: I will discuss just five monographs and one introduction to the third Critique, all published in English in 2006 and 2007. (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)

Kant's third Critique, the Critique of Judgement, is regarded as one of the most influential books in the history of aesthetics. This book is designed as a reader's guide for students trying to work their way, step-by-step, through Kant's text.

Hannah Ginsborg presents fourteen essays which establish Kant's Critique of Judgment as a central contribution to the understanding of human cognition. The papers bring out the significance of Kant's philosophical notion of judgment, and use it to address interpretive issues in Kant's aesthetics, theory of knowledge, and philosophy of biology.

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

THE OPENING OF MARTIN HEIDEGGER'S summer of 1928 Marburg lectures on logic is, to use a word he himself invokes elsewhere about these matters, "dismaying"--providing perhaps additional evidence for the perennial charge that aspects of his work contain tendencies toward irrationalism, mysticism, and forms of nostalgic romanticism. In fact, the lectures show Heidegger calling for nothing less than a "destruction of logic," a move not only consistent with a similar destruction in Being and Time, published a year previously, but also (...) consistent with a context which its author describes as one in which "the inner rebellion against knowledge, the revolt against rationality, and the struggle against intellectualism have become fashionable." His ensuing condemnation of "the widespread sterility of academic courses" in this area and the call for "loosening up traditional logic," would seem to lead directly to the proclamation which would issue from Heidegger's struggle with Nietzsche in the decade thereafter, that "reason, glorified for centuries, is the most stiff-necked adversary of thought." The question of Heidegger's account in this regard has continually troubled those writing in its wake--not only in the continental traditional, such as Gadamer, Adorno, Habermas, Merleau-Ponty, or Derrida, but also those "beyond" it, such as Carnap, Ryle, Rorty, or Putnam. And yet, such claims seem only to provide added weight to the concern that the "retrieval of metaphysics" thought to be essential to these issues based upon the Daseinanalytik of Being and Time would only lead the classical issues in philosophy associated with justification and decidability into a quagmire. Its emphasis upon the conjunct in its title, being and time, could only lead, on the one hand, to anthropological reductionism--since it returned the interrogation of Being back to the commitments of the being through whom the questioning arose-and on the other hand, to a new version of historicism--since it claimed that questions concerning "truth" were tied essentially to time, and specifically, to the latter's appearance within the temporal horizon of the being to whom they appeared. Moreover, that even those closest to Heidegger viewed the matter similarly is clear, for example, in the criticisms his mentor, Edmund Husserl voiced in the 1931 response, "Phenomenology and Anthropology." There the strategy Husserl used in arguing against Dilthey's flirtation with relativism in a Logos essay of 1911 was reinvoked against Heidegger himself. In this regard, far from contributing to a retrieval of classical issues in philosophy, Heidegger would be simply guilty of effecting their ultimate dissolution, a claim which, like that of irrationalism, has accompanied his works ever since. (shrink)

This study characterizes Kant's understanding of the relation between aesthetic and moral judgment by examining the concept of sublimity in three of Kant's texts: the Beobachtungen uber das Gefuhl des Schonen und Erhabenen , the Bemerkungen in den " Beobachtungen uber das Gefuhl des Schonen und Erhabenen" , and the Kritik der Urteilskraft . Part I examines aesthetic and moral judgment in the Observations and the Remarks; Part II characterizes Kant's account in the later or critical period; and (...) Part III contains my English translation of the Remarks . (shrink)

So just what Dante scorns as unworthy alike of heaven and hell, Botticelli accepts, that middle world in which men take no side in great conflicts, and decide no great causes, and make great refusals.In what follows, I examine a notion of desire that, I shall claim, is implicit in Immanuel Kant's theorization of aesthetic judgment in the Critique of Judgment.1 At first, this undertaking is likely to seem misguided. After all, Kant grounds his attempt to provide (...) an a priori foundation for judgment on the tripartite distinction between the faculty of cognition, the feeling of pleasure and displeasure, and the faculty of desire. Only the second of the three pertains to aesthetic judgment; and it... (shrink)