In the Metaphysics of Morals, Kant makes a distinction between duties of virtue and the obligation to be virtuous. For a number of reasons, it may seem as if the latter does not actually require any actions of us not already required by the former. This essay argues that Kant does succeed in describing obligations that we have to prepare for virtuous conduct that are different from simply fulfilling specific duties of virtue, and that in so doing he describes an (...) important element of the moral life. (shrink)

Can Kant’s theory of fine art serve as a theory of modern art? It all depends on what ‘modern’ means. The word can mean current or contemporary, indexed to the time of use, and in that sense the answer is yes: Kant’s theory of genius implies that successful art is always to some extent novel, so there should always be something that counts as contemporary art on his theory. But ‘modern’ can also be used adjectively, perhaps more properly as ‘modernist’, (...) to refer to art of a particular moment, in some cases superseded by postmodern art. Kant’s theory is not a theory of modernist art in at least one prominent form, the formalism of Clement Greenberg. But other theories, such as those of George Dickie and Arthur Danto, although triggered by particular works of modernist art and meant to accommodate them, were meant to be theories of what art was always doing, and Kant’s is too. In that sense it can be considered a modern theory of art but not a theory of modern art. (shrink)

Kant is often portrayed as the author of a rigid system of ethics in which adherence to a formal and universal principle of morality - the famous categorical imperative - is an end itself, and any concern for human goals and happiness a strictly secondary and subordinate matter. Such a theory seems to suit perfectly rational beings but not human beings. The twelve essays in this collection by one of the world's preeminent Kant scholars argue for a radically different account (...) of Kant's ethics. They explore an interpretation of the moral philosophy according to which freedom is the fundamental end of human action, but an end that can only be preserved and promoted by adherence to moral law. By radically revising the traditional interpretation of Kant's moral and political philosophy and by showing how Kant's coherent liberalism can guide us in current debates, Paul Guyer will find an audience across moral and political philosophy, intellectual history, and political science. (shrink)

The essays in this volume, including two published here for the first time, explore various aspects ofKant's conception of the system of nature, the system of ...

In this book, the first to describe and assess Hume's influence throughout Kant's philosophy, Guyer shows where Kant agrees or disagrees with Hume, and where Kant does or doesn't appear to resolve Hume's doubts.

Translation of Paul Guyer's "Kant’s Deductions of the Principles of Right".

An introductory guide to the seminal work of Kant and his modern moral philosophy.

This collection of essays, the first of its kind in nearly thirty years, introduces the reader to some of the most important studies of the book from the past ...

This book offers a radically new account of the development and structure of the central arguments of Kant's Critique of Pure Reason: the defense of the objective validity of such categories as substance, causation, and independent existence. Paul Guyer makes far more extensive use than any other commentator of historical materials from the years leading up to the publication of the Critique and surrounding its revision, and he shows that the work which has come down to us is the (...) result of some striking and only partially resolved theoretical tensions. Kant had originally intended to demonstrate the validity of the categories by exploiting what he called 'analogies of appearance' between the structure of self-knowledge and our knowledge of objects. The idea of a separate 'transcendental deduction', independent from the analysis of the necessary conditions of empirical judgements, arose only shortly before publication of the Critique in 1781, and distorted much of Kant's original inspiration. Part of what led Kant to present this deduction separately was his invention of a new pattern of argument - very different from the 'transcendental arguments' attributed by recent interpreters to Kant - depending on initial claims to necessary truth. (shrink)

In this updated edition of his outstanding introduction to Kant, Paul Guyer uses Kant’s central conception of autonomy as the key to his thought. Beginning with a helpful overview of Kant’s life and times, Guyer introduces Kant’s metaphysics and epistemology, carefully explaining his arguments about the nature of space, time and experience in his most influential but difficult work, _The Critique of Pure Reason_. He offers an explanation and critique of Kant’s famous theory of transcendental idealism and shows how (...) much of Kant’s philosophy is independent of this controversial doctrine. He then examines Kant’s moral philosophy, his celebrated ‘categorical imperative’ and his theories of duty, freedom of will and political rights. This section of the work has been substantially revised to clarify the relation between Kant’s conceptions of "internal" and "external" freedom. In his treatments of Kant’s aesthetics and teleology, Guyer focuses on their relation to human freedom and happiness. Finally, he considers Kant’s view that the development of human autonomy is the only goal that we can conceive for both natural and human history. Including a chronology, glossary, chapter summaries and up-to-date further reading, _Kant, second edition _is an ideal introduction to this demanding yet pivotal figure in the history of philosophy, and essential reading for all students of philosophy. (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.

The essays collected in this volume by Paul Guyer, one of the world's foremost Kant scholars, explore Kant's attempt to develop a morality grounded on the intrinsic and unconditional value of the human freedom to set our own ends. When regulated by the principle that the freedom of all is equally valuable, the freedom to set our own ends -- what Kant calls "humanity" - becomes what he calls autonomy. These essays explore Kant's strategies for establishing the premise that (...) freedom is the inner worth of the world or the essential end of humankind, as he says, and for deriving the specific duties that fundamental principle of morality generates in the empirical circumstances of human existence. The Virtues of Freedom further investigates Kant's attempts to prove that we are always free to live up to this moral ideal, that is, that we have free will no matter what, as well as his more successful explorations of the ways in which our natural tendencies to be moral -- dispositions to the feeling of respect and more specific feelings such as love and self-esteem -- can and must be cultivated and educated. Guyer finally examines the various models of human community that Kant develops from his premise that our associations must be based on the value of freedom for all. The contrasts but also similarities of Kant's moral philosophy to that of David Hume but many of his other predecessors and contemporaries, such as Stoics and Epicureans, Pufendorf and Wolff, Hutcheson, Kames, and Smith, are also explored. (shrink)

Marcus Willaschek’s new book Kant on the Sources of Metaphysics: The Dialectic of Pure Reason is a penetrating analysis of the Transcendental Dialectic of Kant’s Critique of Pure Reason. In his comments, the author first raises some questions concerning the structure of the Transcendental Dialectic and then proposes that looking at the second Critique and continuing on into the third Critique will reveal more roles for the idea of God in Kant’s reconstruction of traditional metaphysics than Willaschek’s treatment suggests.

Contemporary liberalism, which prescribes state regulation of property for purposes of welfare but proscribes state regulation of the expression of thought and conscience, may seem inherently paradoxical. Kant's analysis of property, however, shows that political liberalism is coherent and indeed necessitated by Kantian moral principles. For property rights are constituted by interpersonal agreement to defer to an owner's claim to an object; and if such agreement is to be rightfully, that is, freely obtained, then it can only be obtained under (...) conditions of fairness that would make it rational for all affected by the claim to so defer, and can rightfully be restricted to such conditions by political means. Freedom of thought and expression, however, has no inherent dependence on the agreement of others, and thus gives rise to no right for the state to regulate it except in marginal cases which can be analyzed as ordinary action rather than thought and its expression. Fundamental differences in ontology thus give rise to fundamental differences in the rightful use of political regulation. Der heutige Liberalismus, der einerseits die staatliche Regulierung des Eigentums für Zwecke der Wohlfahrt fordert, andererseits die staatliche Regulierung des Ausdrucks von Gedanken und Gewissen verbieten möchte, könnte schon an sich selbst betrachtet als paradox erscheinen. Kants Deutung des Eigentums zeigt jedoch, daß der politische Liberalismus kohärent ist und aus Kants moralischen Prinzipien auch tatsächlich folgt. Eigentumsrechte entstehen aus der Übereinkunft zwischen Personen, die Ansprüche, die Eigentümer auf ihre Sachen erheben, auch anzuerkennen. Wenn eine derartige Übereinkunft rechtmäßig und also frei zustandekommen soll, kann sie nur unter der Bedingung der Fairneß zustandekommen, die es für alle Betroffenen als vernünftig erscheinen läßt, die fraglichen Eigentumsansprüche anzuerkennen. Deshalb kann die Übereinkunft auch durch politische Mittel auf die Bedingung der Fairneß eingeschränkt werden. Die Freiheit der Gedanken und des Ausdrucks von Gedanken dagegen steht in keiner inneren Abhängigkeit von der Zustimmung anderer, und das bedeutet, daß der Staat kein Recht hat, sie zu regulieren, außer in Randbereichen, in denen gewisse Äußerungen eher als Handlungen im gewöhnlichen Sinne denn als Ausdruck von Gedanken eingestuft werden können. Grundsätzliche Unterschiede in der Ontologie führen so zu grundsätzlichen Unterschieden im rechtmäßigen Gebrauch politischer Regulierung. (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)

A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely what (...) Plato criticized - and because it is a pleasurable free play of many or all of our mental powers. This three-volume set tells how these ideas have been synthesized or separated by both the best-known and lesser-known aestheticians of modern times, focusing on Britain, France and Germany in the eighteenth century; Germany and Britain in the nineteenth; and Germany, Britain and the United States in the twentieth. (shrink)

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)

This chapter contains sections titled: Why is there a Third Critique? The Critique of the Aesthetic Power of Judgment The Critique of the Teleological Power of Judgment Conclusion.

I argue that Kant's claim in the “Transcendental Aesthetic” of the Critique of Pure Reason that space and time are immediately given in intuition as infinite magnitudes is undercut by his general theory of mathematical knowledge. On this general theory, pure intuition does not give objects of any determinate magnitude at all, but only forms of possible objects. Specifically, what pure intuition itself yields is the recognition that any determinate space or time is part of a larger one, but it (...) requires an inference of reason to go from that to the claim that space and time are infinite. I further argue that this result is consistent with Kant's claim in the second-edition “Transcendental Deduction” that the unity of space and time are the products of synthesis, but also means that the unity of space and time as objects cannot be used a premise in the Deduction but can only be regarded as a conclusion of the deduction and the following “System of Principles.”. (shrink)

Values of Beauty discusses major ideas and figures in the history of aesthetics from the beginning of the eighteenth century to the end of the twentieth century. The core of the book features Paul Guyer's essays on the epochal contribution of Immauel Kant, and sets Kant's work in the context of predecessors, contemporaries, and successors including David Hume, Alexander Gerard, Archibald Alison, Arthur Schopenhauer, and John Stuart Mill All of the essays emphasize the complexity rather than isolation of our (...) aesthetic experience of both nature and art; and the interconnection of aesthetic values such as beauty and sublimity on the one hand, and prudential and moral values on the other. Guyer emphasizes that the idea of the freedom of the imagination as the key to both artistic creation and aesthetic experience has been a common thread throughout the modern history of aesthetics, although the freedom of the imagination has been understood and connected to other forms of freedom in a variety of ways. (shrink)

A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely what (...) Plato criticized - and because it is a pleasurable free play of many or all of our mental powers. This set tells how these ideas have been synthesized or separated by aestheticians of modern times. This third volume shows how philosophers of art in Germany, Britain, and the United States continued the debate over cognitivist versus alternative approaches to aesthetic experience that was at the heart of the discipline in the previous two centuries, while responding to the intellectual challenges of their own times as well. (shrink)

Hannah Ginsborg rejects my ‘two-acts’ interpretation of Kant’s conception of aesthetic judgement as untrue to Kant’s text and as philosophically problematic, especially because it entails that every object must be experienced as beautiful. I reject her criticisms, and argue that it is her own ‘one-act’ interpretation that is liable to these criticisms. But I also suggest that her emphasis on Kant’s ‘transcendental explanation’ of pleasure as a self-maintaining mental state suggests an alternative to the common view that pleasure is a (...) distinctive feeling, even if Ginsborg herself does not draw that conclusion. (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)

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 thesis of this book is that Kant employs a single conception of reason throughout his analysis of the fundamental principles of natural science, morality and politics, rational religion, and the practice of philosophy itself, and that this conception is that reason is the source of the ultimate goals or ideals for our conduct of both inquiry and action, but never a faculty that yields cognition of objects that exist independently of us, whether sensible or supersensible. In Neiman’s words, “The (...) basis of Kant’s reconception” of reason “is the denial that the rational is, or is centrally concerned with, the cognitive”, and the heart of his thesis of the unity of reason is his view that “the regulative principles of reason... shape our actions in science, morality, religion and philosophy itself”. Neiman’s work is refreshingly ambitious in its attempt to demonstrate that these generalities hold for all four of the areas she lists, but the general claims themselves will not come as a surprise to contemporary students of Kant. So for the work to succeed, it would have to break new ground in either the detailed analysis of the regulative functions of reason or in our understanding of reason’s general function in unifying the several branches of philosophy as Kant understands it. In my view, the book does neither. Neiman offers some interesting insights about Kant’s treatment of science, morality, and religion, but does not offer a rigorous analysis of the structure of Kant’s thought in any of these areas that goes beyond what many others have already provided. More importantly, she misses the opportunity to make a major advance in our understanding of the general structure of Kant’s thought. For what she describes is really similarities in our use of reason in the various areas of our inquiry and conduct; she does not show how Kant uses his conception of reason to unify the apparently disparate realms of theory and practice, or, in his terms, of nature and freedom. This task dominates the Critique of Judgment, where, far from merely recapitulating his previous accounts of the regulative use of reason in both science and morality, Kant argues as he never did before that we must be able to see the realms of nature and freedom not merely as compatible but as unified, yet also makes explicit the regulative status of reason and of this vision of unity precisely by stating his theory of the unity of reason as the culmination of a theory of reflective judgment. Neiman largely ignores Kant’s own most mature account of the unity of reason. (shrink)