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Kant's Critical Philosophy: The Doctrine of the Faculties Paperback – August 1, 1985


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Product Details

  • Paperback: 104 pages
  • Publisher: Univ Of Minnesota Press (August 1, 1985)
  • Language: English
  • ISBN-10: 0816614369
  • ISBN-13: 978-0816614363
  • Product Dimensions: 5.5 x 0.3 x 8.5 inches
  • Shipping Weight: 5 ounces (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #277,199 in Books (See Top 100 in Books)

Editorial Reviews

Language Notes

Text: English, French (translation) --This text refers to an out of print or unavailable edition of this title.

More About the Author

Gilles Deleuze (1925-1995) was professor of philosophy at the University of Paris, Vincennes-St. Denis. He coauthored Anti-Oedipus and A Thousand Plateaus with Félix Guattari. These works, as well as Cinema 1, Cinema 2, The Fold, Proust and Signs, and others, are published in English by Minnesota.

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36 of 37 people found the following review helpful By Douglas Doepke on August 11, 2000
Format: Paperback
This is a slim volume, unusual because it operates at a very general level across all three of Kant's Critiques instead of the more usual focus on a single Critique. Deleuze's aim is architectonic: to show how the three Critiques fit together to form a coherent whole. This is a valuable undertaking since it's very easy to get lost in the Kantian thickets, which are arguably the densest in all of Western philosophy.
Deleuze organizes the three Critiques around the core notion of faculties and the objects over which they legislate. For example, understanding legislates in the faculty of knowledge, while reason operates over the faculty of desire; taken individually, the study of each makes up the content of the first two of Kant's celebrated Critiques. Their respective functions are shown by Deleuze to culminate in the third Critique (i.e. *Critique of Pure Judgement*), wherein the notion of "ends", both moral and cognitive, reach synthetic fulfillment. Hence, it is in the third Critique, instead of the first two, in which the capstone of Kant's Copernican revolution is reached. Here in the arena of art and aesthetics, no faculty legislates, nor are generic objects present. Rather aesthetic judgement involves the faculties and imagination in a kind of free play aimed at some type of overall harmony. Rather than knowledge, which can only be phenomenal, culture represents humankind's highest achievement and its measurement; and the highway into 19th century Romanticism opens.
Kant is a giant of Western philosophy. This book aids in an understanding of his overall undertaking.
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31 of 36 people found the following review helpful By Alexander on February 16, 2001
Format: Paperback
Deleuze has long apprehended the *Critique of Judgement* as that rarest of philosophical achievements, a work of hoary old age whose radical and "deeply romantic"(xi) precepts are somberly misunderstood by students, most of whom pass it off as a clunky, fossilized curio of old-school aesthetic theory. As argued in this text, however, Kant's project is sensible (one might even say consummated) only in the light of this penultimate work, the keys to which are well worth questing for: "What is in question is how certain phenomena which come to define the Beautiful give an autonomous supplementary dimension to the inner sense of time, a power of free reflection to the imagination, an infinite conceptual power to the understanding.... It is a terrible struggle between imagination and reason, and also between understanding and the inner sense, a struggle whose episodes are the two forms of the Sublime, and then Genius. It is a tempest in the depths of a chasm opened up in the subject. The faculties confront one another, each stretched to its own limit, and find their accord in a fundamental discord: a discordant accord is the great discovery of the *Critique of Judgement*, the final Kantian reversal...the source of time"(xii-xiii).
Radically, Deleuze follows De Quincey's *The Last days of Emmanuel Kant* by casting the later Kant as a grizzly King Lear of sorts, exiled from his "reasonable" philosophical kingdom and stepping precariously to a mad song of Romantic apperception. Hamlet's "time out of joint" becomes the unhinged temporality of movement subordinated and conditioned by time, or the Borgesian "labyrinth which is composed of a single straight line, and which is indivisible, incessant.
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