Against the assumption that aesthetic form relates to a harmonious arrangement of parts into a beautiful whole, this book argues that reason is the real theme of the "Critique of Judgment" as of the two earlier "Critiques." Since aesthetic judgment of the beautiful becomes possible only when the mind is confronted with things of nature, for which no determined concepts of understanding are available, aesthetic judgment is involved in an epistemological or, rather, para-epistemological task. The predicate "beautiful" indicates that something has minimal form and is cognizable. This book explores this concept of form, in particular the role of presentation ("Darstellung") in what Kant refers to as "mere form," which involves not only the understanding, but also reason as the faculty of ideas. Such a notion of form reveals why the beautiful can be related to the morally good. On the basis of this reinterpreted concept of form, most major concepts and themes of the "Critique of Judgment"--such as disinterestedness, free play, the sublime, genius, and beautiful arts--are examined by the author and shown in a new light.

A milestone in Kant scholarship, this interpretation of his critical philosophy makes sense of his notorious 'synthetic judgments a priori'.

The theory of action underlying Immanuel Kant's ethical theory is the subject of this book. What 'maxims' are, and how we act on maxims, are explained here in light of both the historical context of Kant's thought, and his classroom lectures on psychology and ethics. Arguing against the current of much recent scholarship, Richard McCarty makes a strong case for interpreting Kant as having embraced psychological determinism, a version of the 'belief-desire model' of human motivation, and a literal, 'two-worlds' metaphysics. On this interpretation, actions in the sensible world are always effects of prior psychological causes. Their explaining causal laws are the maxims of agents' characters. And agents act freely if, acting also in an intelligible world, what they do there results in their having the characters they have here, in the sensible world. McCarty additionally shows how this interpretation is fruitful for solving familiar problems perennially plaguing Kant's moral psychology.

An Essay on Kant's Theory of Evil shows the centrality of the doctrine of radical evil within Kant's critical philosophy. Combining textual accuracy with systematic ethical theory, it fills the gaps Kant left open in his own doctrine, and provides a non-mystifying account of h...

Immanuel Kant's claim that the categorical imperative of morality is based in practical reason has long been a source of puzzlement and doubt, even for sympathetic interpreters. In The Form of Practical Knowledge, Stephen Engstrom provides an illuminating new interpretation of the categorical imperative, arguing that we have exaggerated and misconceived Kant's break with tradition. By developing an account of practical knowledge that situates Kant's ethics within his broader epistemology, Engstrom’s work deepens and reshapes our understanding of Kantian ethics.

Immanuel Kant's 'The Critique of Judgment' explores the realms of aesthetic judgment and teleological judgment in a rigorous and thought-provoking manner. In this seminal work, Kant delves into the concepts of beauty, taste, and the nature of artistic creation. He presents a detailed analysis of how judgment functions in relation to aesthetics, weaving together philosophical insights with practical examples to illustrate his points. Through his meticulous argumentation, Kant lays the groundwork for the understanding of the role of judgment in appreciating art and nature. The book's dense yet insightful prose engages readers in a contemplative journey through the intersections of art, nature, and human perception. Immanuel Kant, a renowned German philosopher of the Enlightenment era, was influenced by thinkers such as Leibniz and Rousseau. His deep interest in metaphysics and epistemology led him to ponder the fundamental principles that govern human experience. 'The Critique of Judgment' reflects Kant's comprehensive philosophical system, bridging the gap between his earlier works on metaphysics and ethics. I highly recommend 'The Critique of Judgment' to readers who are interested in delving into the complexities of aesthetic and teleological judgment. Kant's nuanced arguments and incisive analysis pave the way for a deeper appreciation of art, nature, and the human mind. This book is essential reading for anyone seeking to explore the intersections of philosophy, aesthetics, and the nature of beauty.

This study presents the theoretical apparatus of Foucault’s early historical analyses as a version of Kantian criticism. In an initial textual exposition, the author attempts to distill a unified discursive practice from Kant’s theoretical writings, arguing for Foucault’s proximity to Kant on the basis of this reconstruction, by showing that his studies are modeled on this way of thinking. By recasting it in this framework, an unorthodox version of Foucault’s work is generated, one that is at odds with the tendency to emphasize a certain skepticism about the possibility of universal and necessary knowledge in his writings, and to mistake it for irrationalism and a hostility to the practice of theory. By drawing attention to the structural parallel between Foucault’s practice and Kantian criticism, this study belies this picture.

Thomas C. Vinci aims to reveal and assess the structure of Kant's argument in the Critique of Pure Reason called the "Transcendental Deduction of the Categories." At the end of the first part of the Deduction in the B-edition Kant states that his purpose is achieved: to show that all intuitions in general are subject to the categories. On the standard reading, this means that all of our mental representations, including those originating in sense-experience, are structured by conceptualization. But this reading encounters an exegetical problem: Kant states in the second part of the Deduction that a major part of what remains to be shown is that empirical intuitions are subject to the categories. How can this be if it has already been shown that intuitions in general are subject to the categories? Vinci calls this the Triviality Problem, and he argues that solving it requires denying the standard reading. In its place he proposes that intuitions in general and empirical intuitions constitute disjoint classes and that, while all intuitions for Kant are unified, there are two kinds of unification: logical unification vs. aesthetic unification. Only the former is due to the categories. A second major theme of the book is that Kant's Idealism comes in two versions-for laws of nature and for objects of empirical intuition-and that demonstrating these versions is the ultimate goal of the Deduction of the Categories and the similarly structured Deduction of the Concepts of Space, respectively. Vinci shows that the Deductions have the argument structure of an inference to the best explanation for correlated domains of explananda, each arrived at by independent applications of Kantian epistemic and geometrical methods.

This book is a full-scale account of the morally important ideas of treating persons merely as means and treating them as ends. Audi clarifies these independently of Kant, but with implications for understanding him, and presents a theory of conduct that enhances their usefulness both in ethical theory and in practical ethics.