In his Critique of the Power of Judgement, Kant explicates the creation of works of fine art (schöne Kunst) in terms of aesthetic ideas. His analysis of aesthetic ideas claims that they are not concepts (Begriffe) and are therefore not definable or describable in determinate language. Nevertheless, Kant claims that aesthetic ideas are communicable via spirit (Geist), a special mental ability he associates with artistic genius. This paper argues that Kant's notion of Geist is central to his analysis of fine art's expressive power. The notion of Geist constitutes a conceptual link between Kant's aesthetic theory and that of G. W. F. Hegel, for whose analysis Geist is the subject.

Kant's account of the freedom gained through virtue builds on the Socratic tradition. On the Socratic view, when morality is our end, nothing can hinder us from attaining satisfaction: we are self-sufficient and free since moral goodness is (as Kant says) ‘created by us, hence is in our power’. But when our end is the fulfilment of sensible desires, our satisfaction requires luck as well as the cooperation of others. For Kant, this means that happiness requires that we get other people to work for our ends; and this requires, in turn, that we gain control over the things other people value so as to have influence over them. If this plan for happiness is not subordinated to morality, then what is most valuable to us will be precisely what others value. This is the root of the ‘passions’ that make us evil and make us slaves whose satisfaction depends on others. But, significantly, this dependence is a moral slavery and hence does not signal a loss, or even diminishment of the kind of freedom required for moral responsibility.

Schopenhauer's claim that the essence of the world consists in Wille encounters well-known difficulties. Of particular importance is the conflict of this metaphysical claim with his restrictive account of conceptuality. This paper attempts to make sense of Schopenhauer's position by restoring him to the context of post-Kantian debate, with special attention to the early notebooks and Fourfold Root of the Principle of Sufficient Reason. On the reconstruction suggested here, Schopenhauer's philosophical project should be understood in light of his rejection of post-Kantian metaphilosophy and his opposition to German Idealism.

Schopenhauer presents his moral philosophy as diametrically opposed to that of Kant: for him, pure practical reason is an illusion and morality can arise only from the feeling of compassion, while for Kant it cannot be based on such a feeling and can be based only on pure practical reason. But the difference is not as great as Schopenhauer makes it seem, because for him compassion is supposed to arise from metaphysical insight into the unity of all being, thus from pure if theoretical reason, while for Kant pure practical reason works only by effecting a feeling of respect (in the ‘Critical’ works) or by cultivating, i.e. affecting, natural dispositions to moral feeling (in the ‘post-Critical’ works). I argue that Kant's is the more realistic theory on this point.

In ‘Kant's Refutation of Idealism’ (Noûs, 47), I defend a version of the Refutation, pioneered by Paul Guyer in Kant and the Claims of Knowledge, whose core idea is that the only way that one can know the order of one's own past experiences, except in certain rare cases, is by correlating them with the successive states of perceived external objects that caused the experiences. Andrew Chignell has offered a probing critique of my reconstruction of Kant's argument (Philosophical Quarterly, 60), and I have responded (Philosophical Quarterly, 61). In a rebuttal of my response, Chignell raises three new objections (Philosophical Quarterly, 61). My purpose in this paper is to reply to these.

Since the initial reception of the Critique of Pure Reason transcendental idealism has been perceived and criticized as a form of subjective idealism regarding space, time, and the objects within them, despite Kant's protestations to the contrary. In recent years, some commentators have attempted to counter this interpretation by presenting transcendental idealism as a primarily epistemological doctrine rather than a metaphysical one. Others have insisted on the metaphysical character of transcendental idealism. Within these debates, Kant's rejection of ontology (of the kind exemplified by Wolff and Baumgarten) has received comparatively little treatment, although it is often acknowledged. The present essay seeks to contribute to the secondary literature on Kant by offering an analysis of this claim and elaborating its consequences for transcendental idealism. This will take the form of a critical examination of transcendental idealism's supposed ontological agnosticism—that is, its disavowal of any ontological claims. The overall conclusion is that Kant's rejection of ontology is deeply problematic, and to such an extent that it may be necessary to reconsider the possibilities of defending transcendental idealism as a purely epistemological, non-ontological doctrine.

By comparing the theories of evil found in Kant and Kierkegaard, this article aims to shed new light on Kierkegaard, as well as on the historical and conceptual relations between the two philosophers. The author shows that there is considerable overlap between Kant's doctrine of radical evil and Kierkegaard's views on guilt and sin and argues that Kierkegaard approved of the doctrine of radical evil. Although Kierkegaard's distinction between guilt and sin breaks radically with Kant, there are more Kantian elements in Kierkegaard than was shown by earlier scholarship. Finally, Kierkegaard provides an alternative solution to the problem of the universality of guilt, a problem much discussed in the literature on Kant.

This paper gives an account of the argument of Schopenhauer's essay On the Freedom of the Human Will, drawing also on his other works. Schopenhauer argues that all human actions are causally necessitated, as are all other events in empirical nature, hence there is no freedom in the sense of liberum arbitrium indifferentiae. However, our sense of responsibility or agency (being the ‘doers of our deeds’) is nonetheless unshakeable. To account for this Schopenhauer invokes the Kantian distinction between empirical and intelligible characters. The paper highlights divergences between Schopenhauer and Kant over the intelligible character, which for Schopenhauer can be neither rational nor causal. It raises the questions whether the intelligible character may be redundant to Schopenhauer's position, and whether it can coherently belong to an individual agent, suggesting that for Schopenhauer a more consistent position would have been to deny freedom of will to the individual.

In this paper the attempt is made to show how Schopenhauer's critique of Kant leads from initial disagreements to a fundamental modification, even a new formation, of the Kantian concepts of understanding, reason, imagination, perception, idea and thing-in-itself. The starting point and the core of his critique is the demand for the appreciation of intuitive knowledge which is apart from and independent of reason. The intuitive knowledge goes back to images and its highest form is aesthetic contemplation. Without a participation of concepts it is sufficient to explain objective reality. Particularly on the basis of Schopenhauer's critical examination of Kant's schematism it can be shown that his alternative conception of an image-based objectivity of experience is to be taken seriously, even if the way he presents it sometimes gives the impression of a mere misunderstanding of Kant's theory of cognition.

In this essay, I argue that a genius's creation consists of a special unity of free human activity and nature, whereby ‘nature’ signifies not just another aspect of, but rather something that transcends, creative subjectivity. This interpretation of a genius's creative process throws a new light on a special normative status of a genius's rule, i.e. its originality and exemplarity. With respect to the former, I demonstrate that because the organizing principle of the works of genius remains inscrutable to our limited human understanding, a work of genius appears to the observer's limited cognitive capacities as undetermined and, hence, as contingent and original. With respect to the latter, I show how a genius must evolve within the context of her own tradition and how this ‘humbleness’ of a genius still allows for a multiplicity of co-existent schools or genres with their own distinct standards of excellence.

John Rawls's account of Kantian constructivism is perhaps his most striking contribution to ethics. In this paper, I examine the relation between Rawls's constructivism and its foundation in Kantian intuitions. In particular, I focus on the progressive influence on Rawls's approach of the Kantian intuition that the substance of morality is best understood as constructed by free and equal people under fair conditions. Rawls's focus on this Kantian intuition, I argue, motivates the focus on social contract that grounds both his accounts of the original position and of reflective equilibrium. Critics, including Onora O'Neill and Larry Krasnoff, object that Rawls's view distorts various aspects of Kantian moral reasoning. I argue that these objections (i) exaggerate the distinctions between Kant's and Rawls's decision procedures and (ii) reflect an unnecessarily constricted view of Kant's moral thought.

Schopenhauer singles out Kant's theory of the sublime for high praise, calling it ‘by far the most excellent thing in the Critique of Aesthetic Judgement’, yet, in his main discussion of the sublime, he ridicules Kant's explanation as being in the grip of scholastic metaphysics. My first aim in this paper is to sort out Schopenhauer's apparently conflicted appraisal of Kant's theory of the sublime. Next, based on his Nachlaß, close readings of published texts and especially of his account of the experience of tragic drama, I offer a reconstruction of Schopenhauer's theory of the sublime which understands it – against prevailing scholarly views – as a transformation of rather than as a real departure from the Kantian explanation. Finally, I suggest that my interpretation of Schopenhauer's theory of the sublime has far-reaching consequences for a proper understanding of his views on freedom.

This paper addresses problems associated with the role of the empirical concept of matter in Kant's Metaphysical Foundations of Natural Science, offering an interpretation emphasizing two points consistently neglected in the secondary literature: the distinction between logical and real essence, and Kant's claim that motion must be represented in pure intuition by static geometrical figures. I conclude that special metaphysics cannot achieve its stated and systematically justified goal of discovering the real essence of matter, but that Kant requires this failure for his larger philosophical presentation of the dialectic that ‘irremediably attaches to human reason’ (A298/B354).

This paper considers two contenders for the title of highest good in Kant's theory of practical reason: happiness proportioned to virtue and the maximization of happiness and virtue. I defend the ‘proportionality thesis’ against criticisms made by Andrews Reath and others, and show how it resolves a dualism between prudential and moral practical reasoning. By distinguishing between the highest good as a principle of evaluation and an object of agency, I conclude that the maximization of happiness and virtue is a corollary of the instantiation of the proportionality thesis.

Defences of Kant's foundations of geometry fall short if they are unable to equally ground Euclidean and non-Euclidean geometries. Thus, Kant's account must be separated from geometrical postulates. I argue that characterizing space as the form of outer intuition must be independent of postulates. Geometrical postulates are then expressions of particular spatializing activities made possible by the a priori intuition of space. While Amit Hagar contends that this is to speak of noumena, I argue that a Kantian account of space as the form of outer attention-directing remains seated in the subject.

Discussing the concept of duty in Groundwork 1, Kant refers to a ‘second proposition’ and a ‘third proposition’, the latter being a ‘Folgerung aus beiden vorigen’. However, Kant does not identify what the ‘first proposition’ is. In this paper, I will argue that the first proposition is this: An action from duty is an action from respect for the moral law. I defend this claim against a critique put forward by Allison according to which ‘respect’ is a concept that is not, and could not be, introduced in paragraphs 9–13 of Groundwork 1. Further, I will argue that the first proposition as I understand it can also be reconstructed as the conclusion (‘Folgerung’) of a deductive argument proper; however, I will also discuss the option that ‘Folgerung’ could be understood as a corollary rather than a conclusion. Finally, Allison's own interpretation will be criticized.