(redirected from Kantian)
Also found in: Dictionary, Thesaurus, Legal, Wikipedia.
Related to Kantian: Kantian theory


Immanuel . 1724--1804, German idealist philosopher. He sought to determine the limits of man's knowledge in Critique of Pure Reason (1781) and propounded his system of ethics as guided by the categorical imperative in Critique of Practical Reason (1788)
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



an urban-type settlement, administrative center of Kant Raion, Kirghiz SSR. Situated in the Chu Valley. Kant has a railroad station 20 km east of the city of Frunze. Population, 22,500 (1971). A cement and slate combine and sugar and overhaul-machinery plants are there.



(from Latin cantus, “singing”), a type of many-voiced song dealing with everyday events prevalent in Russia, the Ukraine, and Byelorussia in the 17th and 18th centuries. Initially kanty were based on religious texts and thus were confined to monasteries and clerical circles.

The poetic style of the kant is derived from literature and not from the folk song. In the 17th century texts by S. Polotskii, E. Slavinetskii, D. Rostovskii, and other representatives of syllabic poetry, were set to music to create kanty. The texts and melodies existed in many variants; they were recorded in manuscript collections that were widely disseminated. The musical style of the kant is characterized by three-voice exposition with parallel movement of the upper voices and a common-time strophic form. They were performed a cappella by an ensemble of singers or a chorus. Their intonational structure represents a fusion of elements of the znamennyi chant, Russian and Ukrainian folk songs, and Polish melodic systems.

Kanty with patriotic, domestic, and romantic-lyrical themes appeared in the 18th century; salutatory and panegyrical kanty with fanfare-like melodic phrases, the grand rhythms of the polonaise, and exultant roulades were typical of the Petrine era. The kant became the favorite form of music of the urban strata of the population. The lyrical kanty incorporated elements from popular dance forms, primarily the minuet. While texts by V. K. Trediakovskii, M. V. Lomonosov, and A. P. Sumarokov are known, the authors and composers of most kanty remain anonymous.


Findeizen, N. F. Ocherki po istorii muzyki v Rossii, vols. 1–2. Moscow-Leningrad, 1928–29.
Livanova, T. N. Russkaia muzykaVnaia kuVtura XVIII veka …, vol. 1. Moscow, 1952.
Pozdneev, A. V. “Rukopisnye pesenniki XVII-XVIII vekov.” Uch. zapiski Moskovskogo zaochnogo ped. in-ta, 1958, vol. 1.
Keldysh, Iu. V. Russkaia muzyka XVIII veka. Moscow, 1965.
Keldysh, Iu. V. “Ob istoricheskikh korniakh kanta.” In the collection Musica antiqua Europae Orientalis, vol. 2. Bydgoszcz, 1969.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Bayrakli divides The Emergence of Kantian Culture in Turkish Foreign Policy (1980-2012) into two main parts while examining these hypotheses.
Chapter 7 merges Freud's account of the development of the ego with a Kant's analysis of "I," in order to produce a developmental, naturalistic account of Kant's "I." In chapter 8, she builds on this account to offer a naturalized, emergent account of Kantian practical reason, in parallel with Freud's super-ego.
Svoboda offers a Kantian argument of why Routley was wrong.
Having overcome the ordered space of representation of Classical discourse, Western modernity finds itself trapped in a Kantian fold, a transcendental illusionism centered on "anthropology as an analytic of man".
Together with extensive and fresh critique of modern moral philosophies, the book provides deep and adequate critique of Kantian philosophy.
G.'s talent for intuiting the subtle contours of Kant's moral philosophy justifies her inclusion among the Kantian scholars her work engages, including Onora O'Neill, Ralph Wood, and Henry Allison.
Panofsky's humanism was interlocked with the Kantian freedom of the judging subject.
He then invokes the Kantian distinction between noumenon and phenomenon as the basis for his religious pluralism, arguing that God, or "the Real, " transcends all of the various personae (divinities) and impersonae (nonpersonal ultimate realities) of religious history.
The volume examines both broad foundational issues, such as instrumentalist versus Kantian conceptions of rights, and specific problems, such as the admissibility or inadmissibility of evidence of causation in toxic tort cases.
But thereafter the exposition is marred by a somewhat ad hoc invocation of Kantian terminologies and of an inconsistent and hence confusing treatment of the key-term 'worldview'.