Abstract

The foundational structure of, and Kant’s arguments for his transcendental idealism and empirical realism are analyzed. Special attention is paid to the ‘master argument’ in the Transcendental Aesthetic for the thesis that space and time are transcendentally ideal and nothing but forms of sensibility. A reconstruction of the master argument is provided, and each of its premises is examined in detail, including the especially important premise that we have an a priori intuition of space and time.

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