Immanuel Kant was a German philosopher. He is a central figure of modern philosophy, and set the terms by which all subsequent thinkers have had to grapple. He argued that human perception structures natural laws, and that reason is the source of morality. His thought continues to hold a major influence in contemporary thought, especially in fields such as metaphysics, epistemology, ethics, political philosophy, and aesthetics.

This chapter contains sections titled: The Aesthetic Appreciating Nature Skepticism Regarding Aesthetic Nature Aesthetics and the Concept of Nature.

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Beardsley's AestheticsProblems in the Philosophy of CriticismDonald Crawford (bio)Monroe Beardsley's Aesthetics was published the year I was a junior philosophy major at the University of California, Berkeley, and by the end of that academic year, I had completed semester courses in the history of ancient as well as modern philosophy, logic, ethics, and the philosophy of religion. The requirements remaining for me in philosophy in my (...) senior year were a course in either epistemology or metaphysics, plus five elective philosophy courses. I had fairly developed interests in literature, especially poetry, classical music, film, and the visual arts, so it seemed natural for me to select a course in aesthetics as one of my remaining electives. Nonetheless, I had no idea what aesthetics was. When I looked up the word in the dictionary, I found the following definition: "The branch of philosophy dealing with beauty or the beautiful, especially in the fine arts." Even today, the Berkeley philosophy course catalog entry for aesthetics simply says, as it did then, "Aesthetics: Visual arts/literature and music. Form, expression, representation, style; interpretation and evaluation."Interpretation and evaluation sounded worth pursuing. At that time I had no doubt that almost any music by Bach was better than that by Offenbach, that Van Gogh's Starry Night was in a different class than Norman Rockwell's covers for the Saturday Evening Post, or that Bergman's The Seventh Seal (1957) was a far better film than Attack of the Crab Monsters of the same year. And I was fully convinced that some poems lent themselves to more interesting and profound readings—that is, interpretations—than others and therefore were better poems. So a course that dealt with the interpretation and evaluation of the visual arts, literature, and music was enticing. The class lectures were rather dull, however, and I began to have regrets for enrolling. Besides, the required text was brand new and had several drawbacks: there were no used copies available so it was expensive ($7.50!), and its 591 pages were bound in hardback and heavy. [End Page 19]Yes, the text was Beardsley's Aesthetics, and my now well-worn copy is complete with my original revealing and indelible underlines that remind me of my naiveté. I recall being immediately struck by the book's epigraph—a quotation from David Hume: "I am uneasy to think I approve of one object, and disapprove of another; call one thing beautiful, and another deform'd; decide concerning truth and falsehood, reason and folly, without knowing upon what principles I proceed." This encouraged me to think that this book and course would teach me the principles that underlay my unreasoned critical comparative evaluations of poems, films, and other works of art. Was this false optimism? After glancing at the table of contents, I quickly turned to chapter 10, "Critical Evaluation," where I read on page 454: "The problems to which we now come have been put off as long as possible in the hope that a circumspect approach would make them more vulnerable." I wasn't quite sure what that meant ("vulnerable" to what?), but it seemed to imply that it was necessary to start at the beginning of the book.1 So I did just that. To my delight, almost immediately, on page 3, Beardsley provided his definition of "aesthetics," saying: "[A]esthetics consists of those principles that are required for clarifying and confirming critical statements. It can be thought of, then, as the philosophy of criticism, or metacriticism" (3-4; emphasis in the original). Unless by "critical statement" Beardsley meant judgments of beauty, this didn't really correspond with either Webster's definition or the course description of aesthetics. Beardsley's concept of a critical statement was much broader than that in common use today, and it reflected the attitude of the founders of the American Society for Aesthetics, who named their journal the Journal of Aesthetics and Art Criticism (JAAC). Beardsley said he would be "using the term 'critical statement,' very broadly, to refer to any statement about a work of art" (3) and that a critical statement "need not be a value judgment at... (shrink)

The trenchant scholarship evident in Fried's earlier essays on Couture, Manet and Courbet is equally manifest in this challenging study of the development of French painting in the period 1750-1770. Fried's major thesis is that the central and guiding concern of artists from Chardin to David was the relationship between the viewer of the painting and what is represented in the painting. Those who now concentrate on social and economic determinants of artistic enterprises will be disappointed by Fried's blatantly aesthetic (...) hypothesis that the narrower concerns of the art of painting itself were primary in the mainstream of French painting of this period. But they will be hardpressed to counter the solid evidence that Fried musters in support of his position. (shrink)

This is the third of a series of books by Aschenbrenner dealing with the nature of appraisive concepts, following The Concept of Value and The Concepts of Criticism. In the previous works he attempted to identify, classify and provide a general theoretical framework for all appraisive or value concepts. The first part of the present book expands that analysis by investigating the emergence of appraisive concepts and exploring in depth the nature of the classifications made in the previous books. Aschenbrenner (...) begins with elemental sense experience and works his way to complex human interactions, where he finds that expectations of others lead to demands, and that their fulfillment or nonfulfillment leads to the use of appraisive characterization, ranging from the expression of emotions to the articulation of rights and duties. He provides details of the verbal and conceptual means by which credit and discredit are expressed, modes of opposition between concepts, and various dimensions of meaning. On a more general level, his view is that assertions using appraisive terms are not true or false, nor in need of verification; rather they are evaluated as apt or unapt and as fair or unfair, just or unjust. But these evaluations are themselves appraisive discourse, only at another level. (shrink)

Introduction. The roots of liberal-democratic theory -- Problems of interpretation -- Hobbe : the political obligation of the market. Philosophy and political theory -- Human nature and the state of nature -- Models of society -- Political obligation -- Penetration and limits of Hobbe's political theory -- The Levellers : franchise and freedom. The problem of franchise -- Types of franchise -- The record -- Theoretical implications -- Harrington : the opportunity state. Unexamined ambiguities -- The balance and the gentry (...) -- The bourgeois society -- The equal commonwealth and the equal agrarian -- The self-cancelling balance principle -- Harrington's stature --Locke : the political theory of appropriation. Interpretations -- The theory of property right -- Class differentials in natural rights and rationality -- The ambiguous state of nature -- The ambiguous civil society -- Unsettled problems reconsidered -- Possessive individualism and liberal democracy. The seventeenth-century foundations -- The twentieth-century dilemma -- Appendix : Social classes and franchise classes in England, circa 1648. (shrink)

This seminal work by political philosopher C.B. Macpherson was first published by the Clarendon Press in 1962, and remains of key importance to the study of liberal-democratic theory half-a-century later. In it, Macpherson argues that the chief difficulty of the notion of individualism that underpins classical liberalism lies in what he calls its "possessive quality" - "its conception of the individual as essentially the proprietor of his own person or capacities, owing nothing to society for them." Under such a conception, (...) the essence of humanity becomes freedom from dependence on the wills of others; society is little more than a system of economic relations; and political society becomes a means of safeguarding private property and the system of economic relations rooted in property. As the New Statesman declared: "It is rare for a book to change the intellectual landscape. It is even more unusual for this to happen when the subject is one that has been thoroughly investigated by generations of historians.... Until the appearance of Professor Macpherson's book, it seemed unlikely that anything radically new could be said about so well-worn a topic. The unexpected has happened, and the shock waves are still being absorbed." A new introduction by Frank Cunningham puts the work in a twenty-first-century context. (shrink)

Abstract According to Russellianism, the content of a Russellian thought, in which a person ascribes a monadic property to an object, can be represented as an ordered couple of the object and the property. A consequence of this is that it is not possible for a person to believe that a is F and not to believe b is F, when a=b. Many critics of Russellianism suppose that this is possible and thus that Russellianism is false. Several arguments for this (...) claim are criticized and it is argued that Russellians need not appeal to representational notions in order to defeat them. Contrary to popular opinion, the prospects for a pure Russellianism, a Russellianism without representations, are in fact very good. (shrink)

This paper explores corporate charitable giving disclosures in order to question the extent to which corporations can claim that their philanthropy activities are charitable at all. Exploration of these issues is carried out by means of a tropological analysis that focuses on the different linguistic tropes within the philanthropy disclosures of 52 companies, namely metaphor and synecdoche. The results reveal a number of complex and contradictory things. Primarily, the master metaphor of 'altruism' projected by the corporate disclosures is ideologically at (...) odds with the more business case-oriented discourse that shapes the disclosures. This contradiction is put into starker contrast by the existence of a root metaphor, whereby the recipients of corporate philanthropy are presented as the 'deserving poor'. Synecdochal devices are present within the corporate disclosures, whereby employee initiatives that are independent of corporate strategies are used to confer attributes onto the disclosures that bolster the master metaphor of 'altruism'. As such, corporate philanthropy is presented by the paper as a structurally incoherent discourse and yet one that has implications for both extracting greater value from various societal groups and in defining, on behalf of civil society, what is a worthy cause. (shrink)