Paul Guyer

The essays collected in this volume by Paul Guyer, one of the world's foremost Kant scholars, explore Kant's attempt to develop a morality grounded on the intrinsic and unconditional value of the human freedom to set our own ends. When regulated by the principle that the freedom of all is equally valuable, the freedom to set our own ends -- what Kant calls "humanity" - becomes what he calls autonomy. These essays explore Kant's strategies for establishing the premise that freedom is the inner worth of the world or the essential end of humankind, as he says, and for deriving the specific duties that fundamental principle of morality generates in the empirical circumstances of human existence. The Virtues of Freedom further investigates Kant's attempts to prove that we are always free to live up to this moral ideal, that is, that we have free will no matter what, as well as his more successful explorations of the ways in which our natural tendencies to be moral -- dispositions to the feeling of respect and more specific feelings such as love and self-esteem -- can and must be cultivated and educated. Guyer finally examines the various models of human community that Kant develops from his premise that our associations must be based on the value of freedom for all. The contrasts but also similarities of Kant's moral philosophy to that of David Hume but many of his other predecessors and contemporaries, such as Stoics and Epicureans, Pufendorf and Wolff, Hutcheson, Kames, and Smith, are also explored.

Understanding provides one form of unity in our experience—let us say, at least for the sake of illustration, that form of unity constituted by the capacity to assign any given experiences a uniquely determined place relative to any other given experiences in the ideal chronology of our experience as a whole. But the unity of experience does not, as Kant sees things, exhaust the forms of unity among our representations which we must seek. In addition to the unity of experience sought by understanding, Kant suggests, the faculty of reason aims at “the unity of reason”. But what might Kant mean by the unity of reason? Two ways to interpret this phrase readily come to mind. First, we might take it to imply that reason has a single domain of application: there is only one species of pure reason. Second, we might take it to connote the uniqueness of the way in which pure reason functions or the product it aims to yield: pure reason aims to introduce a single special sort of unity into whatever it is to which it is appropriately applied.

In this paper, however, I will argue that Kant’s restriction of interest to natural rather than artistic beauty should not be taken as a basic aspect of his aesthetic theory, and thus need not affect our assessment of that theory’s more basic claims. First, I will suggest that Kant’s theory of intellectual interest is not really necessary to explain what we ordinarily mean by an interest in beautiful objects—a desire to preserve them for repeated experience, a motivation for our efforts to see them and our willingness to pay for them, and the like—and that the exclusion of art from a special moral interest thus does not leave our general interest in its objects unexplained. But, I will also argue, Kant’s own theory of art and our response to it actually allows beauties of art to have just as much claim to this intellectual interest as do objects of natural beauty. Kant’s differentiation of natural and artistic beauty with regard to moral interest turns on an ambiguity in the concept of nature itself, as well as on Kant’s assumptions that art, unlike nature, is a product of an intention to produce pleasure through determinately conceived objects, and that our response to art, again unlike that to nature, must be connected to a recognition of its intentionality. But Kant’s own theory of artistic creation—his theory of genius—undermines the force of the first of these assumptions, for it teaches us that art, while indeed the product of intentional activity, also calls upon the use of a natural talent that deserves our admiration as much as any other gift of nature. In other words, Kant’s own view of the complexity of artistic intentions forbids the simple differentiation of art and nature that he employs in §42, and while Kant’s theory of aesthetic response does not clearly preclude the view that our response to art must take into account the intentions with which art is produced, it also hardly entails this view. This may have been obscured from Kant by the indeterminacy of his own key concept of the freedom of the imagination, but, I will suggest, this freedom might actually have to be extended to the case of art if it is to work even in Kant’s paradigmatic case of natural beauty. Thus, on Kant’s own account the beauties of nature and of art are far more intimately connected, both in their own ontological status and in our response to them, than his theory of intellectual interest concedes.

This volume contains essays that examine infinity in early modern philosophy. The essays not only consider the ways that key figures viewed the concept. They also detail how these different beliefs about infinity influenced major philosophical systems throughout the era. These domains include mathematics, metaphysics, epistemology, ethics, science, and theology. Coverage begins with an introduction that outlines the overall importance of infinity to early modern philosophy. It then moves from a general background of infinity up through Kant. Readers will learn about the place of infinity in the writings of key early modern thinkers. The contributors profile the work of Descartes, Spinoza, Leibniz, and Kant. Debates over infinity significantly influenced philosophical discussion regarding the human condition and the extent and limits of human knowledge. Questions about the infinity of space, for instance, helped lead to the introduction of a heliocentric solar system as well as the discovery of calculus. This volume offers readers an insightful look into all this and more. It provides a broad perspective that will help advance the present state of knowledge on this important but often overlooked topic.

I argue that Kant's claim in the “Transcendental Aesthetic” of the Critique of Pure Reason that space and time are immediately given in intuition as infinite magnitudes is undercut by his general theory of mathematical knowledge. On this general theory, pure intuition does not give objects of any determinate magnitude at all, but only forms of possible objects. Specifically, what pure intuition itself yields is the recognition that any determinate space or time is part of a larger one, but it requires an inference of reason to go from that to the claim that space and time are infinite. I further argue that this result is consistent with Kant's claim in the second-edition “Transcendental Deduction” that the unity of space and time are the products of synthesis, but also means that the unity of space and time as objects cannot be used a premise in the Deduction but can only be regarded as a conclusion of the deduction and the following “System of Principles.”

There have been more articles on Kant's aesthetics in the history of the Journal than on the next four leading figures in the history of aesthetics combined. I argue that this is because Kant's aesthetic theory consists of multiple levels of theory that makes it accessible to and important for multiple approaches to the subject itself. Continuing issues for both Kant interpretation and for aesthetics in general arise at each of these levels, including the plausibility of the claim to universal validity in judgments of taste, the nature of the free play of the imagination in aesthetic experience, the character of aesthetic pleasure, the proper objects of aesthetic judgment, and the moral significance of aesthetic experience.

The Critique of the Power of Judgment is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume, first published in 2000, includes: the indispensable first draft of Kant's introduction to the work; an English edition notes to the many differences between the first and second editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation.