Imagination In Kant S Critique Of Practical Reason

Places imagination squarely at the core of Kant's moral law and ethics.

The Kerygma of the Wilderness Traditions in the Hebrew Bible examines biblical writers' use of the wilderness traditions in the books of Exodus and Numbers, Deuteronomy, the Prophets, and the Writings to express their beliefs in God and their understandings of the community's relationship to God. Kerygma is the proclamation of God's actions with the purpose of affirming faith/or appealing to an obedient response from the community. The experiences of the wilderness community, who rebelled and refused to live according to God's purposes, serve as a polemic against disbelief in God and the refusal to embrace Israel's religious heritage. In the Writings, more than in the Prophets, the wilderness traditions are remembered with a notable resemblance to the traditions in Exodus and Numbers, which reflects a heightened interest in the ancient traditions in the closing turbulent period of Israelite history. Recollections of Israel's beginnings in the wilderness address problems associated with faith, obedience, and ultimately, the nature of the Israelite community.

In this book Jane Kneller focuses on the role of imagination as a creative power in Kant's aesthetics and in his overall philosophical enterprise. She analyzes Kant's account of imaginative freedom and the relation between imaginative free play and human social and moral development, showing various ways in which his aesthetics of disinterested reflection produce moral interests. She situates these aspects of his aesthetic theory within the context of German aesthetics of the eighteenth century, arguing that Kant's contribution is a bridge between early theories of aesthetic moral education and the early Romanticism of the last decade of that century. In so doing, her book brings the two most important German philosophers of Enlightenment and Romanticism, Kant and Novalis, into dialogue. It will be of interest to a wide range of readers in both Kant studies and German philosophy of the eighteenth and nineteenth centuries.

The role and place of transcendental psychology in Kant's Critique of Pure Reason has been a source of some contention. The acceptance of the notion of transcendental psychology in recent years has been in connection to functionalist views of the mind which has detracted from its metaphysical significance. This work presents a detailed argument for restoring transcendental psychology to a central place in the interpretation of Kant's Analytic, in the process providing a detailed response to more 'austere' analytic readings.

Kant s view of the imagination is surrounded by one of the most salient and obscure discussions onhis critical philosophy. Due to revisions and emendations and a seeming change in doctrine from the first to the third Critique, Kant s considered view of the imagination remains unclear. This collection of essays from Kant scholars illuminates the various treatments of imagination through its development in Kant s critical works. Thereby invaluable research is given on a topic that is now facing new interest amongst philosophers."

Is there any justification for Heidegger's famous 'violence' against Kant's philosophy? An independent assessment of the worth of Heidegger's argument is also made all the more pertinent by the evident misgivings Heidegger had about his interpretation of Kant. We must ask of Heidegger's interpretation of Kant: 1) Is this good Kant? and 2) Is this good Heidegger?

This Element is a study of how the power of imagination is, according to Kant, supposed to contribute to cognition. It is meant to be an immanent and a reconstructive endeavor, relying solely on Kant's own resources when he tries to determine what material, faculties, and operations are necessary for cognition of objects. The main discourse is divided into two sections. The first deals with Kant's views concerning the power of imagination as outlined in the A- and B- edition of the Critique of Pure Reason. The second focuses on the power of imagination in the first part of the Critique of Judgment.