This book presents a critical reconsideration of the Kantian cognitive and practical subject. Special attention is devoted to highlighting the complex relation between subjectivity as it is presented in the three critiques and the way in which it is construed in other writings, in particular the Anthropology. While for Kant our cognitive apparatus and the structure of our will are common to all humans, the anthropological subject reveals degrees of variation, depending on a myriad of external circumstances that pose a challenge to the unity of Kant’s account and await theoretical solutions. The chapters collected in the volume delve into how the different shapes of human nature are not unrelated. They explore how and why different ‘Kantian subjects’ are closely connected at their core, if not entirely unified. The notions of personality, humanity, and citizenship will serve as leading threads for the reconstruction of this possible underlying unity. An engaging read that promises to deepen our understanding of human nature, the volume will be of great interest to scholars and researchers of philosophy, politics, psychology, social anthropology, ethics, and epistemology.

In this volume, Karl Ameriks explores 'Kantian subjects' in three senses. In Part I, he first clarifies the most distinctive features-such as freedom and autonomy-of Kant's notion of what it is for us to be a subject. Other chapters then consider related 'subjects' that are basic topics in other parts of Kant's philosophy, such as his notions of necessity and history. Part II examines the ways in which many of us, as 'late modern,' have been highly influenced by Kant's philosophy and its indirect effect on our self-conception through successive generations of post-Kantians, such as Hegel and Schelling, and early Romantic writers such as Hölderlin, Schlegel, and Novalis, thus making us 'Kantian subjects' in a new historical sense. By defending the fundamentals of Kant's ethics in reaction to some of the latest scholarship in the opening chapters, Ameriks offers an extensive argument that Hölderlin expresses a valuable philosophical position that is much closer to Kant than has generally been recognized. He also argues that it was necessary for Kant's position to be supplemented by the new conception, introduced by the post-Kantians, of philosophy as fundamentally historical, and that this conception has had a growing influence on the most interesting strands of Anglophone as well as Continental philosophy.

Winner: 2012 The American Publishers Award for Professional and Scholarly Excellence in Theology and Religious Studies, PROSE Award. In this thought-provoking new work, the world renowned theologian Gary Dorrien reveals how Kantian and post-Kantian idealism were instrumental in the foundation and development of modern Christian theology. Presents a radical rethinking of the roots of modern theology Reveals how Kantian and post-Kantian idealism were instrumental in the foundation and development of modern Christian theology Shows how it took Kant's writings on ethics and religion to launch a fully modern departure in religious thought Dissects Kant's three critiques of reason and his moral conception of religion Analyzes alternative arguments offered by Schleiermacher, Schelling, Hegel, and others - moving historically and chronologically through key figures in European philosophy and theology Presents notoriously difficult and intellectual arguments in a lucid and accessible manner

Rejecting the typical view of formalism's exclusive engagement with essentialized and purified notions of abstraction and its disengagement from issues of gender and embodiment, Brennan explores the ways in which these categories were intertwined. Historically and theoretically."--Jacket.

Other works on Kant and on his Critical Philosophy attempt either to remove Kant's transcendental idealism from his system or to defend it as being essential to the Kantian enterprise. In Kant's Idealism, Professor Neujahr argues - he may be the first to do so - that there is no single doctrine that is Kant's transcendental idealism to either explain or explain away. In his Critique of Pure Reason, Kant claims to present a distinctive form of idealism he calls "transcendental" idealism and that he contrasts with the "empirical" idealism of his predecessors. Professor Neujahr argues that on the contrary there is no single form of idealism in Kant's system and no simple contrast between Kant's transcendental idealism and the idealist doctrines of his philosophical forebears. Neujahr finds (and clearly delineates) "strands of idealism" in Kant's philosophy. He argues that the source of these various forms of idealism is the conflicting demands of Kant's theories of perception (sensibility) and thought (understanding). How in fact a subject relates to an object finds no single unified explanation in the Critical Philosophy of Kant. Indeed, in spite of Kant's efforts to combine his various theories into a single theory of experience, his doctrines of perception and thought do not fit together. It is, Neujahr contends, this lack of fit that ultimately prevents there being any single transcendental version of idealism in Kant's system. This also helps explain why Kant's system is so difficult. Neujahr's critical review of that system in Kant's Idealism may be the "handle" needed to get hold of Kant's notoriously difficult but potentially very useful Critical Philosophy.

Cheri Lynne Carr explores the very real potential of Deleuze's clandestine use of Kantian critique for developing a new ethical practice. This new practice is built on an idea implicit in much of Deleuzian thought: the idea of critique as a way of life.

Drawing on a wide range of scholarship, this book offers a new and comprehensive examination of Kant's argument that aesthetic judgements are combined with a claim to subjective universality. The author gives a detailed account of the background to this claim in Kant's epistemology, logic, and metaphysics, before closely attending to the crucial sections of the Critique of the Power of Judgement. In particular, it is shown that Kant's aesthetics requires that his theory of the subject be rethought. Central to the theory of the subject that begins to emerge from the Third Critique is Kant's enigmatic notion of 'life' which is extensively explored here. This study, therefore, thoroughly examines the central features of Kant's account of aesthetic judgements, suggesting that a new and exciting theory of subjectivity begins to be outlined in Kant's aesthetics. The author argues for the placement of Kant's account of the subjective universality of aesthetic judgement at the centre of contemporary philosophical aesthetics.

In her feminist inquiry into aesthetics and the sublime, Claire Raymond reinterprets the work of the American photographer Francesca Woodman (1958-1981). Placing Woodman in a lineage of women artists beginning with nineteenth-century photographers Julia Margaret Cameron and Clementina, Viscountess Hawarden, Raymond compels a reconsideration of Woodman's achievement in light of the gender dynamics of the sublime. Raymond argues that Woodman's photographs of decrepit architecture allegorically depict the dissolution of the frame, a dissolution Derrida links to theories of the sublime in Kant's Critique of Judgement. Woodman's self-portraits, Raymond contends, test the parameters of the gaze, a reading that departs from the many analyses of Woodman's work that emphasize her dramatic biography. Woodman is here revealed as a conceptually sophisticated artist whose deployment of allegory and allusion engages a broader debate about Enlightenment aesthetics, and the sublime.

If the tragic interpretation of experience is still so current, despite its disastrous ethical consequences, it is because it shapes our subjectivity. Instead of contradicting the ideals of autonomy and freedom, a modern subjectivity based on self-victimization in effect enables them. By embracing subjection to an alienating other (the Law, Power) the autonomous subject protects its sameness from the disruption of real people. Seductions of Fate stages a dialogue between this tragic agent of political emancipation and the unconditional ethical demands it seeks to evade.

If the postmodern is a collage--as some critics have suggested--or if collage is itself a kernel of the postmodern, what does this mean for our way of understanding the world? The Frame and the Mirror uses this question to probe the distinctive character of the postmodern situation and the philosophical problem of representation. Brockelman's work is itself a collage of sorts, using juxtapositions of critics and art historical figures to conduct a debate between such figures as Karsten Harries, Gianni Vattimo, Rosalind Krauss, Immanuel Kant, Jean-Francois Lyotard, Slavo Zizek, and Le Corbusier about issues such as truth in art, perspectivism, theatricality, the sublime, psychoanalytic theory, politics, and urbanism. More than an introduction to the postmodern, The Frame and the Mirror advances our understanding of the contemporary world by relating its features to the peculiar characteristics of collage. Ultimately, Brockelman shows how collage demands that we reinterpret modernity, conceiving of it as suspended between a loss of certainty and a new kind of knowledge about the human condition. In doing so, his work challenges many of the claims made in the name of postmodernism--and offers in their place a new and ironic view of the cultural space in which contemporary and historical events occur.