The book is an introduction to oriental philosophy via individual consideration of the ideas of thirty-five major figures drawn from six traditions. Commentaries on each philosopher are accompanied by overviews of these traditions.

The book is an introduction to oriental philosophy via individual consideration of the ideas of thirty-five major figures drawn from six traditions. Commentaries on each philosopher are accompanied by overviews of these traditions.

_One Hundred Twentieth-Century Philosophers_ offers biographical information and critical analysis of the life, work and impact of some of the most significant figures in philosophy this century. Taken from the acclaimed _Biographical Dictionary of Twentieth-Century Philosophers_, the 100 entries are alphabetically organised, from Adorno to Zhang Binglin, and cover individuals from both continental and analytic philosophy. The entries have an identical four-part structure making it easy to compare and contrast information, comprising: * biographical details * a bibliography of major works (...) * a listing of relevant secondary and critical literature * an appraisal of the philosopher's thoughts and achievements. A separate glossary provides an introduction to the origins, development and main features of major philosophical schools and movements and offers select bibliographies to guide the reader to further research. (shrink)

The work of Lawrence Kohlberg has become the central focus in both the research and applied dimensions of moral education. While teachers and academics are generally familiar with Kohlberg's account of his six stages of moral development, his hints about a highest and culminating seventh stage have had no sustained critique. This essay attempts to provide a detailed account and critique of all of Kohlberg's writings dealing with stage seven, from a philosophical standpoint. This essay critiques Kohlberg's analysis of Moore's (...) naturalistic fallacy, and rejects his attempt to disarm the fallacy by adopting a strategy of ?parallelism?, or ?complementarity?. I argue that it might be better to accept the fact that one cannot derive an ought from an is, and then to view ought-claims as selected or preferred is-claims. This allows morality to remain sui generis, and the support for a moral choice must arise from the complete ?story? or world-view in which it is embedded. Stage seven is not just any ?whole story?, however, but the best or ideal whole story. As well, it serves as the answer to the fundamental ethical question, ?but why should I be moral in the first place?? Stage seven gains its justificatory power from its stance of empathetic identification of the moral agent with others, and with the cosmos as a whole, as thinkers as varied as Marcus Aurelius and Teilhard de Chardin have suggested. If stage seven is, as Kohlberg argues, an ethics of love, and if the first six stages are to be thought of as comprising an ethics of justice, then what is to be done if they conflict? Kohlberg deals with this question, and eventually decides in favour of justice, even given the seventh stage as somehow the ground of all normativity in his system. I argue that he cannot consistently adopt a parallelist thesis here, but needs to recognize the normatively fundamental character of his own seventh stage. It serves as his ?whole story?, on which the previous six stages all rest. Kohlberg's own thesis forces him to retain an ethics of justice only until one reaches the level of agape. Then, as with all higher stages, the lower stages are not abandoned, but are taken up and enriched by the thinking and acting which emerge from the higher stage perspective. Neither justice nor agape can stand alone as sufficient basis for an adequate ethics. But it is agape that is the more fundamental, and which enriches justice without rejecting its generally overwhelming claims. Stage seven consciousness simply reminds one that justice is not enough, even though it does constitute the largest part of ethics. (shrink)

End-of-life decision-making is controversial. There are different views about when it is appropriate to limit life-sustaining treatment, and about what palliative options are permissible. One approach to decisions of this nature sees consensus as crucial. Decisions to limit treatment are made only if all or a majority of caregivers agree. We argue, however, that it is a mistake to require professional consensus in end-of-life decisions. In the first part of the article we explore practical, ethical, and legal factors that support (...) agreement. We analyse subjective and objective accounts of moral reasoning: accord is neither necessary nor sufficient for decisions. We propose an alternative norm for decisions – that of ‘professional dissensus’. In the final part of the article we address the role of agreement in end-of-life policy. Such guidelines can ethically be based on dissensus rather than consensus. Disagreement is not always a bad thing. (shrink)

Close analysis of the work of fifty major thinkers in the field of Eastern philosophy make this an excellent introduction to a fascinating area of study. The authors have drawn together thinkers from all the major Eastern philosophical traditions from the earliest times to the present day. The philosophers covered range from founder figures such as Zoroaster and Confucius to modern thinkers such as Fung Youlan and the present Dalai Lama. Introductions to major traditions and a glossary of key philosophical (...) terms make this a comprehensive and accessible reference resource. (shrink)

Nishida's starting point -- Radical empiricism and pure experience -- Fichte, the neo-Kantians, and Bergson -- Nishida's later philosophy: the logic of place and self-contradictory identity.

Close analysis of the work of fifty major thinkers in the field of Eastern philosophy make this an excellent introduction to a fascinating area of study. The authors have drawn together thinkers from all the major Eastern philosophical traditions from the earliest times to the present day. The philosophers covered range from founder figures such as Zoroaster and Confucius to modern thinkers such as Fung Youlan and the present Dalai Lama. Introductions to major traditions and a glossary of key philosophical (...) terms make this a comprehensive and accessible reference resource. (shrink)

No other book in the entire history of the world has exerted a greater influence on a larger number of people over a longer period of time than this slim volume. The spiritual cornerstone of the most populous and oldest living civilization on Earth, the Analects has inspired the Chinese and all the peoples of East Asia with its affirmation of a humanist ethics. As the Gospels are to Jesus, the Analects is the only place where we can encounter the (...) real, living Confucius. In this gem-like translation by Simon Leys, Confucius speaks with clarity and brilliance. He emerges as a man of great passion and many enthusiasms, a man of bold action whose true vocation is politics. Confucius (551-479 B.C.) lived in an age of acute cultural and political crisis. Many of his observations mark a world sinking into violence and barbarity. Unable to obtain the leading political role he sought, he endeavored to reform society and salvage civilization through ethical debate, defining for ages to come the public mission of the intellectual. (shrink)

This volume examines critical social philosophy today, furthering the dialogue between German critical theory and French post-structuralism, exploring the relationship between philosophy and social theory, and developing new approaches to theories of recognition, social hope, and modern power.

Comparative aesthetics compares the aesthetic concepts and practices of different cultures. This anthology of essays by internationally recognized scholars brings together some of the most important research in comparative aesthetics, from classic early essays to previously unpublished contemporary pieces. Ranging across cultures and time periods, the essays reveal both similarities and differences between various aesthetic traditions.

Written with the beginner in mind, Robert Wilkinson carefully introduces the reader to the fundamental components of the philosophy of mind. Each chapter is then helpfully linked to a reading from key thinkers in the field such as Descartes and John R. Searle.

_Minds and Bodies_ is a clear introduction to the mind-body problem. It requires no prior philosophical knowledge and is ideally suited to newcomers to philosophy and philosophy of mind. Robert Wilkinson carefully introduces the fundamental components of the philosophy of mind: Descartes's dualist account of mind and body; monist views including eliminativism; computer science and artificial intelligence. Each chapter is linked to a reading from key thinkers in the field, from Descartes to Paul Churchland.

Constructions having the surface form NP be ADJ enough to VP are examined. It is shown that when ADJ in this construction belongs to a small class of adjectives including lucky or to a larger class including wise, a structural ambiguity appears in the complement of enough which is related to the distinction between implied and non-implied complements made in Karttunen . The underlying syntactic structure of NP be ADJ enough to VP when ADJ is lucky or wise is examined (...) and the ambiguity in the complement of enough is explained through a generalization of syntactic properties of implied complements. The analysis proposed depends crucially on the use of complex semantic features to relate syntactic structures which are not derivable from one another transformationally. Hence it represents a certain innovation in syntactic theory. (shrink)

The two political classics in this book are the product of a time of intense turmoil in Chinese history. Dating from the Period of the Warring States (403-221BC), they anticipate Machiavelli's The Prince by nearly 2000 years. The Art of War is the best known of a considerable body of Chinese works on the subject. It analyses the nature of war, and reveals how victory may be ensured. The Book of Lord Shang is a political treatise for the instruction of (...) rulers. These texts are anything but armchair strategy or ivory-tower speculation. They are serious, urgent and practical responses to the desperate situations in which they were written. They have been immensely influential both inside and outside China. (shrink)

Aesthetic virtue concepts are rooted in philosophical assumptions of great depth within their host cultures. This thesis is supported by means of an analysis of some of the central aesthetic virtue concepts in Japanese thought, e.g. sabi, wabi, myosho. These concepts presuppose and reflect the presence of nirvana as the goal of life in Japanese culture. Because there is no western equivalent to the concept of nirvana, these terms likewise have no western equivalents.

This article gives a brief analysis of the concept of aesthetic profundity, and gives examples of its deployment in European Romanticism, and in various important works of Indian, Chinese and Japanese aesthetic theory. It is srgued that the idea of profundity is most readily deployed in the context of metaphysics which regard the real as having a non-obvious but inexhaustible depth. This is a case of a major logical similarity between European and oriental aesthetic beliefs.

This essay focuses on a point in Henri Focillon's interpretation of the aesthetics of Japanese art. Focillon fastens very precisely on a deep difference which exists in the understanding of the idea of aesthetic contemplation in the Western and Eastern traditions. Western traditional analyses of contemplation presuppose and embody assumptions about the ontologicalultimacy of individuals that are absent from Eastern traditions in which the ultimate is conceived of as nothingness. In particular, the idea that the absolute is fully manifested in (...) each phenomenal individual is absent from Western aesthetics. Focillon grasped this, and his views are contrasted with those of Bergson, and confirmed by those of the eminent Japanese philosopher Nishida Kitaro, who was his contemporary. (shrink)

This essay is an interpretation of the phrase qiyun shengdong shi ye, recognised as the key to the aesthetics of classical Chinese painting. It is compared to the aesthetics of European Romanticism and of the eminent contemporary French poet, Yves Bonnefoy, all instances of a common logical pattern in aesthetics which tends to recur against a common metaphysical background.

[About the book] In this book the editors brought together outstanding articles concerning intercultural aesthetics. The concept ‘Intercultural aesthetics’ creates a home space for an artistic cross-fertilization between cultures, and for heterogeneity, but it is also firmly linked with the intercultural turn within Western and non-Western philosophy. The book is divided into two parts, yet one can sense a clear unity throughout the whole book. This unity is related to the underlying subject that the different authors, each in their own (...) way and from their own background, try to reveal. They use related, and overlapping terms such as ‘the suchness of things’, ‘dancing and shaping lives’, ‘presenting a meaning beyond words, presenting the unpresentable, experiencing’, in order to bring to our awareness the genuine importance of the non-conceptual, next to the conceptual. Several authors moreover take on a reflective, and at times even a self-reflective stance, pointing to the intrinsic relation between cultural aesthetics and ethics, making this book unique in its kind. (shrink)

Comparative aesthetics is the branch of philosophy which compares the aesthetic concepts and practices of different cultures. The way in which the various cultures of the world conceive of the aesthetic dimension of life in general and art in particular is revelatory of profound attitudes and beliefs which themselves make up an important part of the culture in question. This anthology consists of entirely new essays by some of the leading, internationally recognised scholars in the field. The subjects addressed include (...) the influence of UpaniÅÿadic thought on the classic Indian tradition in aesthetics and the way in which that tradition continues to have relevance to issues discussed today; how Buddhist thought in general and Zen in particular shape aesthetic attitudes in Japanese culture; how Confucianism affected not only the morality but also the classical aesthetics of China; how different ideas of the self and of human nature affect artistic training and practice in different cultures; how feminism can draw inspiration from classic non-European lines of thought in the area of aesthetics, and how different attitudes to nature underpin a whole range of aesthetic beliefs and attitudes in western and eastern thought. These ideas reveal both deep differences and deep similarities between east and west. No-one seeking to understand the cultures discussed in these essays can ignore their aesthetic dimension, which often holds the key to understanding the deepest motives which have formed them. (shrink)

This essay explores the reasons for the favourable reception of Klinger's aesthetics in Japan. At the root of this favourable reaction is Klinger's preference for non-exhaustive depiction which stimulates the imagination of the viewer and hints at the inexhaustible depths of reality itself.

Nishida analyses the relations of the ethical and aesthetic areas of life not in terms of types of concept or object but in terms of two types of consciousness. He holds that aesthetic and moral consciousness are radically different in kind, and both different from religious consciousness. Moral consciousness is the most superficial of the three, since it presupposes a duality not present in reality itself. Aesthetic consciousness has a tendency to unity, but is intermittent.

[About the book] Comparative aesthetics is the branch of philosophy which compares the aesthetic concepts and practices of different cultures. The way in which the various cultures of the world conceive of the aesthetic dimension of life in general and art in particular is revelatory of profound attitudes and beliefs which themselves make up an important part of the culture in question. This anthology consists of entirely new essays by some of the leading, internationally recognised scholars in the field. The (...) subjects addressed include the influence of Upanişadic thought on the classic Indian tradition in aesthetics and the way in which that tradition continues to have relevance to issues discussed today; how Buddhist thought in general and Zen in particular shape aesthetic attitudes in Japanese culture; how Confucianism affected not only the morality but also the classical aesthetics of China; how different ideas of the self and of human nature affect artistic training and practice in different cultures; how feminism can draw inspiration from classic non-European lines of thought in the area of aesthetics, and how different attitudes to nature underpin a whole range of aesthetic beliefs and attitudes in western and eastern thought. These ideas reveal both deep differences and deep similarities between east and west. No-one seeking to understand the cultures discussed in these essays can ignore their aesthetic dimension, which often holds the key to understanding the deepest motives which have formed them. (shrink)

This is an essay in comparative aesthetics. The history of the reception of Indian aesthetics in the UK is a history of non-reception. This essay argues that the reasons for this neglect go beyond cultural arrogance, and can be traced to deep differences in the philosophical presuppositions of Indian and Western aesthetics respectively, especially those rooted in non-Western goal of nirvana.

A book for Open University Course AA301: Philosophy of the Arts.

Dating from around 300BC, Tao Te Ching is the first great classic of the Chinese school of philosophy called Taoism. Within its pages is summed up a complete view of the cosmos and how human beings should respond to it. A profound mystical insight into the nature of things forms the basis for a humane morality and vision of political utopia. The ideas in this work constitute one of the main shaping forces behind Chinese spirituality, art and science, so much (...) so that no understanding of Chinese civilisation is possible without a grasp of Taoism. This edition presents the authoritative translation by Arthur Waley, with a new Introduction reflecting recent developments in the interpretation of the work. (shrink)

This essay considers the way in which 'The Tale of Genji' by Murasaki Shikibu is wholly conceived within a Buddhist world-view, much as 'The Divine Comedy' is conceived within that of Christianity. The entire plot instantiates Buddhist views. Unlike another great work of literature on the theme of time, Proust's 'A la recherche du temps perdu', Lady Murasaki, consistently with her Buddhist outlook, offers us no consolation for the sufferings of this world.

Recognition, Work, Politics includes a range of essays in contemporary French critical theory around politics, recognition, and work, and their philosophical articulations. These issues are addressed from directions that include post-structuralism, the paradigm of the gift, recognition theory, and post-marxism.