Dans la troisièmeCritique, Kant prétend que la beauté est le symbole de la moralité et que la réflexion sur cette relation est un devoir. Cet article présente l’argument de Kant comme un double argument. Premièrement, l’expérience de la beauté renforce notre sentiment moral. Deuxièmement, à travers le jugement sur le beau, nous supposons que la nature poursuit des fins indéterminées, sur la base de quoi l’on pourrait concevoir que la nature coopère à nos fins pratiques. Ainsi, dans l’intérêt de la (...) culture morale et de la motivation morale, il est nécessaire de traiter la beauté comme le symbole spécial de la moralité. (shrink)

Journal of Philosophy of Education, EarlyView.

In this essay, I argue that a genius's creation consists of a special unity of free human activity and nature, whereby ‘nature’ signifies not just another aspect of, but rather something that transcends, creative subjectivity. This interpretation of a genius's creative process throws a new light on a special normative status of a genius's rule, i.e. its originality and exemplarity. With respect to the former, I demonstrate that because the organizing principle of the works of genius remains inscrutable to our (...) limited human understanding, a work of genius appears to the observer's limited cognitive capacities as undetermined and, hence, as contingent and original. With respect to the latter, I show how a genius must evolve within the context of her own tradition and how this ‘humbleness’ of a genius still allows for a multiplicity of co-existent schools or genres with their own distinct standards of excellence. -/- http://journals.cambridge.org/abstract_S1369415411000343. (shrink)

This paper argues that Kant presents two different accounts of beauty, one that applies properly to art and one that applies properly to nature. The judgment of beauty that applies properly to nature can be free and thus judged without concepts. The work of art, however, is judged beautiful when it expresses aesthetic ideas. This distinction then enables me to explain several problematic passages in Kant's text: those that serve to distinguish these two conceptions of beauty from one another as (...) well as those passages in which Kant views them as overlapping. With respect to the latter, I argue that Kant lays especial significance on cases where we apply the conception of artistic beauty to natural objects, as in doing so we view nature as expressing ideas that step beyond nature. (shrink)

The notion of aesthetic ideas is of great importance to Kant's thinking about art. Despite its importance, he says little about it. He characterizes aesthetic ideas as representations of the imagination and says that the gift of artistic genius is the inscrutable capacity to envision them. Furthermore, they are counterparts of rational ideas. Works of art thus sensibly present rational ideas; the pleasure they occasion is a consequence of the enriching process of reflection upon the wealth of content they sensibly (...) present. The purpose of this article is to ask whether all rational ideas have aesthetic ideas as counterparts, and so can be presented in art, or whether only some do and which. The answer should reveal what, for Kant, is the subject-matter of art. I argue that for Kant art is concerned with the range and variety of human freedom as well as with its highest fulfillment in morality. (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)

A comprehensive and practical study tool, introducing Kant's thought and key works and exploring his continuing influence.

Kant maintains that the only thing that is good in itself, and therefore good without limitation or qualification, is a good will. This is an objectionable claim in support of a controversial position. The problem is not just that the good will is not the only thing that is good in itself, which indeed it is not, but more importantly, that the good will is not so much a thing that is good in itself as it is the good kind (...) of a thing that is otherwise neither good nor bad in itself. The goodness of a good will is no more intrinsic than the goodness of a good act, good outcome, good attitude, good character, or good person. Nor is it even any more so than something as commonplace as a good laugh or a good cup of coffee. A good will, whatever else it may be, is a will that is good, much like how a good act is an act that is good, a good outcome is an outcome that is good, and so on with the other examples, not one of which is good for any reason other than the goodness predicated of the corresponding subject. This paper thus challenges Kant’s position on ontological grounds. It questions the validity of claiming intrinsic goodness for a complex construct whose goodness is, in fact, extrinsic to its substance. The objection is not that the good will might not turn out to be good after all, which is impossible by definition, designation, or stipulation, but that its goodness is axiomatic and derivative rather than intrinsic or fundamental. (shrink)

Examinaremos como surge, na Kritik der Urteilskraft, a discussão acerca do belo como símbolo do bem moral, a saber: na Dialética da faculdade de julgar estética, na segunda divisão da Crítica da faculdade de julgar estética. Traçaremos paralelo entre a antinomia do gosto e sua resolução com a antinomia da razão prática, tal como apresentada na Kritik der praktischen Vernunft. Pretendemos mostrar como ambas fazem recurso à distinção entre fenômenos e coisas em si como fonte de sua resolução. Discutiremos, em (...) seguida, como Kant apresenta a necessidade de sensibilização de ideias estéticas, e como o simbolismo permite tal feito. Além disso, vincularemos tais passos da argumentação de Kant à defesa do idealismo da finalidade. (shrink)