Paul Guyer

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.

This entirely new translation of Critique of Pure Reason is the most accurate and informative English translation ever produced of this epochal philosophical text. Though its simple and direct style will make it suitable for all new readers of Kant, the translation displays an unprecedented philosophical and textual sophistication that will enlighten Kant scholars as well. This translation recreates as far as possible a text with the same interpretative nuances and richness as the original. The extensive editorial apparatus includes informative annotation, detailed glossaries, an index, and a large-scale general introduction in which two of the world's preeminent Kant scholars provide both a succinct summary of the structure and argument of the Critique and a detailed account of its long and complex genesis.

Contrary to Eckart Förster, I argue that the Opus postumum represents more of an evolution than a revolution in Kant's thought. Among other points, I argue that Kant's Selbstsetzungslehre, or theory of self-positing, according to which we cannot have knowledge of the spatio-temporal world except through recognition of the changes we initiate in it by our own bodies, does not constitute a radicalization of Kant's transcendental idealism, but is a development of the realist line of argument introduced by the "Refutation of Idealism" of 1787-90; and I argue that Kant's concept of the highest good, which according to Förster was only revised to connect virtue to collective rather than individual happiness in 1790-93 and was then in any case withdrawn in the Opus postumum, was uninterruptedly focused on collective happiness from the first edition of the first Critique, and that there is no reason to believe that ever Kant retracted it.

Kant conceived of idealism as the view that only minds exist, as did other eighteenth-century philosophers, both those who accepted idealism under some name and those who rejected it. In view of this definition, Kant denied that he was an idealist, and was right to do so. But there is another tradition in idealism, going back to Plato, according to which matter as well as mind exists, but mind or the mind-like is more real or more valuable than matter. Kant’s idealism is part of this tradition, although he comes to it on practical rather than theoretical grounds.

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.

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 third volume shows how philosophers of art in Germany, Britain, and the United States continued the debate over cognitivist versus alternative approaches to aesthetic experience that was at the heart of the discipline in the previous two centuries, while responding to the intellectual challenges of their own times as well.

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.