Gary Banham

The general conception of Kantian cosmology in Universal Natural History is one that folds into the “pre-Critical” period in the basic sense that the status of the types of principles invoked within the work is not subjected by Kant to critical assessment. This is far from meaning that the enquiry of Universal Natural History is simply abandoned by Kant. Rather, the stakes of the inquiry into cosmology become transformed and this transformation has much to do with the results of the Critique of Pure Reason, not least the arguments of the Transcendental Dialectic. In this piece I will first review some of the most salient lines of argument in Universal Natural History prior to undertaking to investigate a reason for re-thinking cosmology in Kantian terms both within the Critique of Pure Reason and in the wake of it. This latter enquiry will hinge both on an understanding of the nature of Kant’s use of the notion of the “regulative idea” and also upon an investigation of his uses of cosmic images within the Critical period.

In 1795 Immanuel Kant proclaimed that the peoples of the earth have entered into a "universal community". Since Kant wrote this the processes of inter-connection between the peoples of the earth has grown even more pronounced and the notion of "cosmopolitics" has thus come to seem a defining one for the contemporary age. As such this volume makes a timely contribution to contemporary debates about international law, global ecology and economy and transnational synergies. The volume is inter-disciplinary and is intended to be a contribution to a debate that crosses borders and disciplines

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The discussion of Kant's Practical Philosophy has been marred by viewing it as purely formalist and centered only on the categorical imperative. This important new study sets out a much more vivid account of the nature and range of Kant's concerns demonstrating his commitment to the notion of rational religion and including extensive discussion of his treatment of evil. Culminating with accounts of property, the nature of right and virtue, this work presents Kant as a vital revolutionary thinker.

In this article I seek to address the way that Jean-Luc Nancy's project of the ‘deconstruction of Christianity’ relates to the understanding of what might be meant by ‘Christian art’. In the process of looking at Nancy's treatment of some signal ‘Christian’ scenes I describe some ways in which the motif of ‘touching’ arises as significant for how Nancy addresses the possibility of ‘alienation from the world’, a possibility that he takes to be central to the self-deconstructive potential of ‘Christianity’. Subsequently the topic of the distinction between ‘faith’ and ‘belief’ is related to how Derrida understands the notion of the ‘messianic’ and I conclude with a suggestion concerning how the plurality of ‘deconstructions’ might complicate the question of what is meant by the view that the ‘deconstruction of Christianity’ is itself a ‘Christian’ project.