Kant’s Critique of the Power of Judgment is often interpreted in light of its initial reception. Conventionally, this reception is examined in the work of Fichte, Schelling and Hegel, who found in Kant’s third Critique a new task for philosophy: the construction of an absolute, self-grounding system. This paper identifies an alternative line of reception in the work of physiologists and medical practitioners during the 1790s and early 1800s, including Kielmeyer, Reil, Girtanner and Oken. It argues that (...) these naturalists called on Kant’s third Critique to solidify an experimental natural history that classifies organic form within a system of laws. Kant held both kinds of system in tension, which is why the third Critique remains a singular and provocative text. (shrink)

This paper offers a synoptic view of Kant's Critique of the Power of Judgement and its reception by the German Idealists. I begin by sketching Kant's conception of how its several parts fit together, and emphasize the way in which the specifically moral motivation of Kant's project of unification of Freedom and Nature distances it from our contemporary philosophical concerns. For the German Idealists, by contrast, the CPJ's conception of the opposition of Freedom and Nature as defining the overarching (...) task of philosophy provides a warrant and basis for bold speculative programmes. The German Idealist development therefore presupposes Kant's failure in the CPJ to resolve the problem of the relation of Freedom and Nature. What is fundamentally at issue in the argument between Kant and his successors is the question of the correct conception of philosophical systematicity and in this context I reconstruct Kant's defence of his claim to philosophical finality. (shrink)

In this paper, I advance a new interpretation of the argumentative structure of the third Critique, which in turn clarifies the connection between its two apparently unrelated parts. I propose to read the third Critique as a response to Kant’s question of hope, which concerns the satisfaction of reason’s practical and theoretical interests. On this proposal, while the first part on aesthetics describes what we—as possessors of theoretical reason – may hope for, the second part, on (...) teleology, describes what we – as possessors of practical reason – may hope for. The main question of the third Critique is, ‘What may we hope if we act as we should, i.e. act rationally?’ Kant’s implicit answer is, ‘to attain the ideals of reason, which leads to happiness as a consequence of it.’ This novel reconstruction of the argumentative structure of the third Critique contributes to the literature by (i) explaining how the two parts of the third Critique on aesthetics and teleology are connected, (ii) clarifying how the ideals of reason are connected to hope and happiness, and (iii) showing how the spheres of nature and freedom can be synthetically unified through the faculty of judgment. (shrink)

This paper explores an analogy between two approaches to teleology in nature and two theories of authorship. I argue that Spinoza’s attempt (as Kant criticizes it in the Third Critique) to explain all natural unity, and explain away apparent teleological unity, in terms of inhering in the same subject (God) or proceeding causally from God’s essence mirrors the view Proust lays out in the essay “Gustave Moreau” that the features of a work of art are unified in virtue (...) of occurring together in, and proceeding from the laws of, the artist’s inner soul. Meanwhile, the strategy Kant favors for understanding interdependent natural systems like organisms—provisionally considering them as purposively designed—resembles the one Alexander Nehamas recommends in “The Postulated Author” (1981) for interpreting a work of art: imagining the agent who could have intended all its features. I propose that this analogy sheds light on the unity of the two parts of the Third Critique by pointing to the similarity between interpreting beautiful objects and interpreting nature. (shrink)

ABSTRACT In this paper, I advance a new interpretation of the argumentative structure of the third Critique, which in turn clarifies the connection between its two apparently unrelated parts. I propose to read the third Critique as a response to Kant’s question of hope, which concerns the satisfaction of reason’s practical and theoretical interests. On this proposal, while the first part on aesthetics describes what we—as possessors of theoretical reason – may hope for, the second part, (...) on teleology, describes what we – as possessors of practical reason – may hope for. The main question of the third Critique is, ‘What may we hope if we act as we should, i.e. act rationally?’ Kant’s implicit answer is, ‘to attain the ideals of reason, which leads to happiness as a consequence of it.’ This novel reconstruction of the argumentative structure of the third Critique contributes to the literature by (i) explaining how the two parts of the third Critique on aesthetics and teleology are connected, (ii) clarifying how the ideals of reason are connected to hope and happiness, and (iii) showing how the spheres of nature and freedom can be synthetically unified through the faculty of judgment. (shrink)

In the third Critique Kant details an aesthetic operation of judgment that is surprising considering how judgment functioned in the first Critique. In this book, I defend an understanding of Kant’s theory of Geschmacksurteil as detailing an operation of the faculties that does not violate the cognitive structure laid out in the first Critique. My orientation is primarily epistemological, elaborating the determinations that govern the activity of pure aesthetic judging that specify it as a "bestimmte" type (...) of judgment without transforming it into "ein bestimmendes Urteil". I focus on identifying how the logical functions from the table of judgments operate in the pure aesthetic judgment of taste to reveal "the moments to which this power of judgment attends in its reflection". In the course of doing so, a picture emerges of how the world is not just cognizable in a Kantian framework but also charged with human feeling, acquiring the inexhaustible, inchoate meaningfulness that incites "much thinking". The universal communicability of aesthetic pleasure serves as the foundation that grounds robust intersubjective relations, enabling genuine connection to others through a shared a priori feeling. (shrink)

In the second half of the third Critique, Kant develops a new form of judgment peculiar to organisms: teleological judgment. In the Appendix to this text, Kant argues that we must regard the final, unconditioned end of creation as human freedom, due to reason's demand that we regard nature as a system of ends. In this paper, I offer a novel interpretation of this argument, according to which judgments of freedom within nature are possible as instances of teleological (...) judgment. Just as individual organisms are to be regarded as governed by supersensible teleological laws, so too is nature as a whole to be regarded as given laws from a supersensible ground. This supersensible ground in the case of nature as a whole is freedom. Freedom and teleological judgments are to be regarded as unifiable with mechanism in the supersensible, and we are to subordinate mechanical explanations to teleological judgments as well as to freedom. This interpretation makes sense both of Kant's claim that he overcomes the “incalculable gulf” between nature and freedom in the third Critique, and also of the location of this argument, as following after and relying on the results of the Dialectic of Teleological Judgment. (shrink)

The problem of generation has been, for Kant scholars, a kind of test of Kant's successive concepts of finality. Although he deplores the absence of a naturalistic account of purposiveness (and hence of reproduction) in his pre-critical writings, in the First Critique he nevertheless presents a "reductionist" view of finality in the Transcendental Dialectic's Appendices. This finality can be used only as a language, extended to the whole of nature, but which must be filled with mechanistic explanations. Therefore, in (...) 1781, mechanism and teleology are synonymous languages. Despite the differences between its two authors, the Wolffian embryology, exposed in the Theorie der Generation (1764), and debated by Blumenbach's dissertation on Bildungstrieb, enabled Kant to resolve the philosophical problem of natural generation, and subsequently to determine what is proper to the explanation of living processes. Thus, in the Third Critique he could give another account of purposiveness, restricted to the organism, and more realistic than his former one; this philosophical reappraisal of purposiveness in embryology required the new concept of "simply reflexive judgement", and the correlated notion of "regulative principle". Thus framed, this naturalized teleology provided some answers to the Kantian problem of order and contingency after the end of classical (Leibnizian) metaphysics. (shrink)

Kant's Critique of Judgment seems not to be an obviously unified work. Unlike other attempts to comprehend it as a unity, which treat it as serving either practical or theoretical interests, Kristi Sweet's book posits it as examining a genuinely independent sphere of human life. In her in-depth account of Kant's Critical philosophical system, Sweet argues that the Critique addresses the question: for what may I hope? The answer is given in Kant's account of 'territory,' a region of (...) experience that both underlies and mediates between freedom and nature. Territory forms the context in which purposiveness without a purpose, the Ideal of Beauty, the sensus communis, genius and aesthetic ideas, and Kant's conception of life and proof of God are best interpreted. Encounters in this sphere are shown to refer us to a larger, more cosmic sense of a whole to which both freedom and nature belong. (shrink)

This chapter contains sections titled: Why is there a Third Critique? The Critique of the Aesthetic Power of Judgment The Critique of the Teleological Power of Judgment Conclusion.

In recent years, nonconceptual content theories have seen Kant as a reference point for his notion of intuition (§§ 1-3). This work aims to dismiss the possibility that intuition is provided with an autonomous function of de re knowledge. To this end, it will explore certain epistemological points that emerge from Garroni’s reading of the Third Critique in the conviction that they provide a suitable context to verify the presence of autonomous, epistemically nonconceptual content in the transcendental system (...) (§§ 4-5). It is here, in fact, that Kant discusses those cases where intuition is given without bringing into play the conceptual component. As Garroni posits, in this frame of reference, such content cannot subsist without the interplay between aesthetic and conceptual dimensions (§§ 6-7). Long before the development of the debate on Kantian nonconceptualism, and during the period in which the Kantian debate on the epistemic considerations contained in the Third Critique was developing deeply for the first time, Garroni had already identified a theoretical position on these issues, which can be labelled aesthetic conceptualism, thanks to his fundamentally epistemological reading of the Third Critique. (shrink)

Kant, in his third Critique, confronts the issue of how rule-governed objective judgement is possible. He argues that it requires a particular kind of aesthetic response to one's experience. I dub this response 'the Feeling of Unity', and I raise the question whether it is a type of inexpressible knowledge. Using David Bell's account of these matters as a touchstone, I argue that it is.

This paper deals with the so-called “external history” of the origin of Critique of the power of judgment that is based primarily on the philosopher’s correspondence in the period between May 1787 and October 1789. Two letters from Kant to Reinhold (28.12.1787 and 12.05.1789) as well as modifications in the interpretation of the term “aesthetics” in the first Critique (KrVA 22, B 35-36) are crucial for the evolution of the project Critique of Taste in the book (...) class='Hi'>Critique of the Power of Judgment. Special attention was paid to the debate between some modern scholars and editors about the importance of the reports on ‘Grundlegung’ / ‘Grundlage’ of Critique of Taste in the initial phase of work on the text. However, the available evidence does not allow us to reconstruct the “internal history” of the development of Kant’s thought during the period of writing the third Critique. Some modern scholars try to establish other objective criteria for this kind of reconstruction by identification in the text of Critique direct or hidden hints or citations to the literature of the 18th century. The author considers that the use of so-called “reflections” from the philosopher’s manuscript heritage, which can be seen as the formation and development of certain concepts of Kant’s theory, can be fruitful. The well-known problem of dating the reflections can be partially solved if terminus a quo will be not the published works, but Kant’s lectures on anthropology and logic taught at that time. (shrink)

What is it that we encountered with in our aesthetic experience of natural beauty? Does nature “figuratively speaks to us in its beautiful forms”, 2 to use Kant’s phrasing in the third Critique, or is it merely our way of interpreting nature whether this be its purpose or not? Kant does not answer these questions directly. Rather, he leaves the ambiguity around them by his repeated use of terminology of ciphers when it comes to our aesthetic experience in (...) nature. This paper examines Kant’s terminology of ciphers in the Critique of Judgment and demonstrate through it the intimate link aesthetic experience in natural beauty has with human morality. A link whose culmination point is embodied in the representation of beauty as a symbol of morality. (shrink)

Emmanuel Levinas’s doubts about the ethical value of artistic beauty have been widely acknowledged by the vast majority of Levinas’s commentators. However, though it is true that in “Reality and Its Shadow” Levinas persistently rebukes artistic beauty for its nonethicality, it is undeniable that he at least upholds the value of artistic criticism and modern literature. In this article I intend to relate Levinas’s exploration of the possibility of spiritual–ethical teaching in literature to Immanuel Kant’s reflections on the relation between (...) the feeling of beauty, that of sublimity, and sensible feeling in his third Critique. This up-close comparative examination fosters understanding of Levinas’s religious and philosophical approach to the sublime elements in some literary works, especially those of Fyodor Dostoevsky. (shrink)

This dissertation aims at forging an archetectonic link between Kant's first and third Critiques within a cognitive-semantic framework. My aim is to show how the major conceptual innovations of Kant’s third Critique can be plausibly understood in terms of the theoretical aims of the first, (Critique of Pure Reason). However, unlike other cognition-oriented approaches to Kant's third Critique, which take the point of contact between the first and third Critique's to be the (...) first Critique's Transcendental Analytic, I link these two works via the first Critique's Transcendental Dialectic, specifically its discussions of the "ideas of pure reason." -/- According to Kant, the “ideas of pure reason” (IPRs) — viz., the notions of self, world-whole, and God — are innate content-bearing entities representing three types of transempirical object, none of which are possible objects of cognition. However, although Kant denies that these rather unique content-bearers can be used for purposes of “speculative cognition,” he does think that they have an internal functional value for human cognitive systems. Although under my analysis of their functional value the IPRs subserve a highest-order aim which derives from theoretical reason — namely, to ground and optimize cognitive systematicity — their directive content in fact renders their implementation(thus their form of intentionality) more characteristic of practical reason. Kant’s positive account of reason’s “interest” in and use of the IPRs exhibits a kind of cognitive pragmatism. -/- Of utmost concern to the cognitive-semantic enterprise, as I conceive it, is the development of (what might be called) a metaphysics of intentionality. A `metaphysics of intentionality', as I use the term, refers to a coherent set of postulative propositional cognitions (or, at any rate, content-bearing entities) implemented, first, for the sake of rationally explaining the phenomenological unity and object-directed character of our perceptual states and, second, to explain why the objects represented in such states are, or must be, law-governed and thus necessarily amenable to scientific investigation. On my view, the discussions in Kant’s third Critique nontrivially contribute to the development of a metaphysics of intentionality and thus to the larger cognitive-semantic enterprise of Kant's first Critique, and it is this link that lends Kant's third Critique a cognitive significance. -/- . (shrink)

In this essay, I respond to Nick Trakakis’ “A Third (Meta-)Critique.” This critique is directed against my argument concerning the inadequacy of the traditional theistic argument from free will. I contend that the argument from free will does not adequately explain the distribution of moral evil in the world. I maintain that the third critique, like Trakakis’ earlier critiques, is unconvincing. I remain convinced that my original argument regarding the inadequacy of the traditional argument from (...) free will is compelling. The argument from freedom of the will, considered in itself, is unpersuasive. (shrink)

Kant claims that the faculty of judgment and the Critique of Judgment are necessary for the completion of the critical system. He states that judgment has a special role to play within the critical system. This view is reiterated by commentators such as Vleeschauwer who says that the third Critique “truly brings to completion the whole Critical philosophy” and Macmillan who calls the third Critique “the ‘crowning phase’ of Critical Philosophy.”.

In this review essay, I discuss three recent books on Kant's third Critique: Kant and the Claims of the Empirical World by Ido Gieger; Kant on Freedom, Nature, and Judgment by Kristi Sweet; and Kant’s Worldview: How Judgment Shapes Human Comprehension by Rudolf Makkreel.

Arendt’s reading of Kant’s aesthetics as political theory has proven contentious, as exegesis regarding the Critique of the Power of Judgment and still more as description of the concerns and norms of political action. Although Arendt’s politicisation of aesthetics is more fraught than she at times admits (but less reckless than some of her critics maintain while also more anarchic than some of her defenders acknowledge), I argue her insight into the republican promise of the model of non–conformist sociability (...) that Kant discerns among aesthetic judges is worth securing. Arendt appeals to Kant’s sensus communis, pure aesthetic judgement, impure aesthetic judgement and works of art in order to make sense of a mode of political sociability that avoids both atomisation and uniformity. For Arendt, the various ways political history and philosophy have conceived political bodies have been less adroit at preserving the openness of the political than Kant’s aesthetic community. (shrink)

I argue that in his aesthetics, Kant puts forward arguments that help to answer the question of whether he is a conceptualist or a non-conceptualist. The current debate on Kantian conceptualism and non-conceptualism has completely overlooked the importance of Kant’s aesthetics. There are two candidates for non-conceptuality in Kant’s aesthetics. First, non-conceptual content plays a crucial role in aesthetic evaluation. Second, non-conceptual content has a systematic explanatory function in the theory of aesthetic creation of the genius of art. Accordingly, my (...) argument proceeds in two steps: In first analyse the role of non-conceptual content in aesthetic evaluation, i.e., Kant’s claim that aesthetic experience is cognition of a special kind that does not bear on conceptual activities. In then look at the role of non-conceptual content in the genius’s creation of artwork. I argue that art production does not imply conceptual activity and therefore seems to count as a second systematic instance of Kantian non-conceptualism. If my argument is correct, then Kant’s aesthetics implies non-conceptualism with respect to aesthetic evaluation but does not in any objective sense with respect to aesthetic creation. (shrink)

Kant's treatment of pure aesthetic judgement can ignore ugliness, since an analytic of the ugly, according to a recent essay by Paul Guyer, uncovers the aesthetic impurity of the criteria against which we judge ugliness. Free beauty, as Kant expounds it, does not admit a contrary, and hence a Kantian account of ugliness, such as Guyer's, must look elsewhere in order to scrabble together terms for its definition. Yet if we recognise the ugly by its unsuitability as an object of (...) pure contemplation, then we have made a disinterested judgement of free ugliness. The pleasure of the harmony of the faculties, which is a pleasure in the way the world and our faculties fit together, observes itself contradicted by ugliness. (shrink)

In this paper I offer a selective, systematic rather than historical account of Merleau-Ponty’s highly complex relation to classical German philosophy, focussing on issues which bear on the question of his relation to transcendentalism and naturalism. I argue that the concerns which define his project in Phenomenology of Perception are fundamentally those of transcendental philosophy, and that Merleau-Ponty’s disagreements with Kant, and the position he arrives at in The Visible and the Invisible, are helpfully viewed in light of issues which (...) Merleau-Ponty identifies as raised by Kant’s Critique of the Power of Judgement, and Schelling’s conversion of Kantian idealism into a Real-Idealismus. Finally I address the question of whether, and on what basis, Merleau-Ponty’s claim to have surpassed systematic philosophy can be defended. (shrink)

The first comprehensive study of the roots of the concept of genius in Kant's understanding of nature and his notion of the artist.

Kant’s dualism in anthropology and morality is said to be bridged only by means of a teleology that seems to betray the historical constitution of its subjectivity. And yet the Kantianarticulation of problems of theoretical and practical reason can be explored only insofar as they help us understand the correlated issues of the unity of reason, the relation of aesthetics and ethics in the light of the three Critiques, and the teleological conception of history. In this paper, I argue for (...) a teleological reading of the systematic architectonic so as to make sense of the concept of purposiveness as the a priori principle of judgment in its logical, aesthetic, and teleological reflection and of the unifying, a priori principles of each faculty–namely, conformity to law, final purpose, and conformity to purpose or purposiveness – respectively dealt with in the three Critiques. (shrink)

Disinterring Kant -- Kant's first critique and the problem of reification -- The aesthetic, the beautiful and praxis -- The aesthetic and class interests -- The sublime in Kant's philosophical architecture -- Labour, the aesthetic, and nature -- On Marxism and metaphor -- In the laboratory of Kant's aesthetic.

Kant’s dualism in anthropology and morality is said to be bridged only by means of a teleologywhich seems to betray the historical constitution of its subjectivity. And yet the Kantianarticulation of problems of theoretical and practical reason can be explored only insofar asthey help us understand the correlated problems of the unity of reason, the relation of aestheticsand ethics in the light of the three Critiques, and the teleological conception of history.In this paper, I argue for a teleological reading of (...) the systematic architectonic so as tomake sense of the concept of purposiveness as the a priori principle of judgment in its logical,aesthetic, and teleological reflection and of the unifying, a priori principles of each faculty–namely, conformity to law, final purpose, and conformity to purpose or purposiveness(Gesetzmäßigkeit, Endzweck, Zweckmäßigkeit) – respectively dealt with in the three Critiques. (shrink)

Do claims of taste function as validity claims? Our ordinary use of aesthetic notions suggests as much. When I assert that Rodin’s Camille Claudel is ‘beautiful’ I mean my claim to be, in a sense, correct. I expect others to concur and if they do not I think that they are mistaken. But am I justified in attributing an error to the judgment of someone who, unlike me, does not find Rodin’s Camille Claudel beautiful? Not obviously. For it looks, on (...) the other hand, that my assertion “The sculpture of Camille Claudel is beautiful” is not an assertion about a property of that sculpture, not, that is, about a feature of the world which exists for others as well as for me. Quite the opposite, I seem to base my claim on a subjective response, on a certain feeling of mine. I maintain that the sculpture of Camille Claudel is ‘beautiful’ because it produces a particular effect upon me, namely it pleases me aesthetically. But how can the feeling of pleasure, being a subjective response on my part, serve as a normative ground for a claim? (shrink)

Heidegger’s discussions of beauty in the 1930s and ’40s arguably have more to do with a confrontation with Hegel than with a revisiting of the question of how best to analyse our experience of the beautiful. Beauty, for Heidegger as for Hegel, takes its definition from truth. At issue is a forcible rewriting of the harmony of the faculties to which Kant appeals in his defence of pure aesthetic judgements. The highest truth, and the truth of beauty, lies in a (...) proper understanding of harmony, whether as the comprehensive reconciliation of the absolute Idea or as the non-closure in which truth as unconcealment remains contested by concealment. While neither Hegel nor Heidegger abides by the subjectivism of Kant’s aesthetics, insisting instead that beauty is more than a mere feeling, Hegel’s beauty as reconciliation and Heidegger’s beauty as strife both attest to the ongoing sway of Kant’s harmony of the faculties. (shrink)

The present paper begins by attempting to show what predicate “beautiful” means when used in synthetic a priori judgements of taste regarding the objets of nature, and lays out how Kant justifies the claims conveyed by those judgments. It then examines the meaning and the claims of the judgments of taste regarding beauty in objets of art, and finishes by focusing attention on judgments of the beauty of musical compositions.