Kant, analysis, and pure intuition

Keyword(s):  
Author(s):  
George Pattison

This chapter sets out the rationale for adopting a phenomenological approach to the devout life literature. Distinguishing the present approach from versions of the phenomenology of religion dominant in mid-twentieth-century approaches to religion, an alternative model is found in Heidegger’s early lectures on Paul. These illustrate that alongside its striving to achieve a maximally pure intuition of its subject matter, phenomenology will also be necessarily interpretative and existential. Although phenomenology is limited to what shows itself and therefore cannot pass judgement on the existence of God, it can deal with God insofar as God appears within the activity and passivity of human existence. From Hegel onward, it has also shown itself open to seeing the self as twofold and thus more than a simple subjective agent, opening the way to an understanding of the self as essentially spiritual.


2020 ◽  
Vol 102 (1) ◽  
pp. 131-149
Author(s):  
Reinhard Brandt

AbstractRecent publications (Henrich, Seeberg) claim that Kant has been profoundly influenced by contemporary publications on juridical deductions. I try to show, that this cannot be right. The introductory note of the “Transcendental Deduction” (Critique of Pure Reason A 84) poses two questions: “quid facti?” and “quid juris?”. The first is answered by the demonstration of the possibility of relations between pure concepts and pure intuition und sensations, the second by the implicit refutation of David Hume. Kant and his interpreters sustain the possibility of using juridical concepts, that are neither related to real juridical facts nor are only metaphers, but have a special philosophical signification. But what should that be?


2018 ◽  
Vol 1 (2) ◽  
pp. 155-168
Author(s):  
Michał Wendland

The article concerns some of the most important elements of I. Kant’s epistemology and its connections with earlier epistemological ideas, namely rationalism and empiricism. The history of dispute between rationalism (Descartes, Leibniz) and empiricism (Locke, Berkeley, Hume) is hereby shortly presented while Kant’s own philosophical achievements are suggested to be both alternative and synthesis of these. The main core of this paper is summary of basis of Kant’s Critique of Pure Reason; some most important categories are described: apriorism, synthetic and analytical judgements, knowledge a priori and a posteriori, main ideas of transcendental esthetics (two forms of pure intuition: time and space), main ideas of transcendental logic (forms of judgement and twelve categories). Also the meaning of Kant’s „copernican revolution” is presented as a turning point for classical German philosophy as well as for whole modern epistemology.


2012 ◽  
Vol 17 (1) ◽  
pp. 109-134 ◽  
Author(s):  
Sebastian Rand

AbstractThis 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).


2017 ◽  
Vol 21 (4) ◽  
pp. 440-454
Author(s):  
Nadav Appel

The ‘cover version’ is a quintessential yet problematic popular music phenomenon. Endemic to a cultural form in which authenticity is a central value, it also calls authenticity into question by problematizing common notions of creativity and originality. This article investigates the practice of the cover version from a socio-epistemological perspective, inquiring as to the way that knowledge is performed through it. While the romantic mythology of the creative artist attributes the musician’s inspiration to an elusive ‘feel’, the cover version threatens to expose the formalized knowledge that lies behind the façade of pure intuition. Thus, when recording cover versions, musicians often take care to perform their knowledge in specific ways that allow them to reassert an air of unexplainable creativity. These various strategies are detailed and analyzed throughout the article in order to introduce and demonstrate a new theoretical framework for analyzing the relations between knowledge, performance, and cultural production.


2017 ◽  
Vol 95 (4) ◽  
pp. 627-643 ◽  
Author(s):  
Jonas Jervell Indregard
Keyword(s):  

2013 ◽  
Vol 95 (1) ◽  
pp. 65-86
Author(s):  
Stefan Lang

Abstract: In this essay I make an attempt at sketching the outlines of Fichte’s method of philosophical construction in intuition and try to explore the rationality of his concept of deduction. I discuss the relationship between Fichte’s method of philosophical construction and Kant’s concept of construction of geometrical figures in pure intuition. I offer in-depth analysis of Fichte’s deduction of concepts in his Foundations of Natural Rights and in the Wissenschaftslehre nova methodo. However, I argue that Fichte’s deduction of practical spontaneity is not successful. Finally, I consider and reject some objections to my interpretation.


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