About the author

Immanuel Kant (UK: , US: ; German: [ɪˈmaːnu̯eːl ˈkant, -nu̯ɛl -]; 22 April 1724 – 12 February 1804) was an influential Prussian German philosopher in the Age of Enlightenment. In his doctrine of transcendental idealism, he argued that space, time, and causation are mere sensibilities; "things-in-themselves" exist, but their nature is unknowable. In his view, the mind shapes and structures experience, with all human experience sharing certain structural features. He drew a parallel to the Copernican revolution in his proposition that worldly objects can be intuited a priori ('beforehand'), and that intuition is therefore independent from objective reality. Kant believed that reason is the source of morality, and that aesthetics arise from a faculty of disinterested judgment. Kant's views continue to have a major influence on contemporary philosophy, especially the fields of epistemology, ethics, political theory, and post-modern aesthetics.

In one of Kant's major works, the Critique of Pure Reason (1781), he attempted to explain the relationship between reason and human experience and to move beyond the failures of traditional philosophy and metaphysics. Kant wanted to put an end to an era of futile and speculative theories of human experience, while resisting the skepticism of thinkers such as David Hume. Kant regarded himself as showing the way past the impasse between rationalists and empiricists, and is widely held to have synthesized both traditions in his thought.

Kant was an exponent of the idea that perpetual peace could be secured through universal democracy and international cooperation. He believed that this would be the eventual outcome of universal history, although it is not rationally planned. The nature of Kant's religious ideas continues to be the subject of philosophical dispute, with viewpoints ranging from the impression that he was an initial advocate of atheism who at some point developed an ontological argument for God, to more critical treatments epitomized by Nietzsche, who claimed that Kant had "theologian blood" and was merely a sophisticated apologist for traditional Christian faith.

Kant published other important works on ethics, religion, law, aesthetics, astronomy, and history. These include the Universal Natural History (1755), the Critique of Practical Reason (1788), the Metaphysics of Morals (1797), and the Critique of Judgment (1790), which looks at aesthetics and teleology.

Kritik af dømmekraften

Kritik af dømmekraften er den tredje (og sidste) af Kants store Kritik´er, gennem hvilke han genoptager filosofiens store, antikke temaer om det sande, det gode og det skønne - via den RENE, den PRAKTISKE og den hhv. æstetisk og teleologisk DØMMENDE fornuft. Kald det erkendelsesteori, etik og æstetik, men bemærk i Kants tilfælde, at den sidste og æstetiske/teleologiske Kritik griber tilbage til den første - om den rene fornuft - og gentænker hele systematikken eller progressionen.
Den ÆSTETISKE dømmekraft handler om det skønne (modsat det hæslige), både det naturskønne og det kunstskønne, der har mennesket inde over - og både det SKØNNE som sådan (smagens almene primat) og det OPHØJEDE (det sublime), der på Kants tid betegnede noget andet end i dag: det voldsomme, frygtindgydende, som dog finder et forsonende og tankefuldt udtryk - fra skælven og frygt til ro og afklaret velbehag. Den æstetiske dømmekraft nødvendiggør en række kriterier eller spilleregler, hvis dommen skal være objektiv og stå til troende, og Kant formulerer derfor disse - ´det interesseløse velbehag´ osv. Dertil kommer diskussionen af, hvad kunst er, som Kant slipper udenom ved introducere talen om GENIET, den autonome, selvlovgivende instans, hvis værk som kunst ikke står til diskussion - en ulykkelig tanke, der siden har forfulgt os, især såkaldte kunstnere.
I værkets anden del handler det om den teleologiske dømmekraft, dvs. vor evne - tilbøjelighed - til at se (og dømme om) hensigtsmæssighed - i sær i naturen - hvor den ikke findes. Eller hvor den reelt kun findes på en kontingent måde - som et tilfælde, der forblænder os og bilder os ind, at bag det hele må der stå en vis skabergud. Kant medgiver denne tilbøjelighed - grænsende til sandsynlighed - men afviser i sidste instans, at vor forestilling om hensigtsmæssighed skulle bevise eksistensen af Gud. Grænsen bliver atter trukket skarpt om: Der er det, vi ved, og det, vi gerne vil vide, men reelt ikke ved - ikke kan vide. The rest is silence.
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Edition1
Printed pages360
Publish date13 Oct 2005
Published byDet lille Forlag
Languagedan
ISBN print9788791220234