Paul Guyer

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique 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 (1790) and second (1793) 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.

A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely what Plato criticized - and because it is a pleasurable free play of many or all of our mental powers. This three-volume set tells how these ideas have been synthesized or separated by both the best-known and lesser-known aestheticians of modern times, focusing on Britain, France and Germany in the eighteenth century; Germany and Britain in the nineteenth; and Germany, Britain and the United States in the twentieth.

Stanley Cavell’s “ontology of film” is his way of expressing that in our experience of movies, we are both aware that we are perceiving nothing but flickering light on a screen yet also respond intellectually and emotionally as if we are experiencing real people, although in a world in which we cannot intervene. In his discussions of “comedies of remarriage” and “the melodrama of the unknown woman,” he argues that these movies are about what it is to grow into adult human beings who are free to love and who can accept the risks of loving another free human being.

A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely what Plato criticized - and because it is a pleasurable free play of many or all of our mental powers. This set tells how these ideas have been synthesized or separated by aestheticians of modern times. This second volume tells how over the course of the century philosophers in Germany, Britain, and eventually the United States struggled to return to a broader approach to the value of aesthetic experience by finding room for the emotional and playful aspects of art.

My title is “Arguing for Freedom of Religion,” not for “Toleration,” because I follow the eighteenth-century writer Christoph Martin Wieland in taking “toleration" to connote a gift or indulgence from a majority to a minority, whereas true freedom of religion would put everybody on the same plane to believe and practice religion as they see fit, or not at all. I consider three historically distinct ways of arguing for freedom of religion: from a premise held by one religion that requires freedom from others (the strategy of Locke, Madison, and Mendelssohn); from a premise about the uncertainty of all religious beliefs which calls for equal freedom (Bayle and Wieland); or from a fundamental requirement of equal freedom for all, with no premise about religion although it entails freedom in religious matters as in other things (Hutcheson, Meier, Kant). The latter approach may be most appealing from a purely philosophical point of view, but the former styles of argument have obviously had much to recommend them in historical contexts, and may still be useful.

A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely what Plato criticized - and because it is a pleasurable free play of many or all of our mental powers. This book tells how these ideas have been synthesized or separated by aestheticians of modern times. This first volume recounts how philosophers in Britain, France, and Germany developed these new approaches and searched for ways to combine them with the cognitivism of traditional aesthetics.

A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely what Plato criticized - and because it is a pleasurable free play of many or all of our mental powers. This three-volume set tells how these ideas have been synthesized or separated by both the best-known and lesser-known aestheticians of modern times, focusing on Britain, France and Germany in the eighteenth century; Germany and Britain in the nineteenth; and Germany, Britain and the United States in the twentieth.

John Rawls lectured directly on the history of modern moral philosophy throughout his 30‐year teaching career at Harvard, and his lectures from the final version of the course were published as Lectures on the History of Moral Philosophy (LHMP). This chapter casts some light on Rawls's central attempt to demonstrate the superiority of a position inspired by Immanuel Kant over utilitarianism by focusing on Rawls's treatment of Kant in both Theory of Justice and LHMP. It focuses on Rawls's treatment of Adam Smith and Kant, where in both of those authors the relation between deontological and teleological approaches being more complex than Rawls sometimes suggests.

Kant is often portrayed as the author of a rigid system of ethics in which adherence to a formal and universal principle of morality - the famous categorical imperative - is an end itself, and any concern for human goals and happiness a strictly secondary and subordinate matter. Such a theory seems to suit perfectly rational beings but not human beings. The twelve essays in this collection by one of the world's preeminent Kant scholars argue for a radically different account of Kant's ethics. They explore an interpretation of the moral philosophy according to which freedom is the fundamental end of human action, but an end that can only be preserved and promoted by adherence to moral law. By radically revising the traditional interpretation of Kant's moral and political philosophy and by showing how Kant's coherent liberalism can guide us in current debates, Paul Guyer will find an audience across moral and political philosophy, intellectual history, and political science.