The essay explores the meaning and implications of Milbank's claim that the post‐Kantian presuppositions of modern theology must be eradicated. After defining and locating the post‐Kantian element in the context of Milbank's broader concerns, the essay employs a comparison between Milbank and Barth to draw out the differences between radical orthodoxy and neo‐orthodoxy with respect to the Kantian ideal of “mediation” between theology and culture. The essay concludes with comparisons of Milbank's metanarrative concerning “modern” thought with those offered by Hans (...) Blumenberg and James Edwards. The effect is not only to suggest the apparent arbitrariness of Milbank's account, but also to indicate the evident futility of arguing with Milbank's theological position on the basis of alternative accounts of the post‐Kantian tradition. (shrink)

This essay underscores the significant contribution Firestone and Jacobs make through the very thorough way their book surveys the wide range of recent scholarship bearing on Kant’s Religion. The essay then argues, however, that the complex scaffolding designed to summarize and categorize the varied responses to Kant has the effect of muting the authors’ own very bold interpretive stance. This point is particularly true with respect to their account of the compatibility of Kant’s Religion with the Christian tradition. In addition, (...) the essay suggests that the judicial metaphor of “defense” is overplayed, forcing certain interpretations of Kant into potentially misleading positions for the sake of the interpretive scheme. (shrink)

In this collection of seven essays, Raymond Geuss brings his distinctive philosophical perspective to bear on the interrelations among the three issues announced in his title. At one point calling his approach an “excursion into conceptual history”, Geuss manages to keep his potentially intractable topic under control by integrating very broad thematic elements with extended moments of textual analysis, focusing on such thinkers as Kant, Hegel, Nietzsche, Theodor Adorno, and Ernst Tugendhat. Although the essays range fairly widely, it becomes evident (...) that the two central figures in Geuss’s loosely connected concerns are, in the end, Nietzsche and Adorno, signaling the volume’s chief preoccupation with the interrelations between art and morality in modern culture. In the pursuit of these and other complexities, the author’s deep learning is coupled with a style that is virtually crystalline. (shrink)