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Contents:
  1. Immanuel Baptist Church - Richmond, VA
  2. Academic Tools
  3. Immanuel and Tabitha Collaborate, Open Innovative Living Option for Seniors
  4. Immanuel Kant - Wikipedia

Horeb has been so central to the people that they also had to go to that meeting point, embodied in the prophet's experience.

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In other words, the people were being called to be rejuvenated in the power and the centrality of the law. Meeting points are also crucial in our lives on personal and communal levels. Let us recall our experiences where we lose our perspectives, our paths, and our objectives. And let us ask ourselves: what do we do? The biblical message prompts us to go to the point "from where everything has started.

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Our reference points will help us reboot ourselves and allow God to restart his "operating system" in us, so that by being attentive to the "still gentle whisper" we will know why way to go and how to make ourselves instruments of love and service in the hands of our Lord. Certainly, he dominates the last two hundred years in the sense that - although few philosophers today are strictly speaking Kantians - his influence is everywhere.

Moreover, that influence extends over a number of different philosophical regions: epistemology, metaphysics, aesthetics, ethics, politics, religion. Because of Kant's huge importance, and the variety of his contributions and influences, this encyclopedia entry is divided into a number of subsections. What follows here will be a brief account of Kant's life and works, followed by an overview of those themes that Kant felt bridged his philosophical works, and made them into one 'critical philosophy'.

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In financial difficulties forced him to withdraw from the University. After nine years supporting himself as a tutor to the children of several wealthy families in outlying districts, he returned to the University, finishing his degree and entering academic life, though at first and for many years in the modest capacity of a lecturer. He continued to work and lecture on, and publish widely, on a great variety of issues, but especially on physics and on the metaphysical issues behind physics and mathematics. He rarely left his home city, and gradually became a celebrity there for his brilliant, witty but eccentric character.

Kant's early work was in the tradition although not dogmatically even then of the great German rationalist philosopher Leibniz, and especially his follower Wolff. But by the s, he was increasingly admiring Leibniz's great rival Newton, and was coming under the additional influences of the empiricist skepticism of Hume and the ethical and political thought of Rousseau. In this period he produced a series of works attacking Leibnizian thought. In particular, he now argued that the traditional tools of philosophy - logic and metaphysics - had to be understood to be severely limited with respect to obtaining knowledge of reality.

Similar, apparently skeptical, claims were relatively common in the Enlightenment. It was only in the late s, and especially in his Inaugural Dissertation of that Kant began to move towards the ideas that would make him famous and change the face of philosophy. In the Dissertation, he argued for three key new ideas: first, that sensible and conceptual presentations of the world for example, my seeing three horses, and my concept of three must be understood to be two quite distinct sources of possible knowledge. Second, it follows that knowledge of sensible reality is only possible if the necessary concepts such as substance are already available to the intellect.

This fact, Kant argued, also limits the legitimate range of application of these concepts. Finally, Kant claimed that sensible presentations were of only appearances', and not things as they are in themselves. This was because space and time, which describe the basic structure of all sensible appearances, are not existent in things in themselves, but are only a product of our organs of sense. Perceiving things in space and time is a function of the mind of the perceiver. The hypothesis that both key concepts, and the basic structure of space and time, are a priori in the mind, is a basic theme of Kant's idealism see the entry on 'Kant's Metaphysics'.

It is important to recognize that this last claim about space and time also exacerbates the limitation imposed above by proposing a whole realm of 'noumena' or 'things in themselves' which necessarily lies beyond knowledge in any ordinary sense. These new and often startling ideas, with a few important modifications, would form the basis of his philosophical project for the rest of his life.


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After publishing quite often in the preceding 15 years, the Dissertation ushered in an apparently quiet phase in Kant's work. Kant realized that he had discovered a new way of thinking. He now needed rigorous demonstrations of his new ideas, and had to pursue their furthest implications. He even needed to find a new philosophical language to properly express such original thoughts! This took more than a decade of his life. Except for a remarkable set of correspondence during this period, Kant published nothing until the massive first edition of the Critique of Pure Reason , in revised second edition, Over the next two decades, however, he furiously pursued his new philosophy into different territories, producing books or shorter publications on virtually every philosophical topic under the sun.

This new philosophy came to be known as 'critical' or 'transcendental' philosophy. Kant quickly became famous in the German speaking world, and soon thereafter elsewhere. This fame did not mean universal praise, however. Kant's work was feverishly debated in all circles - his work on religion and politics was even censored. And by the time of his death in , philosophers such as Fichte, Schelling and the Hegel were already striking out in new philosophical directions.

Directions, however, that would have been unthinkable without Kant. Kant's Critique of Judgment the third Critique was and continues to be a surprise - even to Kant, for it emerged out of Kant's philosophical activity having not been a part of the original plan. For an account of Kant's first two Critiques , please see the entry on 'Kant's Metaphysics'. Some philosophers have even claimed that it is the product of the onset of senility in Kant. After initial enthusiasm during the romantic period, the book was relatively ignored until work such as Cassirer's in the early 20th Century.

Especially in the last few decades, however, the Critique of Judgment is being increasingly seen as a major and profound work in Kant's output. Part of the surprise lies in the diversity of topics Kant deals with. For much of the previous two centuries the book was read - and it still is largely read in this way - as a book about aesthetics the philosophy of the beautiful and the sublime. In fact this type of reading by no means adequately reflects Kant's explicit themes, and is forced to ignore much of the text.

Here, we shall try to sketch out the range of topics and purposes including aesthetics Kant gives to his third Critique. There are several commonly available translations of the Critique of Judgment. Here, we will use Werner S.

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Pluhar's Hackett, , but will make reference alternative translations of key terms, especially as found in the widely used James Creed Meredith translation. To facilitate the use of the variety of available editions, passages in Kant's text will be indicated by section number, rather than page number. The basic, explicit purpose of Kant's Critique of Judgment is to investigate whether the 'power' also translated as 'faculty' - and we will use the latter here of judgment provides itself with an priori principle.

In earlier work, Kant had pretty much assumed that judgment was simply a name for the combined operation of other, more fundamental, mental faculties.


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Now, Kant has been led to speculate that the operation of judgment might be organized and directed by a fundamental a priori principle that is unique to it. The third Critique sets out to explore the validity and implications of such a hypothesis. In the third Critique , Kant's account of judgment begins with the definition of judgment as the subsumption of a particular under a universal Introduction IV. If, in general, the faculty of understanding is that which supplies concepts universals , and reason is that which draws inferences constructs syllogisms, for example , then judgment 'mediates' between the understanding and reason by allowing individual acts of subsumption to occur cf.

Introduction III. This leads Kant to a further distinction between determinate and reflective judgments Introduction IV. In the former, the concept is sufficient to determine the particular - meaning that the concept contains sufficient information for the identification of any particular instance of it. In such a case, judgment's work is fairly straightforward and Kant felt he had dealt adequately with such judgments in the Critique of Pure Reason.

Thus the latter where the judgment has to proceed without a concept, sometimes in order to form a new concept forms the greater philosophical problem here. How could a judgment take place without a prior concept? How are new concepts formed? And are there judgments that neither begin nor end with determinate concepts? This explains why a book about judgment should have so much to say about aesthetics: Kant takes aesthetic judgments to be a particularly interesting form of reflective judgments.

As we shall see, the second half of Kant's book deals with teleological judgments. Broadly speaking, a teleological judgment concerns an object the possibility of which can only be understood from the point of view of its purpose. Kant will claim that teleological judgments are also reflective, but in a different way - that is, having a different indeterminacy with respect to the concepts typical of natural science. Reflective judgments are important for Kant because they involve the judgment doing a job for itself , rather than being a mere co-ordinator of concepts and intuitions; thus, reflective judgments might be the best place to search for judgment's a priori legislating principle.

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The principle in question if it exists , Kant claims, would assert the suitability of all nature for our faculty of judgment in general. In the narrower case of determinate judgments, Kant believes he has demonstrated the necessity of this 'suitability' - please see the entry on 'Kant's Metaphysics'. Kant offers a number of arguments to prove the existence and validity of this principle.

First, he suggests that without such a principle, science as a systematic, orderly and unified conception of nature would not be possible. All science must assume the availability of its object for our ability to judge it. Second, without such a principle our judgments about beauty would not exhibit the communicability, or tendency to universality even in the absence of a concept, that they do.

It is this second argument that dominates the first half of the Critique of Judgment.

Immanuel Kant - Wikipedia

As we shall see, Kant uses the particular investigation into judgments about art, beauty and the sublime partly as a way of illuminating judgment in general. Aesthetic judgments exhibit in an exemplary fashion precisely those features of judgment in general which allow one to explore the transcendental principles of judgment. But Kant has still higher concerns. The whole problem of judgment is important because judgment, Kant believes, forms the mediating link between the two great branches of philosophical inquiry the theoretical and the practical.

It had been noted before for example, by Hume that there seems to be a vast difference between what is, and what ought to be. Kant notes that these two philosophical branches have completely different topics, but these topics, paradoxically, have as their object the very same sensible nature. Theoretical philosophy has as its topic the cognition of sensible nature; practical philosophy has as its topic the possibility of moral action in and on sensible nature.

see This problem had arisen before in Kant's work, in the famous Antinomies in both the first and second Critiques. A key version of the problem Kant poses in the Antinomies concerns freedom: how can nature be both determined according to the laws of science, and yet have 'room' for the freedom necessary in order for morality to have any meaning? Ultimately, for Kant this would be a conflict of our faculty of reason against itself.