The most apparent obstacles to a just, enlightened and peaceful social world are also, according to Kant, nature’s way of compelling us to realize those and other morally good ends. Echoing Adam Smith’s idea of the ‘invisible hand’, Kant thinks that selfishness, rivalry, quarrelsomeness, vanity, jealousy and self-conceit, along with the oppressive social inequalities they tend to produce, drive us to perfect our talents, develop culture, approach enlightenment and, through the strife and instability caused by our unsocial sociability, push us towards justice, political equality and the highest good. What are we to make of these arguments, which seem to rely on questionable empirical assumptions, invoke dubious claims about natural teleology and sit uncomfortably with fundamental aspects of Kant’s ethical framework? I suggest that the arguments reveal one of Kant’s deep and important insights about the moral life by partially describing what a good and virtuous person reasonably hopes for.

Kant holds that it is possible to quarrel about judgements of beauty and cultivate taste, but these possibilities have not been adequately accounted for in the dominant interpretations of his aesthetics. They can be better explained if we combine a more subjectivist interpretation of the free harmony of the faculties and aesthetic form with a type of social constructivism. On this ‘subjectivist-constructivist’ reading, quarrelling over and cultivating taste are not attempts to conform to some matter of fact, but rather to reconcile subjective perceptions through mutual interchange governed by the regulative goal of constructing a universal community of agreement.

I examine what Kant means when he appeals to different standpoints. I argue that Kant seeks to contrast an empirical, anthropocentric standpoint with a normative, more than human standpoint. Against common interpretations, I argue that the normative standpoint is not confined to practical reason, since theoretical reason is concerned with what ought to be as well. Finally, I defend the coherence of Kant’s distinction against important objections.

There is an emerging consensus among interpreters that in his Critical writings Kant ascribes unconscious representations to the mind. The nature and extent of this ascription over the course of Kant’s philosophical development is however not well understood. I argue that from his earliest published writings Kant consistently ascribes unconscious representations to the mind; that some of these representations are unconscious in the strong sense that they are not available to introspection; and that Kant extends his commitment to unconscious representations by ascribing to the mind unconscious acts of judging and reasoning.

Critics of Kant’s moral philosophy often object that his emphasis on individual autonomy makes him unable to account for our ‘second-personal’ or ‘bipolar’ duties. These are duties we owe to other people rather than duties we have with respect to them – as we might have duties with respect to the environment or works of art. With a recent and novel formulation of this objection as my foil, I argue that the apparent force of the ‘bipolarity’ objections rests on a failure to appreciate Kant’s inherently practical approach to ethics. On the positive side, reflection on criticisms of Kant’s treatment of ‘bipolar’ normativity helps to shed new light on his conception of practical agency and its place in his system of morals.

Wittgenstein’s private language argument claims that language and meaning generally are public. It also contends with our appreciation of artworks and reveals the deep connection in our minds between originality and the temptation to think of original meaning as private. This problematic connection of ideas is found in Kant’s theory of fine art. For Kant conceives of the capacity of artistic genius for imaginatively envisioning original content as prior to and independent of finding the artistic means of communicating this content to others. This raises the question of whether we can conceive of art as both original and meaningful without succumbing to privacy.