Dennis Vanden Auweele

Most philosophers do not read Kant’s philosophy of religion as providing a foundation for Christianity, or even as in line with it. Recently, however, a number of so-called “affirmative Kantians” have argued that Kant’s philosophy of religion explicitly aims at recovering the spirit of Christianity. In this article I scrutinize this claim with regard to Kant’s conceptualization of “grace” as a supplement to his moral theory. Contrary to these “affirmative Kantians,” I argue that Kant’s account of grace stems from Kant’s moral pessimism, not from any sense of the shortcomings of human beings in fulfilling their duties or the religious need for supernatural cooperation. Kant’s concept of grace tries to moderate this pessimism by providing what is needed for the possibility of moral progress. But simply by the way in which Kant regards grace as a rational concept needed for his moral theory, it seems to me that his philosophy of religion runs counter to certain central convictions of Christianity.

This volume collects 12 essays by various contributors on the subject of the importance and influence of Schopenhauer’s doctoral dissertation (On the Fourfold Root of the Principle of Sufficient Reason) for both Schopenhauer’s more well-known philosophy and the ongoing discussion of the subject of the principle of sufficient reason. The contributions deal with the historical context of Schopenhauer’s reflections, their relationship to (transcendental) idealism, the insights they hold for Schopenhauer’s views of consciousness and sensation, and how they illuminate Schopenhauer’s theory of action. This is the first full-length, English volume on Schopenhauer’s Fourfold Root and its relevance for Schopenhauer’s philosophy. The thought-provoking essays collected in this volume will undoubtedly enrich the burgeoning field of Schopenhauer-studies.

Recently, William Desmond’s metaxological philosophy has been gaining popularity since it proposes a powerful counterweight to the dominance of deconstruction in certain areas of contemporary philosophy of religion. This paper serves to introduce Desmond’s philosophy and confront it with one specific form of Postmodern theology, namely John Caputo’s “weak theology.” Since Desmond’s philosophy is—while thought-provoking and refreshing—not well known, a substantial part of this paper is devoted to fleshing out its central concepts: perplexity, metaxology, and hyperbolic indirection. Afterwards, I argue for the advantages of a metaphysical (Desmond) over a deconstructive (Caputo) approach to philosophy of religion/God.

Contemporary philosophy of religion almost allergically reacts to metaphysics. They do so because of the various critiques of the potential reach of reason, which each in their own way argue that God cannot be appropriately approached via autonomous reason. In this article, I argue, on the one hand, that these critiques are furtively inspired by a certain outlook on transcendence, which I call the ‘Protestant view’ and, on the other hand, that numerous contemporary philosophers of religion are slowly starting to appreciate a more ‘Catholic view’ on transcendence, which allows for a more metaphysically ambitious philosophy of religion.

Arthur Schopenhauer’s philosophy proved more palpable to artists of the nineteenth century than to philosophers as such. Ironically, Schopenhauer’s aesthetical theory is particularly paradoxical on a variety of fronts. One troubling paradox is how Schopenhauer subscribes both to the elitist nature of the genius artist and a naturalist metaphysics. How can a singular being have radically distinct abilities if s/he cannot principally differ from the rest of existence? I address this paradox in this essay and provide a solution by focusing on a certain evolution in Schopenhauer’s philosophical development.

To date authors are unsure about Nietzsche's self-critical attitude regarding his Thus Spoke Zarathustra. While few doubt that the narrative reaches a dramatic climax at the end of its third part, the largely satirical fourth part invites to take this climax cum grano salis. I provide an interpretation of the dramatic structure of Thus Spoke Zarathustra by focusing on the tragic nature of Nietzsche's ideal of the Übermensch and the comical relief provided by part four. Accordingly, the completion at the end of part three is relegated to a noble lie to assuage the tragic nature of Zarathustra's ideal.