Abstract

Heidegger’s Kant and the Problem of Metaphysics (1929) turns on a reading of the productive imagination in the first edition of the Critique of Pure Reason (1781). In siding with the imagination, Heidegger declares his dissent from the neo-Kantianism of his contemporaries. Yet, when Heidegger subsequently elaborates his philosophy of art in the 1930s, he is dismissive of the imagination altogether. His earlier partisanship was qualified. In Kant and the Problem of Metaphysics, Heidegger treats the productive imagination of Kant’s critical period as still a step short of Heidegger’s own problem of the time of finite human beings. German Idealism’s step past Kant is, for Heidegger, a step beyond, but in the wrong direction. The aesthetics of German Idealism builds on the unification of experience and conceptuality wrought by the productive imagination in its transcendental use, thereby inscribing in the work of art a neglect of finitude that Heidegger will dispute. If what Heidegger holds against the imagination is its transcendental use, the fully empirical concept of the imagination in Kant’s precritical writings invites reassessment in light of an engagement with finitude. I will show it has particular promise for rehabilitating the imagination in a Heideggerian philosophy of art.