Because of the transcendental emphasis of his critical works, Immanuel Kant has been criticised for not being able to accommodate the notion of multiplicity. This paper outlines a complex argument designed as a means to the rescue of Kant from this repudiation. To this end, the paper proposes a new, strong reading of the doctrine of aesthetic ideas that unveils the idiosyncratic play of the mental powers, constituted of two separate acts, that equips one to intuit an unnameable mark that (...) evades both empirical apprehension and logical comprehension. By analogy with the two types of cognition, stipulated in the Stufenleiter (and elsewhere), I shall suggest that the two distinct kinds of a feeling of pleasure, stirred up by the generation of an aesthetic idea, add an overlooked, aesthetic element that renders Kant a philosopher of multiplicity. (shrink)

This paper presents a new reading of Kant's moral feeling: in lieu of highlighting a positive feeling of respect, I am interested in a thorough phenomenological interpretation of a negative feeling of humiliation. The paper's tone is set by underscoring that human moral Gesinnung is that which is necessarily cultivated, which entails that the striving moral agent, among other things, learns to identify and confront inclinations. It is argued, then, that one's mindfulness of the various kinds of pain of humiliated (...) inclinations presupposes the agent's aesthetic attunement to the law of duty. To this end, two phenomenological interpretations are offered. First, general humiliation Kant caters for in the Critique of Practical Reason. Second, specific humiliation Kant alludes to in the Metaphysics of Morals. On the whole, the paper's findings ascertain the epistemic weight of humiliation, which to date has been undervalued. (shrink)

Kant’s doctrine of aesthetic ideas, along with his brief treatment of ugliness, has been the focus of some recent literature. In this paper, I employ an original approach, which nonetheless draws from Kant’s oeuvre, to pin down the phenomenological complexity of a spectacular event that took place at the inception of the French Terror—the decapitation of Louis the XVI. To this end, the first section of the essay fleshes out an interpretative framework explicating how seeing the guillotine as an aesthetic (...) idea could serve as a means to actualise the revolutionary ideal. The second section introduces a reading of Schwärmerei and argues that this unruly genius is accountable for the creation of aesthetic idols, rendering a spurious aesthetic experience. Finally, in the last section, I argue that there is a significant distinction between Kant’s account of ugliness and loathing, and that the latter stands for neither a moral nor an aesthetic response to a morally repellent object, but rather is an extraordinary sensible response. (shrink)