Robert R. Clewis

Kant’s geographical theory, which was informed by contemporary travel reports, diaries, and journals, developed before his so-called “critical turn.” There are several reasons to study Kant’s lectures and material on geography. The geography provided Kant with terms, concepts, and metaphors which he employed in order to present or elucidate the critical philosophy. Some of the germs of what would become Kant’s critical philosophy can already be detected in the geography course. Finally, Kant’s geography is also one source of some of the empirical claims in his philosophical works, including the Critique of the Power of Judgment. To give an example of this, I examine his account of the sublime.

How serious was Kant about his suggestion, in the first edition Preface to Religion within the Bounds of Bare Reason (6:10), that he hoped his book would be suitable for use as compulsory reading for a philosophy class that theology students of the future would be required to take in their final year of study? This chapter (of a forthcoming anthology that will include chapters on all of Kant's lecturing activity) begins by sketching the pedagogical themes that develop progressively throughout Religion, becoming more prominent as the text proceeds. I then turn to Kant’s own lectures, especially his Lectures on the Philosophical Doctrine of Religion and relevant passages from the various editions of his Lectures on Metaphysics, with the goal of answering two additional questions. First, do the student notes for lectures delivered prior to 1792 provide evidence that Kant followed his own, subsequently-articulated theory of moral-religious pedagogy when he taught university courses relating to religion and/or theology? And second, do the lectures notes (including those relating to lectures given after 1792) provide any evidence that Kant’s views on moral pedagogy within a religious community predated his writing of Religion?

The first English-language anthology to provide a compendium of primary source material on the sublime. The book takes a chronological approach, covering the earliest ancient traditions up through the early and late modern periods and into contemporary theory. It takes an inclusive, interdisciplinary approach to this key concept in aesthetics and criticism, representing voices and traditions that have often been overlooked. As such, it will be of use and interest across the humanities and allied disciplines.

This article focuses on the conceptual relationship between awe and the experience of the sublime. I argue that the experience of the sublime is best conceived as a species of awe, namely, as aesthetic awe. I support this conclusion by considering the prominent conceptual relations between awe and the experience of the sublime, showing that all of the options except the proposed one suffer from serious shortcomings. In maintaining that the experience of the sublime is best conceived as aesthetic awe, I draw from historical theories of the sublime as well as recent work in empirical psychology.

within western philosophy, there is a long and rich tradition of treating the beautiful and the good as closely related and mutually reinforcing.1 Different models of the relation have been proposed. An ‘identity’ model can be seen in Plato’s identification of the beautiful and the good in the Symposium and perhaps in the Greek notion of kalokagathia.2 Yet, according to Plato’s Republic, the form of the good illuminates, and differs from, the forms of beauty and truth: “both knowledge and truth are beautiful things, but the good is other and more beautiful than they,”3 suggesting that beauty is a mode of the good. Likewise, according to Plotinus’s chronologically first treatise, “On...

“The sublime is a massive concept,” Emily Brady states in her book’s first sentence. Her lucid study of the sublime should interest scholars from a wide range of disciplines, from environmental philosophy and aesthetics to the history of philosophy, art history, and literary criticism. Although its title refers to modern philosophy, the book examines not only the period typically classified in philosophy as “modern,” but also romanticism and contemporary aesthetics. Brady aims “to reassess, and to some extent reclaim, the meaning of the sublime as developed during its heyday in eighteenth-century aesthetic theory by the likes of Addison, Burke, Kant, and others, and mark out its relevance for contemporary debates...

Can it be consistent to be interested, for moral reasons, in the fact that uninvolved spectators of a regime change are enthusiastic about that change, when the latter is carried out according to means considered immoral or unjust? Yes. In ‘An Old Question Raised Again’ ( The Conflict of the Faculties , 1798), Kant demonstrates a morally based interest in disinterested spectators’ expressions (aesthetic judgments) of enthusiasm for the idea of a republican form of government. This interest is puzzling. Kant's universalizability test supposedly forbids the violent revolutionary means taken to establish the republican constitution. How can the Kantian, if consistent, take an interest in expressions of enthusiasm elicited by these immoral events? In addition to endorsing the familiar means/ends distinction, this article provides a new answer to this question by examining the enthusiasm in which Kant takes an interest: it is a pure aesthetic judgment of enthusiasm, made by a disinterested, impartial spectator. Key Words: aesthetic judgment • enthusiasm • idea • interest • Immanuel Kant • republic • spectator.

In this book Robert R. Clewis shows how certain crucial concepts in Kant's aesthetics and practical philosophy - the sublime, enthusiasm, freedom, empirical and intellectual interests, the idea of a republic - fit together and deepen our understanding of Kant's philosophy. He examines the ways in which different kinds of sublimity reveal freedom and indirectly contribute to morality, and discusses how Kant's account of natural sublimity suggests that we have an indirect duty with regard to nature. Unlike many other studies of these themes, this book examines both the pre-critical Observations and the remarks that Kant wrote in his copy of the Observations. Finally, Clewis takes seriously Kant's claim that enthusiasm is aesthetically sublime, and shows how this clarifies Kant's views of the French Revolution. His book will appeal to all who are interested in Kant's philosophy.

This article identifies three distinct temporal notions in Hume’s aesthetics: passing the test of time, repeated viewing of a work, and the personal aging of the critic. It applies these ideas to the evaluation and enjoyment of films. It characterizes positive, negative, and ambivalent film aging, which are associated with nostalgia, boredom, and comic amusement, respectively, and which bear on our enjoyment, not evaluation, of film. The paper discusses Allen’s Zelig, Antonioni’s La Notte, Cameron’s The Terminator, Lucas’s Star Wars, Scorsese’s Taxi Driver, Spielberg’s E.T.: The Extra-Terrestrial, and Renoir’s La Règle du Jeu.

The author examines whether Kantian ethics would condone the use of pharmaceutical drugs to enhance one’s moods and cognitive abilities. If key assumptions concerning safety and efficacy, non-addictiveness, non-coercion, and accessibility are not met, Kantian ethics would consider mood and cognitive enhancement to be impermissible. But what if these assumptions are granted? The arguments for the permissibility of neuroenhancement are stronger than those against it. After giving a general account of Kantian ethical principles, the author argues that, when these assumptions are granted, Kantian ethics no longer justifies the prohibition of neuroenhancement, and responds to two objections.

This important collection of more than twenty original essays by prominent Kant scholars covers the multiple aspects of Kant’s teaching in relation to his published works. With the Academy edition’s continuing publication of Kant’s lectures, the role of his lecturing activity has been drawing more and more deserved attention. Several of Kant’s lectures on metaphysics, logic, ethics, anthropology, theology, and pedagogy have been translated into English, and important studies have appeared in many languages. But why study the lectures? When they are read in light of Kant’s published writings, the lectures offer a new perspective of Kant’s philosophical development, clarify points in the published texts, consider topics there unexamined, and depict the intellectual background in richer detail. And the lectures are often more accessible to readers than the published works. This book discusses all areas of Kant's lecturing activity. Some essays even analyze in detail the content of Kant's courses and the role of textbooks written by key authors such as Baumgarten, helping us understand Kant’s thought in its intellectual and historical contexts. Contributors: Huaping Lu-Adler; Henny Blomme ; Robert Clewis; Alix Cohen; Corey Dyck; Faustino Fabbianelli; Norbert Fischer; Courtney Fugate; Paul Guyer; Robert Louden; Antonio Moretto; Steve Naragon; Christian Onof; Stephen Palmquist; Riccardo Pozzo; Frederick Rauscher; Dennis Schulting; Oliver Sensen; Susan Shell; Werner Stark; John Zammito; Günter Zöller.

Aesthetic normativity continues to be of interest in contemporary aesthetics, and significant contributions to the topic can be found in neo-Kantianism. This article examines the account of aesthetic normativity presented by Jonas Cohn (1869–1947), a member of the Southwestern school of neo-Kantianism and author of a 1901 book on aesthetics. Cohn's Kantian-Hegelian theory of aesthetic normativity deserves more examination than it has so far received. Even if one does not accept all of its main arguments, Cohn's theory offers an interesting alternative to the third Critique's account of the universal validity of aesthetic judgments, and it reveals how Kant's aesthetic theory was appropriated at the turn of the century. Since a number of objections can be raised against Cohn's account, however, at the end of the paper I raise several of them.

Organized around eight themes central to aesthetic theory today, this book examines the sources and development of Kant's aesthetics by mining his publications, correspondence, handwritten notes, and university lectures. Each chapter explores one of eight themes: aesthetic judgment and normativity, formal beauty, partly conceptual beauty, artistic creativity or genius, the fine arts, the sublime, ugliness and disgust, and humor. Robert R. Clewis considers how Kant's thought was shaped by authors such as Christian Wolff, Alexander Baumgarten, Georg Meier, Moses Mendelssohn, Johann Sulzer, Johann Herder, Francis Hutcheson, David Hume, Edmund Burke, Henry Home, Charles Batteux, Jean-Jacques Rousseau, and Voltaire. His resulting study uncovers and illuminates the complex development of Kant's aesthetic theory and will be useful to advanced students and scholars in fields across the humanities and studies of the arts.