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By Edward G. Ballard, Richard L. Barber, James K. Feibleman, Carl H. Hamburg, Harold N. Lee, Louise Nisbet Roberts, Robert Whittemore

HE earlier doesn't swap; it can't, for what has occurred T can't be undone. but how are we to appreciate what has occurred? Our standpoint on it lies within the current, and is topic to continuous swap. those adjustments, made within the gentle of our new wisdom and new adventure, demand clean reviews and relentless reconsideration. it's now 150 years because the loss of life of Immanuel Kant, and this, the 3rd quantity of Tulane experiences in Philosophy is devoted to the commemoration of the development. the variety of the contributions to the amount function one indication of Kant's chronic significance in philoso­ phy. His paintings marks the most huge, immense turns within the entire historical past of human concept, and there's nonetheless a lot to be performed in estimating its fulfillment. His writings haven't been effortless to assimilate. The exposition is tough and worked; it really is replete with ambiguities, or even with what usually seem to be contradictions. Such writings enable for nice range in interpretation. but who might dare ·to put out of your mind Kant from the account? The strength of a man's paintings is measured via his impact on different thinkers; and right here, Kant has few superiors. Of no guy whose impression upon the historical past of principles has been as nice as that of Kant can it's acknowledged with finality: this five 6 TULANE reviews IN PHILOSOPHY is his philosophy.

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To complete our treatment of Kant's use of this analogy, we should turn next to the artist, the self which lives in, uses, and comes to know the phenomenal world. At this point we reencounter the central problem of this essay: the question concerning the relation of man to the nonhuman world and the question concerning the relation of the humane studies to the special sciences. Armed now with the doctrine of the phenomenal world, we may deal with this problem: is it possible to attribute to the Kantian self the characteristics which on one hand make it a fullfledged member of the (Newtonian) physical world, and on the other hand, render it a whole man in the traditional sense?

Such is the special interpretation of the classical artist analogy out of which the Kantian epistemology and metaphysics has grown. To complete our treatment of Kant's use of this analogy, we should turn next to the artist, the self which lives in, uses, and comes to know the phenomenal world. At this point we reencounter the central problem of this essay: the question concerning the relation of man to the nonhuman world and the question concerning the relation of the humane studies to the special sciences.

Kant never questioned the assumption (unconscious, of course) of this much of Descartes' metaphysics. The nominalistic and dualistic metaphysics of mind and matter which Kant accepted implicitly from Descartes dictated explicitly the problems with which Kant thought he must deal. Although Kant was clear in his condemnation of the crudity of Descartes' dualism of two kinds of substance,6 he did not see the connection between them on the one hand and mind and matter on the other. How do mental ideas and the world conform, he asked; and he would not have asked unless he had supposed that these classifications were mutually exclusive and exhaustive, which they are, of course, only on the absolute assumption of the Cartesian metaphysics.

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