Ido Geiger's paper ‘What it is the Use of the Universal Law Formula of the Categorical Imperative?’ is part of a growing trend in Kant scholarship, which stresses the significance of the rational competence of ordinary human beings. I argue that this approach needs to take into account that the common agent is an active reasoner who has the means to find out what she ought to do. The purpose of my paper is to show how universality already figures in (...) the active reasoning of pre-theoretical agents in the form of a common universalization test. I present textual evidence for this test, and argue that this conception does not present pre-theoretical moral cognition in an overly intellectualistic or mechanistic way. Finally, I discuss how, on the pre-theoretical level, universalization relates to humanity or a rational agent's special status. Universalization is present to common agents in the form of procedures or questions that we ask ourselves, humanity as an awareness of certain particularly blatant violat.. (shrink)

Name der Zeitschrift: Kant-Studien Jahrgang: 109 Heft: 1 Seiten: 72-100.

In this paper I argue that, on Kant's view, the work of genius serves as a sensible exhibition of the Idea of the highest good. In other words, the work of genius serves as a special sign that the world is hospitable to our moral ends and that the realization of our moral vocation in such a world may indeed be possible. In the first part of the paper, I demonstrate that the purpose of the highest good is not to (...) strengthen our motivation to accept the moral law as binding for us but, rather, to strengthen our motivation to persist in our already existent moral dispositions. In the second part, I show that the works of genius exhibit the Idea of the highest good and, consequently, strengthen our hope in its realization. Drawing on the results of the second part, the third part of the paper demonstrates that beauty, of both art and nature, symbolizes morality in a more substantive sense than that suggested by Henry Allison's “formalistic” interpretation. Since, on my view, fine art in Kant serves as a sensible representation of an undetermined conceptual content, or the Idea of the highest good, the fourth part of the paper addresses the vexed question of whether Kant's account of fine art already anticipates the cognitive role later attributed to it by the German Idealists. (shrink)

There is an apparent tension between Immanuel Kant’s model of moral agency and his often-neglected philosophy of moral education. On the one hand, Kant’s account of moral knowledge and decision-making seems to be one that can be self-taught. Kant’s famous categorical imperative and related ‘fact of reason’ argument suggest that we learn the content and application of the moral law on our own. On the other hand, Kant has a sophisticated and detailed account of moral education that goes well beyond (...) the kind of education a person would receive in the course of ordinary childhood experience. The task of this paper will be to reconcile these seemingly conflicting claims. Ultimately, I argue, Kant’s philosophy of education makes sense as a part of his moral theory if we look not only at individual moral decisions, but also at the goals or ends that these moral decisions are intended to achieve. In Kant’s case, this end is what he calls the highest good, and, I argue, the most coherent account of the highest good is a kind of ethical community and end of history, similar to the Groundwork’s realm of ends. Seen as a tool to bring about and sustain such a community, Kant’s philosophy of moral education exists as a coherent and important part of his moral philosophy. (shrink)

In the Critique of the Power of Judgment, Kant offers a theory of artistic expression in which he claims that a work of art is a medium through which an artist expresses an ‘aesthetic idea’. While Kant’s theory of aesthetic ideas often receives rather restrictive interpretations, according to which aesthetic ideas can either present only moral concepts, or only moral concepts and purely rational concepts, in this article I offer an ‘inclusive interpretation’ of aesthetic ideas, according to which they can (...) present not only moral and purely rational concepts but also empirical concepts and emotions related to our ordinary experience. Although this latter class of experience-oriented aesthetic ideas has been neglected, I argue that recognizing the role it plays in Kant’s account is crucial for understanding his views not only of artistic production and our experience of art but also of the value he takes art to have for our ordinary experience of the world, others, and our own selves. What is more, insofar as the inclusive interpretation brings to light Kant’s acknowledgement of the close connection between experience and art, it reveals that his overall view of art is more plausible than is often thought, and recommends it as worthy of further consideration. (shrink)

Many of its students are first drawn to Kant's practical philosophy because it seems to promise a theory of morality both objective and practicable. Moral theory, as Kant conceives of it, must abst...

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)

According to Korsgaard’s very influential interpretation, moral normativity follows from a commonly accepted conception of rational agency, namely, the capacity to set ends and pursue them or humanity. The paper argues that humanity is not the source of moral normativity. Taking the exercise of your freedom in pursuit of your ends to be justified commits you to acknowledging the equal claim of others to see themselves as justified in the pursuit of their ends. This entails the equal restriction of the (...) freedom of each to ensure maximal freedom for all. But this is precisely what Kant thinks of as the state of right. In contrast, the paper claims that the second formula of the categorical imperative commands making the humanity of rational beings who are assumed to possess the capacity to act morally or personality, into our end, precisely because they are assumed to possess this distinct rational capacity. (shrink)

Martin Sticker's discussion of the common moral agent contains much that I find insightful, true and significant. As a response to his paper, I focus on two important issues that nevertheless separate us: Sticker claims that knowing our duty can be mere passive awareness and that it indeed is passive as awareness of the special status of humanity. I deny that knowing our duty is ever passive. He further claims that the common universalization test is the paradigmatic way active agents (...) acquire moral knowledge. I argue that Sticker appears to construe universalization as a formal test that presupposes no moral knowledge and that so construed the test cannot serve for acquiring moral knowledge. (shrink)

This paper sympathetically examines the neglected virtue-centric idea that the primary location of beauty is in bodily expressions of human virtues, so that things like buildings are beautiful only because of an appropriate relationship they have to beautiful people. After a brief history of the idea as articulated by, for example, Kant, it is then distinguished from accounts of beauty with which it might be confused, such as the view that something is beautiful only if it helps to instil virtue. (...) In the central part of the paper, the attractions of virtue-centrism are articulated. These primarily consist in its explanatory power. It is argued, too, that virtue-centrism steers attractively between a rigidly conservative attitude towards beauty and an anything goes one. The final sections respond to some likely objections, the last of which provides an opportunity for correcting an impression that my formulation of the virtue-centrist idea might have given. CiteULike Connotea Del.icio.us What's this? (shrink)