2022 Vol. 41. №2

Kant’s natural philosophy in the Metaphysical Foundations of Natural Science is heavily influenced by Newton’s Principia. However, a closer look makes it clear that Kant’s project has also been influenced by other thinkers. One of these thinkers is Leonard Euler. His work was of great influence for Kant, not only with regards to his view on space and inertia but on the relation between metaphysics and natural science in general. Even though Euler’s Physics built on Newton’s work, he differs from him in fundamental regards, leading to crucial developments inside classical mechanics. Here I will discuss the influence of Euler on the work of Kant and focus on Euler’s view on the two entangled problems of inertia and space. It will become clear that both Euler and Kant went through a development concerning these fundamental notions. After shortly highlighting the differences between Kant and Newton (1), I shall go through the development of important parts of Euler’s natural philosophy concerning the above mentioned themes. I intend to demonstrate that he, through his refutation of Wolffianism, became an advocate for the necessity of absolute space but also denied the existence of an internal force of inertia (2). After that I will show how Kant’s reading of Euler lead to crucial changes of his natural philosophy in particular and his philosophical enterprise in general. I therefore analyze Kant’s revision of his theory of space and inertia in his precritical writings. Building upon that, I will show the influence of these thoughts on his Metaphysical Foundations (3).

In the mid-1760s, Johann Heinrich Lambert wrote a letter to Kant who offered cooperation with a view to reforming metaphysics. Based on the short correspondence between the two philosophers, it can be shown that this cooperation could never really come about. Nevertheless the thesis was sometimes put forward in research that Lambert had a defining influence on Kant’s Metaphysical Foundations of Natural Science, also, and above all, with regard to the Newton-critical moments of this natur­al theory. However, this thesis can only be confirmed in relation to individual theorems, such as the relationship between attraction and repulsion force, even though the reasons for Lambert and Kant’s deviation from Newton’s theory of gravity also differ. For in its main features the transcendental metaphysics of Kant’s nature is substantially different from the mathematical methodology of Lambert’s theory of nature. In addition, Lambert stuck throughout his life to a theonomous natural teleology in the succession of Wolff, which was fundamentally made impossible by the Critique of Pure Reason: because the wise “intention of the creator”, which Lambert’s empirical-rationalistic cosmology could not and did not want to do without, could no longer be referred to in a rational context according to the Critique of Pure Reason. Even if Lambert certainly had moments of the Kantian theory of matter or — as Kant himself admitted — elements of the spatial theory of the first Critique, there is no way from his mathematisation of metaphysics and his natural teleology to the fundamental innovation of the Metaphysical Foundations.

Immanuel Kant’s Observations on the Feeling of the Beautiful and the Sublime is examined in the context of the emergence of the epistemological practice of scientific observation. By focusing on the genre-stylistic and semantic-structural features of the text the authors demonstrate the mechanisms of observation as well as the methods of describing the results characteristic of mid-eighteenth century science. The authors consider Kant’s treatise to be a hybrid text: on the one hand, it attests to the importance of the natural science paradigm and the degree of its influence on the humanities in the modern period; and, on the other hand, it bears witness to the multi-genre character of philosophical treatises, combining as they do the considered and serious wisdom of philosophy, the precision of scientific terminology and the figurativeness of a work of fiction. Kant is perceived not only as a researcher and philosopher capable of bringing out the essence of the particular and changeable captured in observation, but as a writer with a consummate command of the apparatus for keeping the reader’s attention through linguistic devices and practices of image-creating. The authors demonstrate how the categories of the “beautiful” and “sublime” become a general framework for the description of the moral and mental properties of human nature. The authors show that Kant’s use of “aesthetic” wording in the title of his treatise does not announce that his aim is analysis of artistic perception and practices, but mainly refers to the form of his anthropological study and conceptualisation of scientific knowledge. Kant has transferred the technique of visualisation from natural sciences to the objects of philosophical inquiry, thus contributing to the development in the humanities of representative practices, the scientific method of observation as well as the corresponding epistemic and literary genre.