Jeffrey L. Wilson

Thoreau’s Walden is often disregarded as a philosophical work in academic circles because of its literary form and paucity of formal argumentation. I demonstrate that Walden is a philosophical work by relating its method to Kant’s in the Critique of Pure Reason, and I show that Walden’s literary genre—autobiography as critique—is a function of the work’s philosophical intent: to produce a philosophical instrument of lifeworldly experience. I ascribe to Thoreau a modified Kantian transcendental method by which he investigates the conditions of the possibility of life as such, making the transition from Kant’s “experience”(Erfahrung) as the spatiotemporal and causal ground of the sciences to Dilthey’s “experience”(Erlebnis) as including the category of life and autobiographical and historical consciousness. I highlight a number of passages where this philosophical substance of Walden becomes clear, and I appeal to …

Since Kant, modern philosophy has reacted critically and most often dismissively to any theories or inquiries deemed "metaphysical." The Critique of Pure Reason shows that although human beings naturally seek knowledge of things that are beyond the limits of all possible experience (i.e., metaphysical knowledge), the categories by means of which we are capable of knowledge are all restricted in their legitimate application to objects of possible experience. Thus, Kant rules out any human capacity for metaphysical knowledge on epistemological grounds—grounds having to do with the way knowledge-claims are legitimated. It is, therefore, surprising to find Sartre raising at least two questions in the Conclusion of Being and Nothingness that he himself labels metaphysical but nevertheless legitimate.

The sublime (das Erhabene) in Kant is a feeling that elevates (erhebt)! the soul and results in an aesthetic judgment. While aesthetic judgments of beauty involve a feeling of pure pleasure (Lust), aesthetic judgments of the sublime rest on a feeling of pleasure and displeasure (Lust und Unlust) at the same moment. Kant describes the sublime at one point rather paradoxically as involving a" negative pleasure"(Critique 0/Judgment, Ak. V: 245). 2 The feeling of the sublime is brought about by experiences where one has a sense of the infinity (Unendlichkeit) of nature. This sense of infinity can be brought about by the sheer size (Grofle) of an object. Kant would call this a feeling of the mathematically sublime. A mountain so large that one cannot take it in at a single glance causes a feeling of the mathematically sublime. One gets a different sense of the infinity of 'Kant's deliberate connection of the noun for the sublime

Two intertwined themes run through Kant’s last, unfinished work, known to us as the Opus postumum: the comprehensibility of physics as a science and of human freedom as a causal power.1 The two themes come together in Kant’s theory of self-positing. Although the Opus postumum has received substantial attention in recent decades, there has been an insufficient focus on human embodiment (self-positing) as the bridge between nature and freedom in Kant’s final period. In this paper, I contribute to remedying this defect by showing the centrality of embodiment for Kant’s motivating project of a transition from the metaphysics of natural science to the actual science of physics. Many times in the disordered manuscripts, Kant characterizes this transition in terms of a schematism conceived of as parallel to—or as an extension of—the first Critique schematism. I argue here that Kant’s theory of self-positing places human embodiment in the role of serving as this schematism and making the needed transition.

Kant's Critique of Judgment has often been explained as relating aesthetics and morality by presupposing his ethics. This dissertation reverses this direction of inquiry by interpreting the third Critique in terms of the contributions it makes to Kant's philosophy of action. Central here is an exposition of presentation as it functions in Kant's theoretical and practical philosophy and takes on a special role in his aesthetics and natural teleology. ;The term action in Kant's thought indicates a much larger field than pure ethics, which is restricted to determining and justifying the supreme principle of morality . The move from pure ethics to action is the move from the determination and justification of the moral law in the Groundwork of the Metaphysics of Morals and the Critique of Practical Reason to its application in individual human life. I argue that the Critique of Judgment contributes to Kant's philosophy of action by revealing the work of reflective judgment in applying the moral law. ;For Kant, any application of concepts or ideas to experience requires a presentation that relates it to space and time as the forms of our experience. For theoretical concepts, presentation is by means of constructions and schemata, which Kant outlines in the Critique of Pure Reason. Practical concepts receive a formal presentation in what Kant labels the "Typic of Pure Practical Judgment" in the second Critique. But the material presentation of ideas related to action, particularly that of the efficacy of the moral law, requires the aesthetic and teleological mediation of reflective judgment in the third Critique. Kant's claim that beauty is the symbol of morality is the central example of this mediation, but it extends as well to the ideal of beauty, the sublime, genius, and Kant's philosophy of organic nature. ;The examination of action here also contains an exposition of Triebfedern and of Religion within the Limits of Reason Alone, Metaphysics of Morals, and Anthropology from a Pragmatic Point of View. Through the essay, "What Progress has Metaphysics Made in the Time since Leibniz and Wolff?", I relate presentation to practical cognition

Kant repeatedly uses the biangle as an example of an impossible figure. In this paper, I offer an account of these passages and their significance for the possibility of geometry as a science. According to Kant, the constructibility of the biangle would signal the failure of geometry. Whereas Wolff derives the no-biangle proposition from the axiom that between two points there can be only one straight line, Kant gives it axiomatic status as a synthetic a priori principle possessing immediate certainty. Because we are unable to generate a schema for the biangle, the failure of the attempt to construct it is intuitively clear. The parallel between mathematical and empirical concepts is instructive because both involve the synthesis of disparate intuitions into a unity. We do not, strictly speaking, even possess a well-formed concept of the biangle, because its representation cannot fulfill certain basic requirements of concept formation.

The construction of geometrical concepts is familiar to readers of Kant’s _Critique of Pure Reason_ and _Prolegomena_ as the “shining example” [_glänzendes Beispiel_] of a priori cognition. So when Kant begins to offer constructions of concepts in physics in the _Metaphysical Foundations of Natural Science_, it seems unproblematic that mathematics is being applied to matter in motion. Much of Kant’s rhetoric suggests that nothing extraordinary is going on. And yet, constructions in Kant’s philosophy of physics display such peculiarities in comparison to mathematical ones that they begin to seem like unfamiliar operations, distinct from constructions in pure mathematics.

In this paper, I outline Kant’s philosophy of culture in relation to teleological judgments, chiefly as exposited in the Critique of Judgment, and I show what roles teleological judgment in general and culture in particular play in Kant’s philosophy of moral action. I begin with Kant’s view of nature as organic, i. e., as possessing a systematic purposive unity even with regard to apparently contingent particulars. Nature is organic in at least two senses for Kant. First, it contains organisms, living beings whose parts (organs) stand in a purposive relation to the whole being and its survival. Second, and by extension, Kant holds that nature as a whole may be viewed as having an organic unity, such that the various species of life (and even the arrangements of inorganic matter) are regarded as standing in systematic relations of purposiveness with one another. I argue here that interpreting nature organically is instrumental for the work that judgment performs, according to Kant, in applying the moral law to lived experience through culture.

Kant insists in the Rechtslehre that the right of possession is intelligible and abstracts from all sensible conditions but often maintains in his earlier drafts that empirical possession serves as the schema of intelligible possession. This paper addresses the questions, Why does Kant think in the early drafts that the right of possession requires a schematism? What work is this schematism meant to do? How does it operate in detail? What similarities between the schematism of possession and the first Critique schematism justify calling them by the same name? The investigation reveals that, without the schematism of possession, no objects of choice would be available to be possessed. At the same time, the schematism must not be confused with the concept of intelligible possession. In the Rechtslehre itself, Kant retreats from a schematism of possession to a construction of right on analogy with the reciprocal relation of physical forces, and I speculate about the reasons for this change.