In this article, I confront Parfit’s Mixed Maxims Objection. I argue that recent attempts to respond to this objection fail, and I argue that their failure is compounded by the failure of recent attempts to show how the Formula of Universal Law can be used to demarcate the category of obligatory maxims. I then set out my own response to the objection, drawing on remarks from Kant’s Metaphysics of Morals for inspiration and developing a novel account of how the Formula of Universal Law can be employed to determine the deontic status of action tokens, action types and maxims.

Alix Cohen argues that the function of feeling in Kantian psychology is to appraise and orient activity. Thus she sees feeling and agency as importantly connected by Kant’s lights. I endorse this broader claim, but argue that feeling, on her account, cannot do the work of orientation that she assigns to it.

Close attention to Kant’s comments on animal minds has resulted in radically different readings of key passages in Kant. A major disputed text for understanding Kant on animals is his criticism of G. F. Meier’s view in the 1762 ‘False Subtlety of the Four Syllogistic Figures’. In this article, I argue that Kant’s criticism of Meier should be read as an intervention into an ongoing debate between Meier and H. S. Reimarus on animal minds. Specifically, while broadly aligning himself with Reimarus, Kant distinguishes himself from both Meier and Reimarus on the role of judgement in human consciousness.

This paper has three aims. First, to show Kant’s originality in using the celebrated example of the hundred thalers as a criticism of the ontological proof, despite being inspired by a 1780 booklet by Johann Bering. Second, to assess Bering’s and Kant’s different reasons for supporting the truth meant to be illustrated by the case of the thalers. Third, to point out that the debate on the example demands a discussion of the problem of universals. Indeed, the value and scope of Kant’s (and Bering’s) critique of the ontological argument is decisively determined by his position on this problem.

According to Alix Cohen, Kant defines emotions as ‘feelings’. Although I find her account of Kantian feelings compelling, I provide three reasons to doubt that it is an account of emotions: (1) it is unclear why Cohen identifies emotions with Kantian feelings; (2) some Kantian feelings are not emotions; (3) some Kantian desires may be emotions. I propose, however, that with some qualifications Cohen’s account may be upheld, provided its extra-textual assumptions about emotions are explicated. Against her claim that Kantian feelings have a derived intentionality, I argue that the text is compatible with their being intrinsically intentional.

In this paper, I discuss Kant’s concept-less schematism (KU, 5: 287) in the third Critique1 and make three claims: 1) concept-less schematism is entirely consistent with the schematism in the first Critique; 2) concept-less schematism is schematism with no empirical concept as an outcome; and 3) in accordance with 1) and 2), the imagination is free to synthesize the given manifold and leads to judgements of taste without this meaning either that the categories play no role at all or that these judgements are full-fledged cognitive determining judgements. While most commentators read the freedom of the imagination as its independence from the understanding, I argue that the freedom of the imagination is based on a non-determining employment of the pure concepts of the understanding. The freedom of the aesthetic imagination consists in the temporal schematization of the categories without any complementary determination of the empirical concept.

In this article I argue that the Critical Kant endorses the claim that God creates the best possible world, and that this claim is best understood as committing him to the view that God creates an infinitely valuable world. Kant’s understudied Critical theory of the best possible world differs significantly from his better-known quasi-Leibnizian pre-Critical account insofar as it uses an axiological rather than ontological metric for the goodness of worlds. The axiological metric introduces unique challenges for a Kantian account of the best possible world. These challenges are in turn resolved via an infinite value interpretation.

This paper calls into question the view typically attributed to Kant that aesthetic judgements are particularist, resisting all conceptual determination. Instead, it claims that Kant conceives of aesthetic judgements, particularly of art, as playing an important role in the revision of concepts: one sense in which aesthetic judgements, as Kant defines them, ‘find a universal’ for a given particular. To understand the relation between artistic judgements and concepts requires that we consider what I call Kant’s diachronic account of aesthetic ideas, or how such judgements unfold in the course of communication and reflection. My reading draws Kant much closer to debates in the philosophy of art on the semantic dimension of artworks. Here, illuminating the way in which aesthetic judgements about art can play a role in conceptual revision allows us to make sense of the way in which modern artworks contest concepts rather than merely presenting or expressing them.

This essay explores the relation between worldly orientation and rational comprehension in Kant. Both require subjective grounds of differentiation that were eventually developed into a contextualizing principle for reflective judgement. This kind of judgement can proceed either inductively to find new universals or by analogy to symbolically link different objective spheres. I will argue that the basic orientational function of reflective judgement is to modally differentiate the formal horizonal contexts of field, territory, domain and habitat laid out in the Introduction to the Critique of the Power of Judgement. Assessing which context takes priority will be important in making aesthetic judgements and for applying practical reason to comprehend human affairs.

On my interpretation of Kant, feeling plays a central role in the mind: it has the distinct function of tracking and evaluating our activity in relation to ourselves and the world so as to orient us. In this article, I set out to defend this view against a number of objections raised by Melissa Merritt and Uri Eran. I conclude with some reflections on the fact that, despite being very different, Merritt and Eran’s respective views of Kantian feelings turn out to have something potentially problematic in common: they blur the boundary between feelings and other kinds of mental states.

In ‘What is Enlightenment?’, Kant claims that no women are currently enlightened. Here I argue that this exclusion is due to certain legal restrictions guiding Kant’s conception of enlightenment. As enlightenment is intended to take place in society, it appears that Kant has a specific legal context in mind that affects its enactment. His twofold conception of citizenship and the dimension of subordination he puts forward by restricting the private use of reason will prove useful in clarifying those legal restrictions. It thus seems unlikely that Kant intended women to take an active part in enlightenment.

One of the more notorious passages in Kant occurs in the Doctrine of Right where he claims that ‘bloodguilt’ will cling to members of a dissolving society if they fail to execute the last murderer (MM, 6: 333). Although this is the most famous, bloodguilt appears in three other passages in Kant’s writings. These have received little attention in Kant scholarship. In this article, I examine these other passages and argue that bloodguilt functions as a symbol for the demandingness of justice. I then offer a sympathetic interpretation of the passage from the Doctrine of Right.

This article reconstructs Jean-François Lyotard’s theory of the sublime in contemporary art, focusing on his claim that such art ‘presents’ the unpresentable, and tracing its origins in Kant’s account of the sublime. I propose that Lyotard identifies a difficulty concerning Kant’s account: to understand why the disparate elements in the experience of the sublime (idea of reason, sensible representation) should be synthesized to form that experience. Lyotard recasts this difficulty as a pragmatic problem for artistic practice – how to ‘testify’ to the absolute in a non-absolute, sensibly perceivable object (the artwork) – that can be understood to drive avant-garde artistic experimentation.

A philosophically and historically influential section of the Critique of Judgement presents an ‘intuitive intellect’ as a mind whose representation is limited to what actually exists, and does not extend to mere possibilities. Kant’s paradigmatic instance of such an intellect is however also the divine mind. This combination threatens to rule out the reality of the mere possibilities presupposed by Kant’s theory of human freedom. Through an analysis of the relevant issues in metaphysical cosmology, modal metaphysics and philosophical theology, I show that Kant in fact possesses the resources to reconcile the philosophical claims of §76 of the Critique of Judgement with his keystone commitment to the reality of human freedom.

This article explains Kant’s claim that sciences must take, at least as their ideal, the form of a ‘system’. I argue that Kant’s notion of systematicity can be understood against the background of de Jong and Betti’s Classical Model of Science (2010) and the writings of Georg Friedrich Meier and Johann Heinrich Lambert. According to my interpretation, Meier, Lambert and Kant accepted an axiomatic idea of science, articulated by the Classical Model, which elucidates their conceptions of systematicity. I show that Kant’s critique of the mathematical method is compatible with his adherence to this axiomatic conception of science. I further show that systematicity advances traditionally accepted logical ideals of scientific knowledge, which explains why Meier and Kant think that sciences must be ‘systematic’.

This article addresses a simple question that has rarely been asked of Kant’s philosophy of nature: why are attraction and repulsion the two fundamental forces of matter? Where proposals can be found in the literature, they are divergent. I provide a new answer, which has strong support from the historical context: Kant pursues a modified version of what I call the ‘reduction method’ that was much debated in the German metaphysical tradition. To this, Kant crucially adds his critical doctrine of regulative ideas, revealing an overlooked way that the Appendix to the Critique informs his philosophy of nature.

Stephen R. Palmquist’s Kant and Mysticism revisits his earlier work on Kant and Swedenborg, arguing that, contrary to standard interpretations, the arguments of Dreams of a Spirit-Seer expand into ‘Critical mysticism’ throughout the Critical philosophy and into the Opus Postumum. Although the beginning portions of Palmquist’s book successfully disturb the standard portrait of Kant as the all-destroyer of metaphysics and religious experience, his argument for critical mysticism is inconclusive. It is impossible to know if his interpretation of the Opus Postumum is more right than its competitors. The conflict of interpretations shows Palmquist’s interpretation to be a hermeneutic impossible possibility.

This article is to be a bridge between Kant’s aesthetics and contemporary art – not by being a paper on Kant and contemporary art, but rather by being on Kant and contemporary philosophy of art. I claim that Kant’s views on the appreciation of art can accommodate contextualism as well as ethicism. I argue that not only does contextualism fit Kant’s views on the appreciation of art; in §§51–3 of the third Critique, Kant’s appreciation of art is in accordance with contextualism. I go on to argue that not only does ethicism fit Kant’s views on the appreciation of art; in §§51–3, Kant’s appreciation of art is in accordance with ethicism.

In his Kant on Laws, Eric Watkins presents an account of reason on which the principles of specification and continuity are regulative instructions to search for different kinds of the unconditioned. I suggest that we correct Watkins’ account in two ways. First, we need to complete Watkins’ claim to the plurality of the unconditioned: reason aims for three kinds of the unconditioned, associated with the lowest, next and highest concepts. Second, we need to look beyond reason’s search for the unconditioned in order to properly understand the nature of the aim of reason. I argue that we construe reason’s aim as the systematic unity of cognition considered as a whole or, in Kant’s teleological terms, as the realization of an ‘idea’, or a ‘purposive unity’.