Robert Pippin

Among Kant's innovations in the understanding of logic (‘general logic’) were his claims that logic had no content of its own, but was the form of the thought of any possible content, and that the unit of meaning, the truth-bearer, judgement, was essentially apperceptive. Judging was implicitly the consciousness of judging. This was for Kant a logical truth. This article traces the influence of the latter claim on Fichte, and, for most of the discussion, on Hegel. The aim is to understand the relations among self-consciousness, reason and freedom in the idealist tradition

Hegel is the most prominent philosopher who argued that 'philosophy is its own time comprehended in thought', and he argued for this with an elaborate theory about the necessarily historical and experiential content of normative principles and ideals, especially, in his own historical period, the ideal of a free life. His insistence that philosophy must attend to the 'actuality' of the norms it considers is quite controversial, often accused of accommodation with the status quo, a 'might makes right' theory of history, and the abandonment of philosophy's critical and reflective task. In this article, I explore Hegel's case for this position in his Phenomenology of Spirit, using as a model for his argument his account of the way the intention of an action can only be properly understood as it is 'actualized' in an action, and I consider some of the standard objections in the light of this model. [ABSTRACT FROM AUTHOR]\nCopyright of Inquiry is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to alls.)

Many philosophers have been suspicious of any “transcendental argument”. In the literature concerned with arguments such as Kant’s Transcendental Deduction, or the “private language” or “other minds” argument, there have been frequent charges that such attempts are “impossible,” spurious, or, even more frequently, incomplete, that their success depends on some controversial philosophical position, such as verificationism. A recent addition to the latter kind of charge is that a successful TA must involve a commitment to some form of idealism. This is, prima facie, quite a reasonable suspicion. Any argument about the necessary conditions of our belief can tell us something about objects in the world, it would seem, only if it can also be shown that the existence of such objects depends on our beliefs. Moreover, Kant, the originator of the modern form of antiskeptical TA’s, was also a famous idealist, adding to the suspicion. Bernard Williams has argued for this connection in recent articles on Wittgenstein and Shoemaker, and more recently, Ross Harrison, in “Transcendental Arguments and Idealism,” has tried to deny that there is such a connection and to argue that there can be a successful TA without any commitment to idealism. There may be some form of a TA that is nonidealistic, but an examination of Harrison’s case will reveal, I think, not only that he has not discovered such an argument, but that it is unlikely that there could be such a TA, except in trivial cases. Moreover, I also want to show that a consideration of his argument can be of help in discovering what kind of idealism is or is not involved in TA’s, especially in Kant, and what problems are apparent in that version of idealism.

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.

In the long aftermath of such modernist suspicions about the still dominant "official" Enlightenment culture, the very title of the recently translated book by Hans Blumenberg is a bluntly direct invitation to controversy--The Legitimacy of the Modern Age. For Blumenberg, when Giordano Bruno, condemned to burn at the stake in 1600, defiantly turned his face from a crucifix offered him as a last chance at redemption, the heroic gesture should be seen as just that, heroic and historically decisive, a rejection of the reality of the Incarnation, and the expression of a decisively new form of thought. "The Nolan" did cross a real threshold that separates modernity from pre-modernity. The new, for Blumenberg is new, not belated, and what's more heretical still in our post-Nietzschean, post-Heideggerean world, better than the old. The "self-assertion" of modernity is, in a simple word, "legitimate."

This series makes available in English some important work by German philosophers on major figures in the German philosophical tradition. The volumes will provide critical perspectives on philosophers of great significance to the Anglo-American philosophical community, perspectives that have been largely ignored except by a handful of writers on German philosophy. The dissemination of this work will be of enormous value to Anglophone students and scholars of the history of German philosophy. This collection brings together in translation the finest post-war German language scholarship on Hegel's social and political philosophy, concentrating on the Elements of the Philosophy of Right. Many of the essays appear in English here for the first time; all are translated anew.

My topic is authenticity in or perhaps as painting, not the authenticity of paintings; I know next to nothing about the problem of verifying claims of authorship. I am interested in another kind of genuineness and fraudulence, the kind at issue when we say of a person that he or she is false, not genuine, inauthentic, lacks integrity, and, especially when we say he or she is playing to the crowd, playing for effect, or is a poseur. These are not quite moral distinctions (no one has a duty to be authentic), but they are robustly normative appraisals, applicable even when such falseness is not a case of straight hypocrisy but of lack of self-knowledge or of self-deceit. (A person can be quite sincere and not realize the extent of her submission to the other’s expectations and demands.) This sort of appraisal also has a long history in post-Rousseauist reflections on the dangers of uniquely modern forms of social dependence, and they are prominent worries in the modern novel.