The conception of disinterested pleasure is not only central to Kant’s theory of beauty but also highly influential in contemporary philosophical discourse about beauty. However, it remains unclear, what exactly disinterested pleasure is and what role it plays in experiences of beauty. This volume sheds new light on the conception of disinterested pleasure from the perspectives of both Kant scholarship and contemporary aesthetics. In the first part, the focus is on Kant’s theory of beauty as grounded on the conception of (...) disinterested pleasure. In the second part, disinterested pleasure is investigated in the light of contemporary debates on beauty. The third part is dedicated to the relation of theories of disinterested pleasure to the meta-aesthetical debate between realism and anti-realism. The volume clarifies the meaning, role, and implications of one of the most influential conceptions in traditional as well as contemporary approaches to beauty. (shrink)

In this chapter, we examine Iris Murdoch’s views about art. We highlight continuities and differences between her views on art and aesthetics, and those of Plato, Kant, and Freud. We argue that Murdoch’s views about art, though traditionally linked to Plato, are more compatible with Kant’s thought than has been acknowledged—though with his ethics rather than his aesthetics. Murdoch shows Plato’s influence in her idea that beauty is the good in a different guise. However, Murdoch shows a more Kantian than (...) Platonic influence in her suggestion that the experience of beauty can be conducive to virtue, and distances herself from Plato in her claim that the enjoyment, as well as the production, of certain kinds of art can be virtuous. We also argue that her view of bad art as self-consoling fantasy is consonant with Freudian thought. Lastly, we question her view of bad art, specifically concerning her identification of bad art as self-consoling fantasy or entertainment, and her separation of the latter and good art. (shrink)

This article suggests an iconic turn in cultural sociology. Icons can be seen, it is argued, as symbolic condensations that root social meanings in material form, allowing the abstractions of cognition and morality to be subsumed, to be made invisible, by aesthetic shape. Meaning is made iconically visible, in other words, by the beautiful, sublime, ugly, or simply by the mundane materiality of everyday life. But it is via the senses that iconic power is made. This new approach to meaning (...) is compared with others — with materialism, semiotics, aestheticism, moralism, realism, and spiritualism. (shrink)

Um den Begriff des Originals gibt es heftige Debatten. Können Fälschungen ebenso gut sein wie Originale? Wann sind Kopien vielleicht sogar besser? Und ist die Zeit des Originals nicht überhaupt vorbei? Dabei tritt die Frage, was ein Original eigentlich sei, oft in den Hintergrund. Doris Reisinger stellt die These auf: Der Begriff des Originals ist nicht nur nicht obsolet, er hat auch nicht notwendig mit Neuheit, Urheberschaft oder ästhetischem Wert zu tun - das Problem des Originalbegriffs besteht schlicht darin, dass (...) seine komplexe Struktur verkannt wird. Vor diesem Ausgangspunkt erarbeitet sie einen Explikationsvorschlag, der die Beantwortung einer ganzen Reihe von Fragen dieser klassischen philosophischen Debatte erlaubt. (shrink)

A familiar post-Kantian criticism contends that Kant enslaves sensibility under the yoke of practical reason. Friedrich Schiller advanced a version of this criticism to which Kant publicly responded. Recent commentators have emphasized the role that Kant’s reply assigns to the pleasure that accompanies successful moral action. In contrast, I argue that Kant’s reply relies primarily on the sublime feeling that arises when we merely contemplate the moral law. In fact, the pleasures emphasized by other recent commentators depend on this sublime (...) feeling. These facts illuminate Kant’s views regarding the relationship between morality, freedom, and the development of moral feelings. (shrink)

As a result there is a considerable literature on the topic. I think, however, that the treatment in the literature is incomplete because there is a failure to examine the relevant emotions in significant detail, and in particular to consider their complexity and the conditions of their warrant. As a result, both defenses and critiques of the motive of duty in terms of reliability are inadequate as they stand.

According to Kant’s Critique of the Power of Judgement, in the end all estimation of magnitude is sensible, or ‘aesthetic’, and the absolutely great in aesthetic estimation is called ‘the mathematical sublime’. This article identifies the relevant sensible element with an inner sensation of a temporal tension: in aesthetic comprehension, the imagination encounters an inevitable tension between the successive reproduction of a magnitude’s individual parts and the simultaneous unification of these parts. The sensation of this tension varies in degree and (...) facilitates aesthetic estimation in general. But in the special case where it comes to involve a sense of exceeding our imagination’s limit, we judge a magnitude to be mathematically sublime. Pace Kant, I argue that this limit is private and contingent rather than transcendental, such that the judgement of the mathematical sublime is neither universal a priori nor necessary. (shrink)

Two dominant interpretations of Kant's notion of adherent beauty, the conjunctive view and the incorporation view, provide an account of how to form informed aesthetic assessments concerning artworks. According to both accounts, judgments of perfection play a crucial role in making informed, although impure, judgments of taste. These accounts only examine aesthetic responses to objects that meet or fail to meet the expectations we have regarding what they ought to be. I demonstrate that Kant's works of genius do not fall (...) within either of these categories. The distinguishing features of these works, namely, originality and exemplarity, become unrecognizable on these interpretations because originality and exemplarity lie in the work's ability to exceed one's expectations concerning its form and content. They contribute to artistic beauty through alternative transformation methods distinct from that of abstraction, namely, concept expansion and repudiation. These additional accounts of transformation lead to a rather surprising outcome: works of genius turn out to be paradigm cases where one can and indeed ought to form informed pure judgments of taste. (shrink)

One way of understanding Kant’s views about moral emotions is the cultivation view. On this view, emotions play a role in Kantian morality provided they are properly cultivated. I evince a sceptical position about the cultivation view. First, I show that the textual evidence in support of cultivation is ambiguous. I then provide an account of emotions in Kant’s theory that explains both his positive and negative views about them. Emotions capture our attention such that they both disrupt the mind’s (...) composure and serve as a surrogate for reason. As such, Kant cannot recommend that we cultivate our emotions. (shrink)

A Kantian approach can establish that non-human natural entities are morally considerable and that humans have duties to them. This is surprising, because most environmental ethicists have either rejected or overlooked Kant when it comes to this issue. Inspired by an argument of Christine Korsgaard, I claim that both humans and non-humans have a natural good, which is whatever allows an entity to function well according to the kind of entity it is. I argue that humans are required to confer (...) normative value on the natural good of all entities that have a natural good. This is so because, as a matter of fact, humans confer normative value on their own natural good simply because it is a natural good, which commits humans to the position that any natural good deserves to have normative value conferred on it. Since non-human natural entities have a natural good, their natural good deserves to have normative value conferred on it as well, and this is sufficient to make non-human natural entities morally considerable such that humans have duties to them. (shrink)

If there is to be any progress in the debate about what sort of positive moral status Kant can give the emotions, we need a taxonomy of the terms Kant uses for these concepts. It used to be thought that Kant had little room for emotions in his ethics. In the past three decades, Marcia Baron, Paul Guyer, Barbara Herman, Nancy Sherman, Allen Wood and others have argued otherwise. Contrary to what a cursory reading of the Groundwork may indicate, Kant (...) thinks the emotions play an important role in the moral life. I want to extend the work of Baron, Guyer, Herman, Sherman and Wood in three ways. First, I will set out in a diagram Kant's taxonomy of feelings and emotions. Agreement on such a taxonomy should make it easier to evaluate debates about Kant and the emotions. Second, I will focus on a certain subclass of emotions – reason-caused affects – that have previously received little attention, even from these Kant scholars. Third, these scholars base much of their defence of Kant on his later works – especially the Metaphysics of Morals and the Anthropology – but Kant's fairly rich taxonomy of the emotions, including reason-caused affects, is clearly in place at least as early as the Critique of Judgment . I believe that the Critique of Judgment is an importantly ignored resource for understanding the moral role of the emotions for Kant. The third Critique makes positive, philosophically interesting claims about the emotions and morality. Kant emphasizes certain roles for emotions in this work that he develops to the same extent nowhere else. Nevertheless, the Critique of Judgment goes all but unmentioned by many who write on these issues. In what follows, I will defend as many of my claims as possible using the third Critique. (shrink)

This essay develops a Kantian theory of sport which addresses: (1) Kant’s categories of aesthetic judgment (2) a comparable analysis applied to athletic volition; (3) aesthetic cognition and experience and athletic volition and experience; (4) ‘free’ and ‘attached’ beauty; (5) Kant’s theory of teleological judgment; (6) the moral concept of a ‘kingdom of ends’ and sportsmanship; (7) the beautiful and the sublime in sport-experience; (8) respect and religious emotion in sport-experience; (9) the Kantian system and philosophical anthropology; and (10) sport (...) and self-knowledge. (shrink)

This paper presents a novel Hegelian view of the relationship between aesthetics and democratic politics. My account avoids the drawbacks associated with approaches that reconceive all of the political in aesthetic terms or reduce the aesthetic to art. Instead, I maintain that the aesthetic is best understood as a distinct relationship of individual freedom. My argument proceeds by highlighting shortcomings of Honneth’s account of democratic Sittlichkeit and then addressing these impasses by integrating aesthetic freedom into the picture. The first two (...) steps of my argument concern the fact that the form of life outlined by Honneth aspires to be a form of free life, yet his account of democratic Sittlichkeit gives rise to two dimensions of unfreedom. The first problem of unfreedom pertains to the scope of freedom. The relationships of freedom incorporated into Honneth’s account fail to turn given social roles into the subject matter of a sufficiently unrestricted practice of freedom. The second problem of freedom concerns conformism. In a final step, I complete my argument that Honneth’s account is unsatisfactory and incomplete by showing that aesthetic freedom is socially valid and thus ought to form part of our accounts of democratic ethical life. (shrink)

The purpose of this paper is to examine the concept of Schadenfreude - the pleasure felt at another’s misfortune - and to argue that feeling it in the course of health care work, as elsewhere, is evidence of a deficient character. In order to show that Schadenfreude is an objectionable emotion in health care work, I first offer some conceptual remarks about emotions generally and their differential treatment in Kantian and Aristotelian thought. Second, I argue that an appreciation of the (...) rationality of the emotions is crucial to our self-understanding as persons in general and nurses in particular. Third, I present a critique of Portmann’s (2000, When Bad Things Happen to Other People. London: Routledge) defence of Schadenfreude with examples from both nursing and medical scenarios. Specifically, I show how his exculpation of the emotion in terms of low self-esteem and a commitment to justice are not compelling. I argue that we are active in the construction of our emotional experiences of Schadenfreude, how we may indeed ‘nurse’ the emotion, and thus become culpable for them in ethical terms. (shrink)

In this article the importance of the representational character of politics is illustrated on the basis of the philosophy of Kant. The vanishing of the noumenal in post-modern thinking seems to imply fundamental changes in the sensitive response – aesthetics of the beautiful and the sublime – to politics. In the Kantian paradigm the meaning of our affective response to the violence of (human) nature is ruled by a moral perspective of practical reason. Although the representation of practical reason in (...) the empirical is only possible in an indirect way by means of a schematism of analogy, the corresponding – subjectively teleological – aesthetic feelings both of harmony in the beautiful and of resistance in the sublime do symbolize in a reflective judgement the morally determined character and the objectively conceived teleology of nature in the system of rights of a single state as well as of the cosmopolitan world order. (shrink)

Are there aesthetic obligations, and what would account for their binding force if so? I first develop a general, domain‐neutral notion of obligation, then critically discuss six arguments offered for and against the existence of aesthetic obligations. The most serious challenge is that all aesthetic obligations are ultimately grounded in moral norms, and I survey the prospects for this challenge alongside three non‐moral views about the source of aesthetic obligations: individual practical identity, social practices, and aesthetic value primitivism. I conclude (...) by raising questions for further work in this area. (shrink)

According to Kant, being purely rational or purely reasonable and being autonomously free are one and the same thing. But how can this be so? How can my innate capacity for pure reason ever motivate me to do anything, whether the right thing or the wrong thing? What I will suggest is that the fundamental connection between reason and freedom, both for Kant and in reality, is precisely our human biological life and spontaneity of the will, a conjunctive intrinsic structural (...) property of our animal bodies, which essentially constitutes human personhood and rational agency. I say ‘suggest’ because, obviously, no proper argument for such a conclusion could ever be worked out in a short essay. I would nevertheless like to motivate my suggestion by way of a commentary on the second part of Adrian Moore's extremely rich and interesting recent book, Noble in Reason, Infinite in Faculty. (shrink)

A crux of Plato’s Symposium is how beauty relates to the good. Diotima distinguishes beauty from the good, I show, to explain how erotic pursuits are characteristically ambivalent and opaque. Human beings pursue beauty without knowing why or thinking it good; yet they are rational, if aiming at happiness. Central to this reconstruction is a passage widely taken to show that beauty either coincides with the good or demands disinterested admiration. It shows rather that what one loves as beautiful does (...) not appear good, a proposal with ramifications for ethical psychology. (shrink)

European Journal of Philosophy, Volume 29, Issue 4, Page 795-810, December 2021.

In the Doctrine of Virtue Kant divides duties of love into three categories: beneficent activity , gratitude and Teilnehmung – commonly referred to as the duty of sympathy . In this paper I will argue that the content and scope of the third duty of love has been underestimated by both critics and defenders of Kant's ethical theory. The account which pervades the secondary literature maintains that the third duty of love includes only two components: an obligation to make use (...) of our natural receptivity to sympathetic feelings as a means to fulfilling other duties of love, and an indirect duty to cultivate these feelings. As a result, Kant's duty of sympathy has been widely regarded as a duty whose value is derived from the way in which it serves other duties, in particular, the duty of beneficent activity, which obliges agents ‘to promote according to one's means the happiness of others in need’ . Teilnehmung has thus assumed something of a second-class status among the duties to others. My aim in this paper is to demonstrate that the prevailing account of Kant's third duty of love is incomplete. (shrink)

This article examines Rancière’s political reading of aesthetics through a historical analysis into the two aesthetic theories of freedom at work in Rancière’s philosophy; Kant’s freedom as self-governance and Schiller’s freedom as harmony. While aesthetic experience is considered morally conducive through its association with freedom, this article argues that Rancière translates such discussions of freedom into that of equality by extracting the political dimensions of aesthetic experience. Given that art has the unique ability to empower the spectator through its aesthetic (...) experience of equality, the true political potential of art arises from its power to redistribute the sensible rather than through the overt expression of political themes. By juxtaposing Rancière’s politics of art with Kant’s beauty as the symbol of morality, this article argues that art becomes a symbol of political emancipation for Rancière in its capacity to generate the experience of equality. Inasmuch as Rancière attributes the aesthetic revolution to the eighteenth century, it becomes evident that the empowerment of the spectator has been central to art since the inauguration of the aesthetic regime. (shrink)

For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal to (...) Kant's notions of an aesthetic idea and an aesthetic attribute, and the connection that Kant makes between an object's expression of rational and the normativity of aesthetic judgements about it. -/- . (shrink)

Trying to assess Kant's impact on contemporary aesthetics is by no means a straightforward task, for the simple reason that the subject is saturated with his influence. In all aspects of the theory and practice of art, it is possible to observe concepts and attitudes at work which are either a reflection of, or a response to, Kant's thinking. This might seem a rather overblown claim and a difficult one to substantiate but, without going into too much detail at this (...) point, one has only to consider that the central tenets of both modernism and postmodernism can be traced back to Kant's Critical thought. There is the modernist's interest in the conditions of possibility of representation – as evidenced, for example, by the push towards abstraction in the visual arts and the attempt to paint not the world but the process of painting itself – and, responding to this, the postmodernist's concern that these conditions of possibility should not become universal absolutes. (shrink)

In the third Critique, Kant argues that it is to take an immediate interest in natural beauty, because it indicates an interest in harmony between nature and moral freedom. He, however, denies that there can be a similarly significant interest in artistic beauty. I argue that Kant ought not to deny this value to artistic beauty because his account of fine art as the joint product of the of genius and the discipline of taste commits him to the claim that (...) artistic beauty expresses such a harmony between nature and freedom. (shrink)

In debates about nature conservation, aesthetic appreciation is typically understood in terms of valuing nature as an amenity, something that we value for the pleasure it provides. In this paper I argue that this position, what I call the hedonistic model, rests on a misunderstanding of aesthetic appreciation. To support this claim I put forward an alternative model based on disinterestedness, and I defend disinterestedness against mistaken interpretations of it. Properly understood, disinterestedness defines a standpoint which precludes self-interest and utility, (...) and it does not entail a passive subject abstracted from who they are. This standpoint is compatible with a 'situated aesthetic' in which appreciation of aesthetic qualities is grounded in an embedded subject who is sensitive to the context and narrative of the object. The alternative model provides a conception of aesthetic value which distinguishes it from amenity value, and it also defines a non-instrumental approach that offers the opportunity for enhanced appreciation and attention to nature's value. (shrink)

The aim of this paper is to examine the extent to which Kant’s Critique of the Power of Judgment can be, or otherwise ought to be, regarded as a transcendental phenomenology of hope. Kant states repeatedly that CPoJ mediates between the first two Critiques, or between the theoretical knowledge we arrive at on the basis of understanding and reason’s foundational role for practical philosophy. In other words, exercising the power of judgment is implicated whenever we try to bring together the (...) ethical issue of strictly determining our actions on the one hand and the necessity to act in the physical world on the other. We will argue that this mediating function is properly understood only if the ideations produced by self-understanding are characterized as objects of rationally required hope or fear. (shrink)

Philosophers often mention Friedrich Schiller as the author of a famous epigram taking aim at Kant’s account of moral motivation: Gladly I serve my friends, but alas I do it with pleasure. Hence I am plagued with doubt that I am not a virtuous person. To this, the answer is given: Surely, your only resource is to try to despise them entirely, And then with aversion do what your duty enjoins. These joking lines capture a natural objection to Kant’s rationalist (...) picture of moral motivation, especially as it appears in the Groundwork of the Metaphysics of Morals. Schiller himself, however, intended his poem as a caricature of Kant’s view, reserving his considered critique of Kant’s practical philosophy for his extended treatise ‘On Grace and Dignity’. It is in this major work that Schiller begins his debate with Kant about the aesthetic aspect of morality, sets out a systematic account of his own ethics, and argues for an account of character according to which the virtuous person is inclined to do her duty and takes pleasure in moral action. This essay aims to highlight the importance of Schiller’s ‘On Grace and Dignity’, which is a valuable resource in relation to contemporary debates about Kant’s moral psychology. Section 1 outlines the main features of Schiller’s concerns with Kantian rationalism. Section 2 surveys a number of recent critical discussions of Schiller’s interpretation of Kant. Finally, Section 3 concludes with some observations about the historical and broader philosophical significance of ‘On Grace and Dignity’. (shrink)

This article seeks to identify and address the normative void that resides at the heart of postmodernist-feminist theory, and to propose a philosophical framework – beyond postmodernism, but incorporating its central insights – for thinking through the normative questions with which feminists are inevitably confronted in their engagements with positive law. Two varieties of postmodernist-feminism are identified and critically analysed: the ‘corporeal feminism’ of Elizabeth Grosz and Judith Butler, which seeks to ground feminist critical practice in the irruptive capacities of (...) the material body considered as an arte fact of social construction; and the deconstructionist feminism of Drucilla Cornell, for whom ‘the feminine’ is an indeterminate but disruptive force beyond its construction in law and in other social sites. The first component of the argument elaborated here is that each of these approaches ultimately reduces to a form of aestheticism which is incapable of generating a worthwhile and workable feminist approach to the restructuring of politics and law. The second component of the argument involves a return to aesthetics, in particular to the philosophical aesthetics of Kant’s Critique of Judgement. Kant’s aesthetic philosophy, it will be suggested, yields a framework of concepts which, duly re-manipulated, could speak to the very concerns that have inspired postmodernist-feminism: how to attend to (bodily) particularity while avoiding the dangers associated with ‘essentialism’; and how to theorise the propensity of the unrepresentable power of the feminine to exceed both embodied human capacities and the confining rein of socially privileged rationalities. Crucially, however it also responds to a set of preoccupations – those of the feminist lawyer – that cannot be accommodated by postmodernism: how to translate embodied experience into (legal) norms; generalise from the particular; seek consensus; and codify an endless potentiality in the form of law. (shrink)

In this paper, I suggest that the notion of qiyun (spirit consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience and work. By projecting Kant’s, and Schiller’s somewhat modified Kantian philosophy of aesthetic autonomy and the moral relevance of art into the qiyun-focused context, we shall see that reflection on (...) parallels and differences between the two cultural traditions helps to better understand the moral dimension of qiyun aesthetics. (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)

Biological research has the capacity to inform ethical discussions. There are numerous questions about the nature of sexual orientation, intelligence, gender identity, etc., and many of these questions are commonly approached with the benefit of implicit or explicit biological commitments. The answers to these sorts of questions can have a powerful impact on social, ethical, and political positions. In this project I examine the prospect of naturalizing ethics under the umbrella of developmental systems theory (DST). If one is committed to (...) DST, then those ideas involved in DST that steer biological research will also have implications for ethics. There has been much debate over whether certain human traits or attributes are the consequence of nature or nurture. This kind of question tends to be articulated in dichotomous terms where the focal point of the discussion is over which opposing causal mechanism asserts the most power over the development of these attributes. The debate places particular importance on such distinctions as that between gene and environment, and biology and culture. DST seeks to dismiss such dichotomous accounts. In this sense, DST is an attempt to do biology without these dichotomies. In the process, DST articulates a reconceptualized notion of "the natural." I am interested in how DST’s reconceptualization of the natural can inform a naturalistic approach to ethics. Thus, the aim of this project is to examine the ramifications of taking DST as a guiding principle in the naturalization of ethics. (shrink)

Many philosophers have objected to Kant’s account of duties regarding non-human nature, arguing that it does not ground adequate moral concern for non-human natural entities. However, the traditional interpretation of Kant on this issue is mistaken, because it takes him to be arguing merely that humans should abstain from animal cruelty and wanton destruction of flora solely because such actions could make one more likely to violate one’s duties to human beings. Instead, I argue, Kant’s account of duties regarding nature (...) grounds much stronger limitations on how humans may treat non-human animals and flora, since such duties are rooted in the imperfect duty to increase one’s own moral perfection. This duty proscribes actions affecting non-human nature that decrease one’s moral perfection, such as those that cause organisms unnecessary harm. Moreover, the duty to moral perfection prescribes (but does not strictly require) actions affecting non-human nature that increase one’s moral perfection, such as those that benefit organisms. Given this interpretation, I show that, contrary to a widely held view, Kant’s moral philosophy can ground a coherent and robust approach to environmental ethics. (shrink)

Kant’s critical theory on moral feeling can be divided into two stages: early and late. In the early stage, Kant was committed to accepting and transforming the traditional concept of moral feeling, while in the later stage he turned to developing his own unique theory on the topic. His beliefs about moral feeling changed between these two stages, both regarding the basic meaning of moral feeling and the function of moral feeling in moral philosophy. This paper argues that these shifts (...) help clarify the framework of Kant’s moral philosophy and introduce a new dimension to Kant’s definition of feelings and the relationship between sensibility and intellectuality. Namely, sensibility is not only determined by intellectuality but also has its unique initiative. Through acting on the body, intellectuality generates intellectual feelings, which in turn assist humans in realizing their intellectual purpose as a limited rational being. (shrink)

Kant famously made a distinction between actions from duty and actions in conformity with duty claiming that only the former are morally worthy. Kant’s argument in support of this thesis is taken to rest on the claim that only the motive of duty leads non-accidentally or reliably to moral actions. However, many critics of Kant have claimed that other motives such as sympathy and benevolence can also lead to moral actions reliably, and that Kant’s thesis is false. In addition, many (...) readers of Kant find the claim that we should deny moral worth to a dutiful action performed from friendly inclination highly counterintuitive. Moreover, Kantian commentators disagree about the status of actions in conformity with duty, some claim that these can be taken as equally morally worthy as those performed from duty, while others argue that they are not even permissible. -/- It has also been claimed that Kant’s theory of moral worth should be related to the theory of the Gesinnung developed in the Religion. Thus, some authors claim that, in order for an action to possess moral worth, the agent has to be unconditionally committed to morality, that is, the agent must possess a virtuous character or good fundamental maxim (i.e. a good Gesinnung). However, according to Kant’s radical evil thesis (that is, the thesis that man is evil by nature ), the default position for man is to possess an evil Gesinnung, i.e. a Gesinnung which is only conditionally committed to morality insofar as morality does not demand a great sacrifice of our own happiness. So, an unwelcome consequence of this line of interpretation is that in Kantian ethics morally worthy actions become very rare indeed. -/- The paper is divided in two parts. The first part aims to clarify why Kant thought that only actions from duty are morally worthy, replying to some common objections against Kant’s view. I argue that Kant’s non-accidental condition should not be understood in terms of reliability because such interpretation is incompatible with Kant’s theory of motivation and rational agency. I propose an alternative interpretation which supports Kant’ s claim that only the motive of duty leads nonaccidently to dutiful actions, and thus only actions from duty possess moral worth. I end by showing that although actions in conformity with duty are worthless from the moral point of view, they are not (in many cases) impermissible. The first part concludes that the criterion for the permissibility of actions is different to the criterion for the ascription of moral worth. Thus, rightness, which pertains to actions performed on maxims that can be willed as universal laws, and moral worth, which pertains to actions performed from a sense of duty, should be understood as two different levels of moral assessment. -/- The second part of the paper examines Kant’s conception of virtue with the aim of showing that although only agents with a virtuous character (good Gesinnung) will reliably act from duty, a person with an evil character (evil Gesinnung) could on frequent occasions act from duty. I argue that we should not deny moral worth to actions performed from duty even when the agent has an evil Gesinnung. Goodness of Gesinnung is not a necessary condition of the action of an agent possessing moral worth; reliability of motivation is necessary for the ascription of virtue but not for the ascription of moral worth. It follows that virtue, which refers to the agent’s character or fundamental maxim (i.e. the agent’s Gesinnung), and moral worth are also two different levels of moral assessment. The paper concludes that three levels of moral assessment can be distinguished in Kant’s ethical system: (i) rightness, (ii) moral worth and (iii) moral virtue. Moral virtue is the highest level of moral perfection for a human being. Striving towards virtue requires constant progress and effort and ultimately a ‘revolution of the heart.’ The important point is that even when we are still striving to achieve virtue (i.e. an unconditional commitment to morality), we can ascribe moral worth to actions performed by a genuine sense of duty. It turns out that, contrary to many influential interpretations, Kantian ethics is not merely concerned with the rightness or wrongness of particular actions nor is Kantian ethics primarily an ethic of virtue. Instead, Kant’s ethical system is complex and allows for different levels of moral assessment in which both an action-centred and agent-centred perspective can be integrated. (shrink)

Uno de los elementos más criticados de la Metafísica de las costumbres es el de la posibilidad de deberes éticos con uno mismo. En este artículo reviso las críticas más usuales y muestro cómo pueden refutarse desde la propia argumentación kantiana. Después señalo cómo Fichte, en su Doctrina de las costumbres, acepta los deberes con uno mismo, pero los reubica en el sistema de los deberes. Finalmente comento que la relectura fichteana parte de una confusión respecto del papel del agente (...) moral en primera persona en el ideal kantiano del reino de los fines. (shrink)

بررسی تبییین کانت از قوای تخیل و فاهمه در نقدهای اول و سوم.