Explore 2,500 years of Western philosophy, from the ancient Greeks to modern thinkers, with this ultimate guide’s stunning and simple approach to some of history’s biggest ideas. This essential guide to philosophy includes thoughts on our modern society, exploring science and democracy, and posing the question: where do we go from here? Easy-to-understand text is accompanied by works of art and artifacts from history, as the big ideas and important thinkers are introduced through time. Famous quotes are highlighted, and the (...) sidebars discuss other ideas or key works to include extra context around the theories and people. Celebrate the world's most revolutionary concepts and understand how these ideas continue to shape our world. Develop your own perspectives and explore relevant issues such as modern logic and religion with this wonderfully comprehensive illustrated guide. In a world of evolving ideas, The Story of Philosophy is a fantastic resource to revisit again and again. (shrink)

We provide an intuitive motivation for the hyperreal numbers via electoral axioms. We do so in the form of a Socratic dialogue, in which Protagoras suggests replacing big-oh complexity classes by real numbers, and Socrates asks some troubling questions about what would happen if one tried to do that. The dialogue is followed by an appendix containing additional commentary and a more formal proof.

"Under Magee's sensitive guidance a remarkably coherent interpretation of this period emerges."--Marshall Cohen, Listener. "The whole book has a marvellous air of casualness and clarity that makes it a delight to read."--Colin Wilson. Contemporary British philosophy is experiencing unprecedented openness to influences from abroad. New growth is evident in many areas of traditional philosophy which had been neglected by the logical positivists and the linguistic analysts. This sense of freedom permeates Magee's volume of conversations with leading British philosophers. Under Magee's (...) direction, the philosophers discuss other influential thinkers, such as Wittgenstein, Russell, Moore, and Austin, as well as ideas of universal interest, such as morality, art, religion, and social theory. As an introduction to contemporary British philosophy, a unique collection of candid commentaries by important thinkers, and study of fresh ideas, Modern British Philosophy is consistently lively and authoritative. (shrink)

Fifteen dialogues drawn from the highly acclaimed BBC series review the tenets and theories of moral philosophy, poliitcal philosophy, the philosophy of language, and the philosophy of science.

1 Introduction p. 3 2 Scientific Method--the Traditional View and Popper's View p. 13 3 The Criterion of Demarcation between what is and what is not Science p. 32 4 Popper's Evolutionism and his theory of World 3 p. 55 5 Objective Knowledge p. 65 6 The Open Society p. 75 7 The Enemies of the Open Society p. 90 Postscript p. 114 Bibliography p. 117.

And he unflinchingly confronts the Wagner whose paranoia, egocentricity, and anti-Semitism are as repugnant as his achievements are glorious."--Jacket.

In addition to his large‐scale system of metaphysics, Schopenhauer produced many essays, and it was eventually these that made his name and drew attention to his philosophy. The biggest collection of them is called Parerga and Paralipomena. They are of help in understanding the philosophy, because they often contain bolder, more clear‐cut statements of the same points. They are written in an aphoristic style and are the source of many epigrams. For a long time they were more widely read than (...) the philosophy itself. (shrink)

Hoe kan de behoefte om 'hartstochtelijk uitdrukking te geven' aan de geestesgesteldheid die teweeggebracht is door het lezen van een wijsgerige verhandeling tegelijkertijd de aanzet vormen tot een eenvoudig muzikaal concept, of zelfs, zoals Wagner zelf stelt, 'mijn minst gecompliceerde muzikale conceptie'? Magee analyseert dit probleem waarmee hij geconfronteerd wordt naar aanleiding van de opera Tristan en Isolde.

Empirical reality presents itself to us as experience, and this can take only such forms as can be mediated by whatever equipment we possess, including our own bodies. Thus there has to be a detailed correlation between our powers of apprehension and reality as we perceive it. So subject and object are interdependent: neither could exist as we apprehend them if the other did not also exist. Pure subject without an object and pure object without a subject are both metaphysical (...) concepts, to which nothing could correspond in the empirical world. (shrink)

It is widely agreed that the arts can give us some of the most valuable and profound experiences of which we are capable, yet the conceptions of experience to which epistemology has addressed itself during its long history have usually omitted experience of the arts. This has had harmful consequences, because it has led to theories of experience being accepted which would have been falsified by a consideration of experience of the arts. The error still occurs, and there are important (...) current examples of it: for instance, some widely held theories about the relationship between thought and language do not survive attempts to apply them to the thought-processes involved in composing a double fugue. (Published Online October 13 2005). (shrink)

Schopenhauer was the first, and to the end the greatest philosophical influence on Nietzsche, who said it was Schopenhauer who had turned him into a philosopher. For many years the young Nietzsche was a thoroughgoing Schopenhauerian; but then he rebelled against this influence, attacked it and tried to overthrow it. Other substantial intellectual figures of the nineteenth century who were significantly influenced by Schopenhauer include the historian Jacob Burckhardt, author of The Civilization of the Renaissance in Italy; Hans Vaihinger, author (...) of The Philosophy of ‘As If’; Edward von Hartmann, author of The Philosophy of the Unconscious; and Sigmund Freud. (shrink)

Schopenhauer wrote candidly about sex at a time when almost nobody did. He saw consideration of it as the means of reproduction whereby human beings come into existence as inescapable for metaphysics, indeed for serious thinking. He conjectured that homosexual impulses were implanted by nature in adolescent and elderly males because, although they have sexual urges and can procreate, it is undesirable that they should do so, and therefore the urge is diverted. This, he thinks, is why homosexual activity has (...) been widespread in all known societies. The manner in which he writes about it suggests that he had felt homosexual impulses himself but had not given way to them. (shrink)

The neglect of Schopenhauer's philosophy in the twentieth century led to his becoming associated in people's minds with his neat‐contemporaries, the Idealist philosophers Fichte, Schelling, and Hegel, when in fact he was a radically different sort of philosopher from them. Unlike them, he absorbed the empiricist tradition into his work and saw the enterprise on which he was engaged as having been launched by Locke. He hated the Idealists and their writings, regarding them as a poisonous influence. In this he (...) went too far, for their work had merits that he failed to appreciate and more in common with his own than he realized. (shrink)

Outstanding among the many creative artists on whom Schopenhauer exercised influence was the opera composer Richard Wagner, who, rarely for a composer, was an intellectual and studied Schopenhauer's philosophy seriously. He was already composing operas in accordance with a published theory of his own, which involved treating all its constituent elements as of equal importance. Schopenhauer persuaded him to accept not only hitherto rejected metaphysical ideas but also the supremacy of music over the other arts. In response, Wagner composed works (...) such as Tristan and Isolde and Parsifal whose libretti are pervaded with Schopenhauer's ideas and whose music dominates the opera. Although the first of these Schopenhauerian works, Tristan and Isolde, was published in 1859, and therefore before Schopenhauer's death in 1860, it is virtually certain that he never knew of its existence. (shrink)

Schopenhauer's chief mistake derived from his acceptance of Newtonian science and lay in his belief that the empirical world must be deterministic. This deprived his assumptions of any basis for moral judgements in this world, and led to inner contradictions in his ethics: it means that we are not free to reject the world, as he believes we should; and in any case, if we did, that would constitute a rejection of compassion, which he is not in favour of. There (...) is also a contradiction in his theory of music: if music is the direct voice of the metaphysical will, and the metaphysical will is inherently evil, there should be something nightmarish about music, yet Schopenhauer considers it uniquely marvellous. There are other errors in his philosophy too: for instance, he underestimates the importance of history. But, as Voltaire said, it is the privilege of a great genius to make great mistakes. (shrink)

Until I was five I shared a bed with my sister, 3½ years older than me. After our parents had switched out the light we would chatter away in the darkness until we fell asleep. But I could never afterwards remember falling asleep. It was always the same: one moment I was talking to my sister in the dark, and the next I was waking up in a sunlit room having been asleep all night. Yet every night there must have (...) come a time when I stopped talking and settled down to sleep. It was incomprehensible to me that I did not experience that, and never remembered it. (shrink)

Schopenhauer was the first and greatest philosophical influence on Wittgenstein, a fact attested to by those closest to him. He began by accepting Schopenhauer's division of total reality into phenomenal and noumenal, and offered a new analysis of the phenomenal in his first book, the Tractatus Logico‐Philosophicus. The Logical Positivists, who believed that only the phenomenal existed, took this as the paradigm for their philosophy. Wittgenstein, however, moved away from it and proposed a new and different analysis in his book (...) Philosophical Investigations, and this became the most influential text in linguistic philosophy. Thus, Wittgenstein produced two different philosophies, each of which influenced a whole generation that remained largely oblivious of its Schopenhauerian origins. (shrink)

Schopenhauer has influenced the work of more, and more distinguished, creative writers than any philosopher since his day, more even than Marx. This is especially true among novelists: Tolstoy, Turgenev, Zola, Maupassant, Proust, Hardy, Conrad, and Thomas Mann must be included. He also influenced short‐story writers such as Maugham and Borges, poets such as Rilke and Eliot, and dramatists such as Pirandello and Beckett. They were attracted, variously, by his psychological insight, his understanding of unconscious motivation, his disenchanted view of (...) human beings, and his non‐religious view of the cosmos, as well as by his teachings about the arts and the fact that he was himself a great prose writer. (shrink)

This chapter is a brief biography of Schopenhauer that provides the background for the presentation of his work that is to follow. Schopenhauer grew up knowing many eminent people, including Goethe, and wrote his masterpiece, The World as Will and Representation, while still in his twenties, yet his work was neglected until he reached his mid‐sixties. He sank into pessimism, isolation, and misanthropy for most of his adult life. But in his last six years he became internationally famous.

For some 35 years after the publication of his masterpiece, The World as Will and Representation, Schopenhauer was virtually ignored. Then the mood of pessimism brought about across Europe by the failure of the revolutions of 1848 created a climate of opinion favourable to him. After the 1850s, he enjoyed a reputation as one of the ‘great’ philosophers. But in the twentieth century, his work fell into neglect once again. Now a revival of interest is taking place.

Investigates the contents of Schopenhauer's first book On the Fourfold Root of the Principle of Sufficient Reason. This is devoted to the nature of explanation. It concludes that all events in the empirical world fall under one or more of four forms of explanation: scientific, mathematical, logical, and motivational. Since all meaningful empirical concepts are derived from experience, and no valid deductive argument can add to the content of its own premises, the only fully satisfactory empirical knowledge is provided by (...) direct perception. (shrink)

The general forms through which the always‐hidden noumenal manifests itself in detailed phenomena were accurately identified by Plato, and we can retain the name ‘Platonic Forms of Platonic Ideas’. Cognition of these is made possible by works of art, which reveal to us the universal in the particular. Thus, the primary function of art is the expression not of emotion but of cognitive insight into the inner nature of things, expressible in art but unstatable in language. Music alone among the (...) arts does not represent phenomena, and therefore does not unveil Platonic Forms, but is a direct experience of the noumenon. This makes it a super‐art, radically different in kind from the rest, and superior. (shrink)

Shows what Schopenhauer's view was of his own place in the history of philosophy, as revealed by an unusually long synopsis he wrote for such a history. He counted two philosophers, Plato and Kant, as supreme and regarded himself as correcting and completing the work of Kant. The foundations of Kant's critical philosophy had been laid, he believed, by Locke, and then strengthened by Hume. So he saw Locke, Hume, Kant, and himself as having developed a single line of thought (...) over nearly 200 years. However, this was because they all stood baffled before the same fundamental problems: he disparaged any approach to philosophy that was primarily concerned with the writings of other philosophers and not directly with the problems presented to us by the world. (shrink)

The essential guide to the history of western philosophy.

The moral philosophy of Levinas offers a stark prospectus of impossibility for corporate ethics. It differs from most traditional ethical theories in that, for Levinas, the ethical develops in a personal meeting of one with the Other, rather than residing in some internal deliberation of the moral subject. Levinasian ethics emphasises an infinite personal responsibility arising for each of us in the face of the Other and in the presence of the Third. It stresses the imperious demand we experience to (...) be open to, prepared for and impassioned with that which we may not know, or recognise, about ourselves or about the Other. Such a demand transcends our intellectual and/or rational potential; it involves us in a carnal and somatic bodily experience of otherness. If we are to speak of Levinasian ethics in a business context, it cannot be a matter of corporate ethics but only a matter of individual managerial ethics. What such an ethics would be like is yet to be outlined. This paper proposes a series of questions and suggestions that will explicate some key terms of a practice organised around a Levinasian vocabulary of otherness, responsibility, proximity, diachrony and justice. (shrink)

How secular is contemporary society? Are pockets of sectarianism embedded in societies of developed countries? This timely book examines the interweaving of politics and religion, and of tradition and innovation in a variety of cultural settings. Eminent scholars from four continents examine here current turmoil in religious beliefs, practices, and organization--not only in the Western world, but in South America, Africa, South Asia, New Zealand, and Japan. They scrutinize evidence of religious change, decline, and revival; investigate challenges posed by new (...) religious movements; and locate religious change and conflict in the context of broader shifts in consciousness and culture. Contributors include Richard Fenn, Phillip E. Hammond, David Martin, Philip Rieff, Roland Robertson, and Mark Schibley. With its focus on the interplay of secularization, rationalism, and sectarianism, this work offers a fitting tribute to Bryan Wilson, who has made so many contributions to the sociological understanding of these phenomena. (shrink)

The moral philosophy of Levinas offers a stark prospectus of impossibility for corporate ethics. It differs from most traditional ethical theories in that, for Levinas, the ethical develops in a personal meeting of one with the Other, rather than residing in some internal deliberation of the moral subject. Levinasian ethics emphasizes an infinite personal responsibility arising for each of us in the face of the Other and in the presence of the Third. It stresses the imperious demand we experience to (...) be open to, prepared for and impassioned with that which we may not know, or recognize, about ourselves or about the Other. Such a demand transcends our intellectual and/or rational potential; it involves us in a carnal and somatic bodily experience of otherness. If we are to speak of Levinasian ethics in a business context, it cannot be a matter of corporate ethics but only a matter of individual managerial ethics. What such an ethics would be like is yet to be outlined. This paper proposes a series of questions and suggestions that will explicate some key terms of a practice organized around a Levinasian vocabulary of otherness, responsibility, proximity, diachrony and justice. (shrink)

Pointing the way toward a revitalized future for the study of literature, Reconstruction in Literary Studies draws on philosophical pragmatism to justify the academic study of literature. In turn, Vescio connects the changing field to its social function as an institution.

This practical guide helps us identify the wrong beliefs about God we received from our families of origin and replace them with truth so we can embrace the abundant Christian life we long for.

In a brilliant and explosively controversial work, the author attacks modern science for destroying our spiritual sense of self. What is the role of science in present-day society? Should we be as dazzled as we are by the innovations, the insights, and the miraculous improvements in material life that science has wrought? Or is there a darker, more pernicious side to our scientific success? Renowned British science columnist Bryan Appleyard thoroughly explores each of these provocative topics in a book (...) that has incited the ire of the scientific community. He points out that while scientists have shaped our lives and our beliefs, they have consistently failed to explain human consciousness, the soul, or the meaning of life. From Galileo to Darwin, from Copernicus to Oppenheimer, countless scientists have proclaimed a universe in which human beings are only an accidental presence. The unwitting result is that science has cast humankind adrift, paralyzing us with fear and cutting us off from personal or religious truth. In Appleyard's view, science has done us "appalling spiritual damage." These startling conclusions have prompted strong counterattacks from the scientific establishment. Yet regardless of where one falls in the debate, Understanding the Present forces readers to re-examine society's blind faith in the benevolence of modern science. "An exposition that is dazzling for its concrete illustrations and examples."--The New York Times "A withering indictment of modern science . . . This should crack a few test tubes."--Kirkus Reviews. (shrink)

Work‐related stress is too often neglected by employers and rarely seen as an ethical issue by them. Its moral implications are explored here by the Senior Corporate Policy Manager at City and Inner London North Training and Enterprise Council, 80 Great Eastern Street, London EC2A 3DP. Sue Bryan, M.A., A.M.I.P.D., is also completing an Executive MBA degree at London Business School.