scholarly journals Ethical Soteriology of Immanuel Kant: Radical Evil, Moral Conversion and Grace advocated in Kant’s Moral Theology

2013 ◽  
Vol null (37) ◽  
pp. 41-74
Author(s):  
김정숙

Author(s):  
P. S. Dreyer

The philosophy of Immanuel Kant and Protestant theological structures Kant’s critical epistemology destroyed the idea of scientific metaphysics (valid up to Wolff) as the foundation of theology. Kant, however, reconstructed his own metaphysics on the basis of practical reason. In this scheme metaphysics and ethics are interwoven and culminate in a religion exclusively based on and conditioned by pure reason, usually known as Kant’s moral theology or rational religion. The purpose of this paper is, firstly, to give a very short exposition of the basic concepts of Kant’s moral theology, and secondly, to show its decisive influence on post Kantian protestant view of religion.



2021 ◽  
Vol 13 (1) ◽  
pp. 63-76
Author(s):  
Anthony Rimai

One of the primary concerns of Immanuel Kant in his major works on philosophy of religion is the doctrine of radical evil. He was greatly perplexed by the conundrums of this doctrine. Although Kant claimed it to be a universal trait, he failed to give a formal proof (evidence) supporting it. However, he asserted that the conducts of human beings are enough to demonstrate the nature of radical evil. The complexity of the doctrine is further fuelled by introducing the idea of the need of divine intervention for one to overcome such moral-religious predicament. Critical responses from both Christian and secular scholars reflect interesting take on his ethico-religious discourse. One of the prominent criticisms to Kant’s doctrine of radical evil is its relapse to religious absurdity reflecting the Christian doctrine of the ‘fall of mankind’ as narrated in the first book of the Bible. Consequently, the seriousness of the criticism not only affects the moral maxims but also the portrayal of its strong religious affinity, rendering the doctrine even more allusive and perplexing. The article intends to throw some light on the pragmatic perspective of the doctrine with special focus on the universality of the radical evil nature of human.



2021 ◽  
pp. 16-58
Author(s):  
Guy Elgat

This chapter’s argument is that for Immanuel Kant, empirical guilt requires determination of responsibility, where responsibility involves free agency. It argues that empirical guilt could only be justified for Kant in the final analysis if the agent is responsible and consequently guilty for his or her own “original sin” or radical evil (ontological guilt), where this responsibility and guilt imply an intelligible free deed, a position Kant defends in his Religion within the Boundaries of Mere Reason. It is here that Kant can be seen to put forward a transcendental argument from (ontological) guilt to intelligible freedom. The chapter concludes by arguing that Kant, however, does not ultimately succeed in showing why guilt (empirical and ontological) is justified and that even though he can be seen to approach the idea of the subject as causa sui that later thinkers endorse, he does not embrace it fully.





Author(s):  
Immanuel Kant ◽  
Henry Allison ◽  
Peter Heath ◽  
Gary Hatfield ◽  
Michael Friedman
Keyword(s):  




Author(s):  
Immanuel Kant ◽  
Christine M. Korsgaard


1982 ◽  
Vol 27 (6) ◽  
pp. 431-432
Author(s):  
John C. Marshall
Keyword(s):  


Author(s):  
John Marmysz

This introductory chapter examines the “problem” of nihilism, beginning with its philosophical origins in the ideas of Plato, Immanuel Kant, Friedrich Nietzsche and Martin Heidegger. It is argued that film is an inherently nihilistic medium involving the evocation of illusory worlds cut loose from objective reality. This nihilism of film is distinguished from nihilism in film; the nihilistic content also present in some (but not all) movies. Criticisms of media nihilism by authors such as Thomas Hibbs and Darren Ambrose are examined. It is then argued, contrary to such critics, that cinematic nihilism is not necessarily degrading or destructive. Because the nihilism of film encourages audiences to linger in the presence of nihilism in film, cinematic nihilism potentially trains audiences to learn the positive lessons of nihilism while remaining safely detached from the sorts of dangers depicted on screen.



Sign in / Sign up

Export Citation Format

Share Document