Kant's Transition Project and Late Philosophy is the first study to provide a close reading of the connection between texts written by Kant during 1796 and 1798. Connecting Kant's unfinished book project, the Opus postumum, with the Metaphysics of Morals, it identifies and clarifies issues at the forefront of Kant's focus towards the end of his life. Labelled by Kant as the “Transition Project”, the Opus postumum generates debate among commentators as to why Kant describes the project as filling a (...) “gap” within his system of critical philosophy. This study argues for a pervasive transition project that can be traced through Kant's entire critical philosophy and is the key to addressing current debates in the scholarship. By showing that there is not only a Transition Project in Kant's theoretical philosophy but also a Transition Project in his practical philosophy, it reveals why an accurate assessment of Kant's critical philosophy requires a new understanding of the Opus postumum and Kant's parallel late writings on practical philosophy. Rather than seeing Kant's late thoughts on a Transition as afterthoughts, they must be seen at the centre of his critical philosophy. (shrink)

The series Rethinking Kant, now in its fifth volume, has become a mirror of Kantian studies in North America. It gathers papers presented at the various study groups of the North American Kant Society, along with contributions from hosts, session chairs, and keynote speakers. Because of its broad and unique composition, it offers a sample of a whole generation of Kantian thought, ranging from recent Ph.Ds, to up and coming young scholars, to some well-established and influential players in the field. (...) Contributions are subjected to strenuous peer review, and are, without exception, examples of the most innovative and cutting-edge research done in this area. Any one interested in taking the pulse of contemporary Kantian scholarship and engage in the humbling, but rewarding task of rethinking Kant, should consider it. (shrink)

One thing to expect from a theory of absolute music is that it explains what makes it so significant to us. Kant rightly observes that the essence of absolute music is our affective response to it. Yet none of the standard 18 th century theories, arousal theory and aesthetic rationalism, can explain both the universality of a judgment of taste and its subjective emotional content. The paper argues that Kant’s own aesthetic theory of aesthetic ideas is on the right path (...) for explaining the emotive significance of music, but that Kant does not further pursue this route because his interest in a “theory of music” is only peripheral to his systematic interest as a transcendental philosopher. For both philosophical and historical reasons, Kant does not have a “theory of music.” Nevertheless, if we free Kant’s conception of aesthetic idea and its restriction to Geist from the background of its 18th century humanism, then Kant’s aesthetics of free play becomes a good theory to account for the broad variety of emotions in absolute music as a fine art proper. (shrink)

The series Rethinking Kant bears witness to the richness and vitality of Kantian studies. The series offers an alternative publishing venue of the highest quality, attractive to scholars who want to reach a readership of specialists and non-specialist alike. The collection is unique in its kind, for it garners papers from a whole generation of Kantian thought, ranging from doctoral students and recent PhDs to well-established thinkers in the field. This is the third volume in the series. It contains papers (...) from three regional study groups of the North American Kant Society, and thus takes the pulse of current Kantian scholarship. (shrink)