Robert Pippin

This important book argues that Henry James reveals in his fiction a sophisticated theory of moral understanding and moral motivation. The claim is that in his novels and short stories James is engaged in a distinctive kind of original thinking and reflecting on modern moral life. Sensitive to the precarious and extremely confusing situation of moral understanding in modern societies, James avoids skepticism and presents powerfully the full nature of moral claims and moral dependence. The book is written by one of the pre-eminent interpreters of the modern European philosophical tradition and will interest both philosophers and literary critics. However, the style is completely non-technical with no reliance on terms from contemporary literary or philosophical theory and will therefore be accessible to students and general readers of James.

In lieu of an abstract, here is a brief excerpt of the content:138 JOURNAL OF THE HISTORY OF PHILOSOPHY 28:1 JANUARY 1990 Paul Guyer. Kant and the Claims of Knowledge. Cambridge: Cambridge University Press, 1987. Pp. xiii + 482. Cloth, $59.5 o. Paper, $x9.95. For several years now, Paul Guyer has been publishing articles on what he sees as numerous different strategies pursued by Kant in his attempt to deduce the objective validity of pure categories. In this very long, extremely detailed book, he has brought together the results of much of that work, added to it extensively, and defended at length a comprehensive and highly controversial view of the Deduction. The book has five major parts: on Kant's early views, on the deduction from 178187, on the "principles of empirical knowledge" (most of which is devoted to an elaborate reconstruction of the Analogies argument), on the Refutation of Idealism, and on transcendential idealism in general. More broadly Guyer's central thesis has two parts. In the first he tries to show that the more well-known versions of the Deduction are disappointing failures. According to Guyer, Kant variously tried to deduce the objective validity of pure concepts from the assumption that we do possess a priori knowledge of objects, from the assumption of empirical knowledge of objects, for which a priori conditions must be found, from a claim about a priori knowledge of unity of the self, and from the a priori conditions of empirical self-knowledge. The first three attempts are said to fail, all for somewhat different reasons, but all in a way linked to an implausible (and, to a skeptic, question-begging) premise about "necessary connection" in experience. Moreover, given this premise, these strategies all involve a commitment to very strong views about experience (e.g., it is necessary that any possible manifold of experience be subject to the categories) and to an accompanying claim about the mindimposed unity of experience, considered by many the "dark side" of Kant's enterprise. It is the last strategy that for Guyer represents the most philosophically interesting tactic and that constitutes the second major claim he makes. In this version, Kant is trying to show that "time determination," whether of objects represented in consciousness, or of representations themselves, empirically apperceived, can be shown to presuppose the objective validity of, at least, the Analogies. Guyer claims that this last strategy, while it represents the "original" idea of a Deduction entertained by Kant in the first half of the Silent Decade, only emerges in the Cr/t/que in the Analogies and Refutation of Idealism, and is only fully explored by Kant after the Critique's publication. It involves only a "conditional" argument for the categories ("if there is to be experience there must be objectively valid categories"); the categories are thus valid for whatever in a manifold can be an object of a cognitive claim, and are not "necessarily" imposed on a manifold per se. Guyer's attack on what he regards as the standard reading of the Deduction is far too detailed to address point by point. I can merely note three difficulties with his approach. First, he attributes to Kant a premise that goes far beyond the "standard" beginning contrast between the "arbitrary representations of states of the self as such" and the "rule-governed representation of an object." According to Guyer, all commentators (somewhat surprisingly) have failed to see the following: that when Kant makes this contrast, and appeals to the object as "that in the concept of which the manifold of a given intuition is united" (B x37), he really means that the "object" is that in virtue of BOOK REVIEWS 139 which the representations of a manifold are necessarilyunited 0og). This attributes to Kant the very strange view that empirical judgments are necessary truths of some sort, and even though Kant often explicitly denies this (even once in the course of the Deduction, at B142, cited but dismissed by Guyer), Guyer claims that only by such a claim can Kant hope to deduce the objective validity of pure categories. In almost all cases of textual evidence cited by Guyer, however, it is possible and often much more natural to read Kant as claiming that...

This fresh and original book argues that the central questions in Hegel's practical philosophy are the central questions in modern accounts of freedom: What is freedom, or what would it be to act freely? Is it possible so to act? And how important is leading a free life? Robert Pippin argues that the core of Hegel's answers is a social theory of agency, the view that agency is not exclusively a matter of the self-relation and self-determination of an individual but requires the right sort of engagement with and recognition by others. Using a detailed analysis of key Hegelian texts, he develops this interpretation to reveal the bearing of Hegel's claims on many contemporary issues, including much-discussed core problems in the liberal democratic tradition. His important study will be valuable for all readers who are interested in Hegel's philosophy and in the modern problems of agency and freedom.

Friedrich Nietzsche is one of the most elusive thinkers in the philosophical tradition. His highly unusual style and insistence on what remains hidden or unsaid in his writing make pinning him to a particular position tricky. Nonetheless, certain readings of his work have become standard and influential. In this major new interpretation of Nietzsche’s work, Robert B. Pippin challenges various traditional views of Nietzsche, taking him at his word when he says that his writing can best be understood as a kind of psychology. Pippin traces this idea of Nietzsche as a psychologist to his admiration for the French moralists: La Rochefoucauld, Pascal, Stendhal, and especially Montaigne. In distinction from philosophers, Pippin shows, these writers avoided grand metaphysical theories in favor of reflections on life as lived and experienced. Aligning himself with this project, Nietzsche sought to make psychology “the queen of the sciences” and the “path to the fundamental problems.” Pippin contends that Nietzsche’s singular prose was an essential part of this goal, and so he organizes the book around four of Nietzsche’s most important images and metaphors: that truth could be a woman, that a science could be gay, that God could have died, and that an agent is as much one with his act as lightning is with its flash. Expanded from a series of lectures Pippin delivered at the Collège de France, _Nietzsche, Psychology, and First Philosophy_ offers a brilliant, novel, and accessible reading of this seminal thinker

These two powers or capacities cannot exchange their functions. The understanding can intuit nothing, the senses can think nothing. Only through their union can knowledge arise. But that is no reason for confounding the contribution of either with that of the other; rather is it a strong reason for carefully separating and distinguishing the one from the other. The passages are so well known because Kant laid such massive importance on them. His claims about the strict distinction between these two “sources,” even as he emphasized their necessarily intertwined, even inseparable role in knowledge, was the basis of his critique of the entire prior philosophical tradition, elements of which, he famously claimed, either “sensualized all concepts of the understanding” or “intellectualized” appearances.[i].

Forthcoming in Conference Proceedings, Jena Phänomenologie conference I Hegels Charakterisierungen der neuen, von ihm entwickelten philosophischen Form, der Phänomenologie des Geistes, stellen vor allem deswegen ein Problem dar, weil sie so zahlreich sind. Bei einigen handelt es sich um klar erkennbare Reformulierungen oder Spezifizierungen anderer, in vielen Fällen aber scheinen die Beschreibungen inkonsistent zu sein oder unterschiedliche Perioden in Hegels Denken widerzuspiegeln, das sich während der Jenaer Zeit zwischen 1802 und 1806 rasch entwickelte. Ursprünglich war eine Phänomenologie eine „Wissenschaft der Erfahrung des Bewußtseins“. Sie ist auch eine „Wissenschaft der Phänomenologie des Geistes“. Sie stellt eine Einführung in das wissenschaftliche System dar und bildet zugleich den ersten Teil eines solchen Systems. Die Enzyklopädie bezeichnet die PhG als „die wissenschaftliche Geschichte des Bewußtseyns.“ Im Hauptteil nennt Hegel das Werk den „Weg der Seele, welche die Reihe ihrer Gestaltungen, als durch ihre Natur ihr vorgesteckter Stationen durchwandert, daß sie sich zum Geiste läutere, indem sie durch die vollständige Erfahrung ihrer selbst zur Kenntniß desjenigen gelangt, was sie an sich selbst ist” (55). Berühmt ist seine Bezeichnung der Phänomenologie als „Weg des Zweifels“, ja, als „Weg der Verzweiflung“, und als „ausführliche Geschichte der Bildung des Bewußtseyns selbst zur Wissenschafft“. (56).

The emergence of abstract art, first in the early part of the century with Kandinsky, Malevich, and Mondrian, and then in the much more celebrated case of America in the fifties (Rothko, Pollock, and others) remains puzzling. Such a great shift in aesthetic standards and taste is not only unprecedented in its radicality. The fact that nonfigurative art, without identifiable content in any traditional sense, was produced, appreciated, and, finally, eagerly bought and, even, finally, triumphantly hung in the lobbies of banks and insurance companies, provokes understandable questions about both social and cultural history, as well as about the history of art. The endlessly disputed category of modernism itself and its eventual fate seems at issue.