Abstract:The reader is generallyimpressed by the confidence with which Kant begins one of the principal divisions of the Critique of Pure Reason i. e. Transcendental Aestheticsc onducted by twop rocedures namedm etaphysical exposition and transcendental exposition. Accustomed to the qualifying adjective transcendental-which permeates all of the Critique-we are inclined to believethatonlyatranscendental exposition could furnish us with something worthyofthe term proof since it examines the conditions of the possibilityo… Show more
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