“The book contains a virtually exhaustive bibliography on the secondary literature on Scheler in the English language. It is characterized throughout by such careful scholarship and philosophical creativity that it constitutes a major achievement in Scheler scholarship.”
Tapio Puolimatka, Philosophi Reformata
“My interest in [Max] Scheler’s critique of Kant runs back nearly a decade…. The more I read of Scheler, the more I began to see the value of a project dealing with his critique of Kant in Der Formalismus in der Ethik und die Materiale Wetethik, which would possess the virtue of focusing in a single project three important strands of philosophical interest: phenomenology, Kantianism, and ethics….
“The study is divided into six chapters and two appendices. Each of the chapters constituting the body of the work contains a brief analysis of the Kantian position or discussion of the basic questions at issue in it, an exposition of Scheler’s critique of the Kantian position and its presuppositions, and a detailed appraisal of Scheler’s critique.”—from the introduction by the author
Philip Blosser is Associate Professor of Philosophy at Lenoir-Rhyne College. Born in China and raised in Japan, he is a graduate of Sophia University in Tokyo and received his M.A. from Villanova University, and his Ph.D. from Duquesne University. His publications include an anthology entitled Of Friendship: Philosophic Selections on a Perennial Concern and Japanese and Western Phenomenology. More info →
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Kant’s revolution in methodology limited metaphysics to the conditions of possible experience. Since, following Hume, analysis—the “method of discovery” in early modern physics—could no longer ground itself in sense or in God’s constituting reason a new arché, “origin” and “principle,” was required, which Kant found in the synthesis of the productive imagination, the common root of sensibility and understanding.
Kant scholars since the early nineteenth century have disaxadgreed about how to interpret his theory of moral motivation. Kant tells us that the feeling of respect is the incentive to moral action, but he is notoriously ambiguous on the question of what exactly this means. In Kant and the Role of Pleasure in Moral Action, Iain Morrisson offers a new view on Kant’s theory of moral action.In
The Gothic drama came at a critical moment in the history of the theater, of British culture, and of European politics in the shadow of France’s revolution and the fall of Napoleon. It offered playwrights a medium to express the prevailing ideological tensions of romanticism and revolution, and also responded to a growing and changing theater audience.In
Russian philosopher S. L. Frank here examines the unceasing struggle between good and evil within the limits of this world. Frank combines an interpretation of his life-experience in the light of his Christian faith with his overall philosophical intuition of metaphysical realism.
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