In this essay, I review Rudolf Makkreel’s, Orientation and Judgment in Hermeneutics, which, I claim, represents an original contribution to continental philosophy. I take up his consideration that hermeneutics should incorporate philosophical reflection that not only recognizes the significance of the historical contexts of interpretation, but also situates interpretation within the contexts of the twenty-first century. I regard Makkreel’s work to be primarily aimed at emphasizing the mutually inclusive roles of reflection and reflective judgment involved in interpretation.

In many of his writings, Castoriadis argues that ‘the discovery of the imagination’ occurs in the works of Aristotle, Kant, Fichte, Freud, Heidegger and Merleau-Ponty. Although he has systematically encountered and interrogated the works of Aristotle, Kant, Freud, and Merleau-Ponty, the work of Fichte remains an enigmatic absence within the orbit of Castoriadis' work. This study is an attempt to address this enigma through a close reading of Fichte’s The Science of Knowledge.

This essay argues that, contrary to the prevailing view according to which reflection in Kant's aesthetic judgment is interpreted as ‘the logical actus of the understanding’, we should pay closer attention to Kant's own formulation of aesthetic reflection as ‘an action of the power of imagination’. Put differently, I contend in this essay that the rule that governs and orders the manifold in aesthetic judgment is imagination's own achievement, the achievement of the productive synthesis of the ‘fictive power’, entirely independent (...) of the understanding. While this view does not entail that the faculty of the understanding is not necessary in aesthetic reflection, a stronger emphasis on the role of imagination in aesthetic reflection allows us to realize that its schematizing and interpretive activity, while consistent with, goes well beyond the discursive demands of the understanding insofar as it intimates the supersensible ground of freedom that manifests itself as ‘the feeling of life’. Therefore, I show in this essay that the imagination's unique interpretive power has a special role in completing Kant's critical system by facilitating the connection of the sensible to the supersensible, which further helps us appreciate imagination's practical as opposed to merely cognitive significance. (shrink)

ABSTRACTWhile Lyotard's first book was an introduction to phenomenology, most of the work that follows can be said to openly challenge the limits of phenomenological analysis. This is particularly...

Kant insists that the use of concepts must be subject to empirical conditions if they are to have objective validity. This article analyses Kants distinction between empirical and transcendental truths. Since transcendental concepts are pure concepts without spatio-temporal content, their objective validity is of the same second-order kind as that of unschematized categories. This characteristic of transcendental concepts implies that the cognitive powers picked out by them are not particular psychological mechanisms, but rather abstract functional structures. Transcendental concepts owe their (...) objective validity to the realizability of the functional structures by empirical cognizers like humans. This relation in turn helps to explain the nature of transcendental truths. (shrink)

Kant interpreters are divided on the question of whether determinate cognition plays a role in the harmony of the faculties in aesthetic judgement. I provide a ‘non-cognitive’ interpretation that allows Kant’s statements regarding judgements of natural beauty to cohere such that determinate cognition need not be taken to perform any role in such judgements. I argue that, in aesthetic harmony, judgement privileges the free activity of the imagination over the cognizing function of the understanding for the purpose of unifying the (...) object, although the free imagination cannot violate the obscure concepts and principles of ordinary common sense. (shrink)

While Kants political thought, which downplay or dismiss the role of teleology, I restore Zweckms politics as a theoretically and practically useful material principle, and show that a teleological perspective complements the perspective stipulated by the formal principle of Recht. By means of a systematic reconstruction of what I call ssigkeits political thought.

The aim of this paper is to extract from Kant's writings an account of the nature of the emotions and their function – and to do so despite the fact that Kant neither uses the term ‘emotion’ nor offers a systematic treatment of it. Kant's position, as I interpret it, challenges the contemporary trends that define emotions in terms of other mental states and defines them instead first and foremost as ‘feelings’. Although Kant's views on the nature of feelings have (...) drawn surprisingly little attention, I argue that the faculty of feeling has the distinct role of making us aware of the way our faculties relate to each other and to the world. As I show, feelings are affective appraisals of our activity, and as such they play an indispensable orientational function in the Kantian mind. After spelling out Kant's distinction between feeling and desire, I turn to the distinction between feeling and cognition and show that while feelings are non-cognitive states, they have a form of derived-intentionality. §4 argues that what feelings are about, in this derived sense, is our relationship to ourselves and the world: they function as affective appraisals of the state of our agency. §5 shows that this function is necessary to the activity of the mind insofar as it is orientational. Finally, §6 discusses the examples of epistemic pleasure and moral contentment and argues that they manifest the conditions of cognitive and moral agency respectively. (shrink)

This article has two objectives: first, to bring to the fore Kant's neglected distinction between ‘critique’ and ‘doctrine’ and, second, to relate this distinction to Kant's notion of a philosophy of right. Kant's culminating contribution to practical philosophy, the Metaphysics of Morals, contains a doctrine of right and this ‘doctrine’ has received relatively little attention thus far in English-language writing on Kant. One of the reasons for this relative neglect is, I believe, due to the prevalent attention provided to Kant's (...) practical critique at the expense of his practical doctrine. I aim to provide an account of Kant's critique of right in order to enable an understanding of Kant's doctrine of right to be provided with some initial orientation. I will be suggesting that this critique of right is presented in Toward Perpetual Peace: A Philosophical Sketch. (shrink)

After tracing the rise in interest in the phenomenon of interpretation to events in the early post-Kantian period, I argue that this development is highly relevant to understanding contemporary philosophy's methodological status and its relation to fields such as science and literature. I argue that much of recent philosophy is best understood in terms of an "interpretive turn" that has now provided philosophy with a modest but valuable and distinctive role. I illustrate the procedure of philosophy in this key by (...) critically appropriating ideas about interpretation advanced by Harold Bloom and Richard Rorty, and by using hints about the role of history that arise from discussions of Kant's notion of genius. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

In the aftermath of a normalized Foucaultian world with an all encompassing web of biopower, one remaining hope is to cultivate nimbleness. Nimbleness is an embodied aesthetic sensitivity to the material presence. Cultivating nimbleness is a particular style of cultivation; it is to willfully gather together one’s self in the wake of a formative force far richer than the derivative web of living power relationships of human embeddness within a horizon of social, economical, political and historical subjectivating power relations; which (...) are chronicled and labeled by Michel Foucault as the normalizing practices of biopower. In other words to have freedom, one must start by rejecting the categories and labels normally internalized in order to relearn to learn from the material presence. Such a style of cultivation is a means of resisting normalizing power relations which co-opt cultivating practices to engross their own dominance which has had the by-product of an impotence to negate the gross material injustices present. This normalizing style of cultivation is a prevalent, corrupted, semblance which denies the importance of beauty for that of efficiency, rejects non-human purposiveness, and limits its measure of ethics to short term economical pragmatism. The thesis acknowledges that something is awry with the world and that giving care to beauty might help. The aim is to examine the event of Beauty as depicted by the philosopher Immanuel Kant and to apply this characterization to elective architectural spaces such that it may motivate individuals to cultivate their own nimbleness in relation to a formative force of nature. However given the revealed need for sensitivity to the particular material presence, the thesis can not be a rule book or catalog for beautiful design. Rather it is a rehabilitation for architects who are already heterospatially curious, with the desired outcome of architects cultivating their own nimbleness to reflectively judge as a ground up, multi-node, rhizomatic means of resistance to normalizing power practices as manifest in bad architecture. (shrink)