معنویت دینی در جهان جدید با چالش‌های مختلفی مواجه است. یکی از این چالش‌ها مسئلۀ معناداری یا پوچی زندگی است. در حالی که در جهان سنتی کمتر متفکری پیدا می‌شد که زندگی را تهی و پوچ بداند، امروزه شاهد نگاه‌های پوچ‌گرایانۀ مختلف به زندگی هستیم. این نگاه‌ها در تقابل با نگاه معنوی به زندگی هستند. در مقالۀ حاضر به چالشی می‌پردازیم که نگاه پوچ‌گرایانه به زندگی برای معنویت دینی و نگاه معنوی به زندگی ایجاد می‌کند. ابتدا رویکردهای مختلف به معنای (...) زندگی -طبیعت‌گرایی، فراطبیعت‌گرایی، ناطبیعت‌گرایی و پوچی- را مرور می‌کنیم. سپس سه خوانش گوناگون از پوچی را مورد بررسی قرار می‌دهیم. این خوانش‌ها بر اساس فقدان هدف، فقدان ارزش و آرزوهای دست‌نیافتنی صورت‌بندی شده است. راهکارهای مختلفی برای مقابله با پوچی ارائه می‌شود، از قبیل طغیان، ترک خواستن، بازسازی ارزش‌ها و مواجهۀ طنازانه با هستی. پیشنهاد مقالۀ حاضر در چند محور مطرح می‌شود: نخست آن که معنای زندگی را باید از جنس «روایت زندگی» بدانیم، و چنین رویکردی به معنای زندگی با رویکردهای صرفاً استدلالی به معنای زندگی تفاوت دارد. دوم این که داوری میان روایت‌های مختلف بر اساس عقلانیت نظری و عقلانیت عملی امکان‌پذیر است. سوم این که معنویت دینی با افزودن عناصری به نظام باورهای ما می‌تواند روایت ما از زندگی را معنادار سازد و ما را از چالش پوچی رها کند. (shrink)

Logic diagrams have been increasingly studied and applied for a few decades, not only in logic, but also in many other fields of science. The history of logic diagrams is an important subject, as many current systems and applications of logic diagrams are based on historical predecessors. While traditional histories of logic diagrams cite pioneers such as Leibniz, Euler, Venn, and Peirce, it is not widely known that Kant and the early Kantians in Germany and England played a crucial role (...) in popularising Euler(-type) diagrams. In this paper, the role of the Kantians in the late eighteenth and early nineteenth centuries will be analysed in more detail. It shows that diagrams (or intuition in general) were a highly contentious topic that depend on the philosophical attitude and went beyond logic to touch on issues of physics, metaphysics, linguistics and, above all, mathematics. (shrink)

Nietzsche is not known for his theory of empathy. A quick skimming of the Stanford Encyclopedia of Philosophy entry on empathy demonstrates this. Arthur Schopenhauer, Robert Vischer, and Theodor Lipps are among those whose views are considered representative, but Nietzsche has been simply forgotten in discussion of empathy. Nietzsche’s theory of empathy has not yet aroused sufficient interest among commentators. I believe that his views on this subject merit careful consideration. Nietzsche scholars have been interested in his naturalistic accounts of (...) other phenomena, but there seems to be relatively limited interest in his naturalistic account of a phenomenon that is so central to his disagreement with Schopenhauer, namely, empathic concern for others. This is surprising because Nietzsche makes a valuable contribution; he has views more in keeping with contemporary theories of empathy than others of his time. My goal here is to fill in this gap in the scholarship and provide the first thorough analysis of Nietzsche’s theory of empathy, which appears most clearly in Dawn. (shrink)

I argue that scientific and poetic modes of objectivity are perspectival duals: 'views' from and onto basic natural forces, respectively. I ground this analysis in a general account of objectivity, not in terms of either 'universal' or 'inter-subjective' validity, but as receptivity to basic features of reality. Contra traditionalists, bare truth, factual knowledge, and universally valid representation are not inherently valuable. But modern critics who focus primarily on the self-expressive aspect of science are also wrong to claim that our knowledge (...) is or should be ultimately mediated by ourselves. In objective science, we represent nature as a field of phenomena determined by and within explanatorily-basic physical structures that encode the causal impact of elemental physical forces. These causally-basic forces hence ground the possibility of objective scientific theory, even though (I argue) they are systematically excluded from its representational contents. I show how my notions of force and field emerge partly through my effort to naturalize concepts of 'God' and 'Laws' in 17th-century natural philosophy. In science, we use the structure of basic forces' impact to see corresponding objects. We do not see these forces themselves—and this relates to the 'transcendence' of 'God'. I supplement this historical analysis by critiquing standard accounts of objectivity, and by synthesizing elements from neo-Kantian epistemology and current 'structural' realism into a view that I call 'dynamic structuralism'. Finally, I argue that physics systematically relies on passive characterizations of phenomena like inertia and impressed force. Dynamic alternatives that are just as empirically adequate are possible, but they are non-scientific. Poetic objectivity involves a direct presentation of nature as an order of interacting forces. I elaborate first by developing a novel theory of the relation between beauty and sublimity, mediated by a basic category of 'sensory force' (e.g. a 'singing' tone in a beautiful melody). I then describe the interaction between sensory and affective dimensions of aesthetic experience, in relation to an original historical analysis of passion and 'disinterestedness' in Kant, Schiller and Nietzsche. I synthesize these lines of analysis into a critique of the role of 'expression' in art. I also resist 'spectator'-centric aesthetics, in this connection, by developing an account of artistic objectivity in dialogue with Ruskin's critique of the 'pathetic fallacy'. I contrast artistic objectivity with Romantic ideals of self-expression, while elaborating its positive relation to certain currents within Victorian and Modernist aesthetics, including Imagists' stress on 'exteriority'. My project creatively extends Nietzsche's view that philosophical and scientific theories are 'perspectival' expressions of theorists' drives. It is a virtue of Nietzsche's account that he takes the outlet of strong human drives in creative acts of theorizing to be just one among many higher modes of 'will to power' in nature—many of which are totally impersonal. But Nietzsche is still too focused on self-expression or willing one's own power. Objective science involves external forces' 'expression' in and through us, not just 'expressing' our own powers. And Nietzsche's vitalistic 'will to power' must be replaced by a basic ontology that better accommodates inorganic phenomena, like the 'lawful' order of celestial motions. Thus I aim to de-anthropomorphize and 'de-organicize' post-Kantian notions of willful striving and organic development, while preserving for force the primary ontological and evaluative status that theorists from Schiller and Goethe to Schelling and Schlegel to Emerson and Nietzsche attributed to will or to life. (shrink)

This chapter is divided into three sections. In the first, I identify the mentions of Schopenhauer in À la recherche du temps perdu. I use an implicit reference to Schopenhauer by Swann to open a discussion of Schopenhauer’s theory of music. I attempt to downplay its identification, suggested by some commentators, with both the views about music expressed in the novel and the form of the novel itself. In the second section, I discuss Proust’s references to Schopenhauer in his essay (...) on reading. I confirm that Proust well understood Schopenhauer’s relationship with his own erudition and suggest that Schopenhauer’s influence on Proust may take the form of an incitement to think for oneself. In the third and final section, I consider several potential points of convergence between Proust and Schopenhauer concerning states of the will. However, in all cases I find, as I do throughout the chapter, that below the surface Proust and Schopenhauer often part ways. (shrink)

In one of his arguments for taking compassion to be the basis of morality, Schopenhauer offers a thought experiment involving two characters: Titus and Caius. The 'Titus Argument,' as I call it, has been misunderstood by many of Schopenhauer's readers, but is, I argue, worthy of attention by contemporary ethicists and metaethicists. In this chapter, I clarify the argument's structure, methodology, and its key philosophical move, drawing comparisons with Newton's experimental methodology in optics and Raimond Gaita's moral parodies.

According to Paul (Transformative experience, 1st edn, Oxford University Press, 2014), transformative experiences pose a challenge to decision theory since their value cannot be anticipated. Building on Pettigrew’s (in: Lambert, Schwenkler (eds) Becoming someone new: essays on transformative experience, choice, and change, Oxford University Press, pp 100–121, 2020) redescription, this paper presents a new approach to how and when transformative decisions can nevertheless be made rationally. Thanks to fundamental higher-order facts that apply to any kind of experience, an agent always (...) at least knows the general shape of the utility space. This in combination with the knowledge about the non-transformative alternative in the choice set can enable rational decision-making despite the presence of a transformative experience. For example, this paper’s approach provides novel arguments for why gender transition (cf. McKinnon in Res Philosophica 92(2):419–440, 2015) or staying childfree (cf. Barnes in Philos Phenomenol Res 91(3):775–786, 2015) can be rational. (shrink)

Purpose. The paper considered the explication of the concept of "Sinn des Lebens" within the framework of Western philosophy and psychology of the ХІХ-ХХІ centuries. On the basis of this, the role of this concept in contemporary theoretical discussions and psychological and psychotherapeutic practices is understood. Theoretical basis. The authors believe that understanding the concept of "Sinn des Lebens" is possible only based on the synthesis of modern analytical philosophy methods with the methodological guidelines of modern psychology, in particular logotherapy. (...) Originality. The authors have proved that the problem of "meaning of life" is not an "eternal problem" of philosophy, but arises only in the early nineteenth century as a reflection on European secularization and widespread individualistic values and becomes extremely relevant gaining different interpretations at the beginning of the twentieth century based on the crisis of the sensory values of modern man. Conclusions. The concept of "Sinn des Lebens" originated in the philosophy of the German Romantics and gained philosophical significance only in the works by Schopenhauer, Kierkegaard and Nietzsche. Russian philosophy and literature give priority to the meaning of life in ethical and anthropological studies, focusing on its religious intentions. Analytical philosophy and existentialism appear to be diametrically opposed to the life-purpose anthropological problems, but they attempt to solve this problem by understanding the absurdity of human existence and language from different angles of view. The most reasonable concept of meaning in psychology can be considered Frankl’s logotherapy, which, despite certain drawbacks, remains the most significant in modern Western psychology. Modern philosophical studies on the problems of the meaning of life, despite their prudent analyticity and systematic nature, have not found credible criteria and means of human life self-reflection yet and have further incentives to develop their methodological and philosophical considerations. However, the diversity of interpretations of the concept of "meaning of life" that exists in modern scientific literature needs further reflection. (shrink)

“Tradition and the Individual Talent” is T. S. Eliot's expression of his poetics of impersonality, a spirited rejection of romantic subjectivism and emotionalism. But could Eliot's modernist essay be derived in part from what he presents as the unremittingly “emotional” philosophy of Schopenhauer? Section 51 of Schopenhauer's The World as Will and Representation I presents a metaphor resoundingly familiar to modern readers: the chemistry of verse-writing. A closer examination of “Tradition” and “Hamlet and his Problems” betrays Schopenhauer's unacknowledged role in (...) Eliot's dictums of impersonal emotion and the “objective correlative.”. (shrink)

This volume examines the entire logical and philosophical production of Nikolai A. Vasil’ev, studying his life and activities as a historian and man of letters. Readers will gain a comprehensive understanding of this influential Russian logician, philosopher, psychologist, and poet. The author frames Vasil’ev’s work within its historical and cultural context. He takes into consideration both the situation of logic in Russia and the state of logic in Western Europe, from the end of the 19th century to the beginning of (...) the 20th. Following this, the book considers the attempts to develop non-Aristotelian logics or ideas that present affinities with imaginary logic. It then looks at the contribution of traditional logic in elaborating non-classical ideas. This logic allows the author to deal with incomplete objects just as imaginary logic does with contradictory ones. Both logics are objects of interesting analysis by modern researchers. (shrink)

This article features the contributions of Fichte and Schopenhauer to a philosophical account of action against the background of Kant's earlier and influential treatment of the topic. The article first presents Kant's pertinent contributions in the areas of general epistemology and metaphysics, general practical philosophy, the philosophy of law and ethic. Then the focus is on Fichte's further original work on the issue of action in those same areas. Finally, the article turns to Schopenhauer's radical revision of the Kantian and (...) Fichtean affirmative accounts of acting and willing through the correlated introduction of the irrational will, the self-negated will and ethical inaction. (shrink)

Between 1937 and 1951 Wittgenstein had numerous philosophical conversations with his student and close friend, Rush Rhees. This article is composed of Rhees’s notes of twenty such conversations — namely, all those which have not yet been published — as well as some supplements from Rhees’s correspondence and miscellaneous notes. The principal value of the notes collected here is that they fill some interesting and important gaps in Wittgenstein ’s corpus. Thus, firstly, the notes touch on a wide range of (...) subjects, a number of which are only briefly addressed by Wittgenstein elsewhere, if at all. The subjects discussed include: explanation, ethics, anarchism, contradiction, psychoanalysis, colour, religion, concepts, classification, seeing-as, evolution, the relation between science and philosophy, and free will, amongst others. Secondly, the notes contain references to, and brief remarks about, philosophers of whom Wittgenstein otherwise says very little, if anything — such as Brentano, Heidegger, Aquinas, and Marx, amongst others. And thirdly, the notes provide us with valuable examples of Wittgenstein ’s use of some key ‘Wittgensteinian’ terms of art which are surprisingly rare in his written works, such as ‘surface-’ and ‘depth-grammar’, and ‘centres of variation’. (shrink)

One of the most significant ways in which much late-nineteenth- and early twentieth-century literature and philosophy may be distinguished from their predecessors is in their reliance upon the notion of ‘inexpressibility’ and the limits of the sayable. In this article, I seek not only to chart the history of this tradition, but also to reflect critically upon the use it makes of the concept of ‘the nothing’. For all their differences, in both Wittgenstein and Heidegger one encounters deployments of this (...) concept in ways that determine these thinkers’ conceptions of language and literature. My aim here is to initiate a new critical reflection upon the fate of the concept of ‘the nothing’ in modern philosophy and literary theory. (shrink)

The ‘Other’ can be near to us, or far from us. We are in-relation with both. Given that, we explore whether, from a moral philosophical perspective, the ‘near-other’ is in tension with the ‘far-other’. We argue that we find our relationship with the near-other through a transcendent metaphysical empathy derived from the noumenon, which is manifest in the phenomenon as compassion and justice. We then argue that perceived differences in the phenomenon mean that we do not reliably transfer this empathy (...) for the near-other, to the far-other. Further, empathic and constructive dialogue is made more difficult because of our proclivity to actively engage in ‘othering’ those not-like-us. Properly, moral decision-making is positioned in a space cognizant of the other. Near-otherness makes consensus in the decision-making process easier, while far-otherness makes consensus more difficult. In our post-modern, multicultural and multifaith era, we need to be alert to the other’s perspective, to find a way to have a meaningful dialogue and thus achieve consensus in our moral decision-making. (shrink)

Philosophical accounts of "action" standardly take an action to be a doing which _satisfies some description that is semantically related to the content of a propositional attitude of the subject's which _explains why that doing occurred. Causal theories of action require that the explanation in question must involve the causation of action-doings by propositional attitudes (typically intentions, volitions, or combinations of belief and desire). I argue that there are actions whose status, as such, cannot be acknowledged by any causal theory, (...) since no such theory can allow that they fulfill the satisfaction condition. (shrink)

In this essay, I show how the French philosopher of science, Gaston Bachelard, reacted to the idea of phenomenology at different stages of his philosophical development. During the early years, Kantianism (through a Schopenhauerian reading of Kant) had the greatest influence on his understanding of phenomenology. Even if he always considered phenomenology a valuable method, Bachelard believed that the term noumenon is necessary, not for a full description of reality, but for probing possible sources of reality. For him, phenomena are (...) not only static objects or things observed in nature, but dynamic objects that can be produced or even created (hence phenomenotechnique). The noumenal realm lies beyond the structure of the phenomenal world. In his later “poetical” years, Bachelard did not make a strict distinction between noumena and phenomena, but instead situated the poetical (literary) image, a phenomenon of literary consciousness, in specific zones between subjectivity and objectivity; the term phenomenotechnique no longer plays any role in his study of imagination or daydreams. For the later Bachelard, phenomenology became the method or attitude that can best lead us into the unexplored regions of our consciousness (reverie) which remain largely forgotten by Western philosophy, or drowned out by its exclusive concern with other aspects of consciousness, such as rational thought. (shrink)

This paper deals with the theoretical concepts of image and imagery as used by the foremost imaginal psychologists. Attributing primary epistemological status to image and imagery, imaginal psychology school developed a new theory of image and imagery, questioning the older thesis on the derivative and secondary epistemological status of the image. Using Jung’s concept of the autonomous psyche of an essentially archetypal nature, Hillman started to question Jung’s concept of the Self as a central archetype symbolizing a sort of disguised (...) traditional monotheism like Freud’s sexuality or central cultural myth. Imaginal psychology defends essential sovereignty and the equality of all images and the resultant polytheist psychology. Jungian studies set out it this direction, giving birth to parallel developments to imaginal psychology in various fields. Derrida’s and Feyerabend’s rejection of an ultimate referential frame was not identical to but corresponds to Hillman’s and Vannoy Adam’s discovery that it is fantasy that rules the psyche. (shrink)

This article explores the affinities between film and philosophy by returning to a shared meditation on death and the nature of time. Death has been considered the muse of philosophy and can also be considered the muse of film-philosophy. But what does it mean to say that to film-philosophise is to learn to die, or a kind of training for dying? Film is an artistic object that reminds us of death’s inevitability; it is a meditation on the transient and finite (...) nature of time. Films as diverse as Mizoguchi’s Tales of Ugetsu, Resnais’s Hiroshima mon Amour, and Guzmán’s Nostalgia for the Light take an uncanny approach to the subject, expressing the paradoxical coexistence of life and death and of different temporal dimensions. This article explores the philosophical concept of the death-image and time through a Deleuzian approach to cinema, meditating on the flashback, the coexistence of the present and the past, and the emergence of a new type of Lazarean character – one who returns from the dead. The article aims to clarify not simply death’s unquestionable omnipresence in film but also cinema’s role as a contemporary version of the trope of memento mori. (shrink)

Scientific method is presented not as a means for investigating a true and objective character of universal reality, but as a metaphorical tool applied for mutual co-ordination of experiences. By acknowledging the co-orientational and metaphoric roots of science, religion, arts, and ordinary linguistic communications alike, potential for their fruitful interdependent application becomes apparent. References to the paradigms of constructivism and objectivism are drawn in parallel in outlining the tracks along which the proposed concept of co-creation of experiential qualities is arrived (...) at. Systemic reasoning based on analogies between different levels of complexity of natural systems emanates as an imaginative aspect of creative thinking. (shrink)

Cognitive sciences have been interminably in search for a consistent philosophical framework for the description of perceptual phenomena. Most of the frameworks in usage today fall in-between the extremes of constructivism and objective realism. However, whereas constructivist cognitive theories face difficulties when attempting to explain the experiential commonality of different cognitive entities, objectivistic theories fail in explaining the active role of the subject in the formation of experiences. This paper undertakes to compare and eventually combine these two major approaches to (...) describing cognitive phenomena. It is argued that constructivist explanations inevitably refer to a `hidden' ontological source of experience, and that a compromise between the constructivist and realistic standpoints presents a natural basis for understanding cognitive phenomena. A view of all experiences as co-created through an interplay between a constructivist creativity and a realistic source of perceptual stimuli is proposed. A middle ground between the hardly compatible constructivist and objectivistic approaches to experiential realities is proposed from the standpoint of experiential co-creation. Traditionally divided, idealistic and realistic philosophical stances may thus become merged into a single consistent epistemological framework. Many favorable cognitive and psychosomatic consequences may arise from acknowledging the balance between `inner' and `outer' creativity proposed by the co-creational thesis. (shrink)

Schopenhauer’s stance on suicide focuses on the possibility of achieving freedom from suffering through the denial of the individual will-to-life. Ultimately, Schopenhauer argues that suicide fails to achieve this freedom, primarily because it is an act of will that confirms, rather than denies, the will-to-life. Suicide, he argues, is a kind of contradiction in that it involves the individual will’s willfully seeking to exterminate itself as a way of escaping the wretchedness of willing. While Schopenhauer explicitly states that one possesses (...) the individual right to commit suicide in order to attempt to obtain freedom from suffering, and even admits that he can understand why one would attempt to do so, he denies that there is any possibility that this freedom may be actualized. To take one’s life indicates a lack of awareness of the futility of the individual will and the experience of the wholeness and totality of will-in-itself. One has the freedom to destroy oneself, but one’s freedom to free oneself from suffering is an illusion. If one concurs with Schopenhauer that suicide should be understood as a futile escape from the freedom of suffering, one cannot deny the brilliant insights of his argument. His is, one the one hand, a brilliant articulation of the function of suicide—placing the act squarely within what one would intuit as its primary purpose . On the other hand, given Schopenhauer’s philosophical framework, it negates that possibility and precludes consideration of any others. (shrink)

I begin by comparing the question of what constitutes continuity of Personal Identity Online (PIO), to the traditional question of whether personal identity is constituted by psychological or physical continuity, bringing out the compelling but, I aim to show, ultimately misleading reasons for thinking only psychological continuity has application to PIO. After introducing and defending J.J. Valberg’s horizonal conception of consciousness, I show how it deepens our understanding of psychological and physical continuity accounts of personal identity, while revealing their shortcomings. (...) I then argue that PIO must also be understood against the backdrop of the horizonal conception, that this undermines sharp dichotomies between online and offline identity, and that although online psychological continuity might become necessary for the preservation of our personal identities, we cannot become our PIOs. Finally, I argue that if PIO is understood solely in terms of psychological continuity, any increasing identification with our PIOs assumes the form of a paradigmatic project of bad faith: a technological reduction of our self-consciousness, rather than the enhancement it should be. (shrink)

In this short paper I critically analyze Marc Leman’s embodied approach to musical meaning and representation, suggesting that its explanatory value is not sufficient in order to be a good alternative for theories encompassing the concept of representation.

Leibniz’s claim that this is the best of all possible worlds has been subject to numerous criticisms, both from his contemporaries and ours. In this paper I investigate a cluster of such criticisms based on the existence, abundance or character of worldly evil. As several Leibniz-inspired versions of optimism have been advanced in recent years, the aim of my investigation is to assess not just how Leibniz’s brand of optimism fares against these criticisms, but also whether optimism as a philosophy (...) has the resources to meet these challenges. I show that none of the criticisms considered has sufficient force to pose a threat to Leibniz’s version of optimism or to one modelled on it. (shrink)

Leibniz’s claim that this is the best of all possible worlds has been subject to numerous criticisms, both from his contemporaries and ours. In this paper I investigate a cluster of such criticisms based on the existence, abundance or character of worldly evil. As several Leibniz-inspired versions of optimism have been advanced in recent years, the aim of my investigation is to assess not just how Leibniz’s brand of optimism fares against these criticisms, but also whether optimism as a philosophy (...) has the resources to meet these challenges. I show that none of the criticisms considered has sufficient force to pose a threat to Leibniz’s version of optimism or to one modelled on it. (shrink)

Creativity has received, and continues to receive, comparatively little analysis in philosophy and the brain and behavioural sciences. This is in spite of the importance of creative thought and action, and the many and varied resources of theories of mind. Here an alternative approach to analyzing creativity is suggested: start from the bottom up with minimally creative thought. Minimally creative thought depends non-accidentally upon agency, is novel relative to the acting agent, and could not have been tokened before the time (...) it is in fact tokened, relative to the agent in question. Thoughts that meet these three conditions—agency, psychological novelty, and modal—are what may be called cognitive breakthroughs. Even if such breakthroughs are not necessary to or definitive of richer creativity, they are indeed central to much of creativity. The minimal analysis provides a more workable explanandum for theories of creativity of varied motivation and method. (shrink)

Can scientific evidence prompt us to revise philosophical theories or folk theoretical accounts of phenomena of the mind? We will argue that it can—but only under the condition that they make a so-called ‘ontological commitment’ to something that is actually subject to empirical inquiry. In other words, scientific evidence pertaining to neuroanatomical structure or causal processes only has a refuting effect if philosophical theories and folk notions subscribe to either account. We will illustrate the importance of ‘ontological commitment’ with the (...) ‘neuroanatomical approach’ to amusement as proposed in a recent paper by Palencik :419–434, 2007). We will show that the scientific evidence presented in said neuroanatomical approach has no bearing on the conceptual issues, in that the philosophical theories and folk distinction that are criticized do not subscribe to any account of the underlying neuroanatomical structure or causal processes. Our suggestions in this paper are not limited to philosophical accounts of humor but apply to the relationship of philosophy, common sense and science in general. (shrink)

We suffer from genealogical anxiety when we worry that the contingent origins of our representations, once revealed, will somehow undermine or cast doubt on those representations. Is such anxiety ever rational? Many have apparently thought so, from pre-Socratic critics of Greek theology to contemporary evolutionary debunkers of morality. One strategy for vindicating critical genealogies is to see them as undermining the epistemic standing of our representations—the justification of our beliefs, the aptness of our concepts, and so on. I argue that (...) this strategy is not as promising as it might first seem. Instead, I suggest that critical genealogies can wield a sort of meta-epistemic power; in so far as we wish to resist the genealogical critic, we are under pressure to see ourselves as the beneficiaries of a certain kind of good luck: what I call genealogical luck. But there is also a resolutely non-epistemic way of understanding the power of critical genealogies, one that is essential, I argue, for understanding the genealogical projects of various theorists, including Nietzsche and Catharine MacKinnon. For critical genealogies can reveal what it is that our representations do—and what we, in turn, might do with them. (shrink)

Nietzsche takes moral judgments to be false beliefs, and encourages us to pursue subjective nonmoral value arising from our passions. His view that strong and unified passions make one virtuous is mathematically derivable from this subjectivism and a conceptual analysis of virtue, explaining his evaluations of character and the nature of the Overman.

This essay focuses on Schopenhauer’s aesthetics and philosophy of art, areas of his philosophy which have attracted the most philosophical attention in recent years. After discussing the subjective and objective aspects of aesthetic experience on his account, I shall offer interpretations of Schopenhauer’s theory of the sublime and solution to the problem of tragedy. In addition, I shall touch upon the liveliest interpretive debates concerning his aesthetic theory: the intelligibility of the “Platonic Ideas” as the objects of aesthetic experience and (...) the very possibility of aesthetic experience within Schopenhauer’s system. Another aim of this essay is to suggest how some of Schopenhauer’s aesthetic doctrines may be interpreted in a less metaphysically extravagant way. When understood in this manner, contemporary aestheticians might be inclined to take a closer look at Schopenhauer’s aesthetic theory and philosophy of art, for it is distinctive in the tradition of Western philosophical aesthetics in its attempt to highlight and balance the hedonic and cognitive importance of aesthetic experiences; in its sensitivity both to the aesthetic experience of nature as well as of art; in the high value placed on the experience of music ; and in the innovative solution to the problem of tragedy it offers. (shrink)

In this attempt to deal with the problem of free will Tallis identifies intentionality as a feature of our lives that cannot be explained by deterministic, natural, physical, causal laws. Our ability to think about the world, and not merely be objects subject to it, gives us room for manoeuvre for free thought and action. Science, far from being antagonistic to the possibility of free will as it is usually presented through its deterministic explanations, is a manifestation of our freedom (...) and could not exist without it. However, doubts arise for the argument owing to a lack of explanation as to how freedom is possible no matter how persuasively we are shown that it appears to be. That is, what kind of world would it have to be for freedom to exist and be explicable. I conclude with my own view, alluded to by Tallis, but not followed up, that the problem with the scientific worldview is that it is wedded to objectivity as the only stance deemed veridical as to the nature of reality, one which therefore cannot by necessity allow subjects or freedom. As freedom is a property of subjects, the scientific worldview cannot allow for freedom. Once the condition is dropped that only the objectively knowable can be real, freedom also may be real, defined as a knowable property of our subjectivity. There is no need to deny physicalism if the definition of it is released from the epistemic bonds of objectivity and we hold that some physical properties may be known subjectively, namely those that characterize our subjective life. (shrink)

Freedom is one of the major elements in Henry James’s The Portrait of a Lady. In an age when American women were usually engaged or married, James’s heroine, Isabel, was somewhat ahead of her time in hoping for a marriage in which she could still be independent. She was very fond of her liberty and afraid of losing it, but does her return to her husband, Osmond, at the end of the novel suggest that she has put an end to (...) her eagerness for freedom? It is an underlying argument of this study that James’s novel, in its last scene, covers a different aspect of freedom which, through a Schopenhauerian approach, delivers a different insight into liberty. This perception of freedom in The Portrait of a Lady has never been considered in connection with Arthur Schopenhauer’s view on the experience of freedom. The implicit critical point on which the paper is founded is that, although Schopenhauer is not conspicuously mentioned in James’s notes, there is important evidence that shows the convergence between the thoughts of Schopenhauer and Henry James; that is, that evidence through which this study aims to analyse the heroine’s final decision in the last scene. (shrink)

Mozart's great opera, Don Giovanni, poses a number of significant philosophical and aesthetic challenges, and yet it remains, for the most part, little discussed by contemporary philosophers. A notable exception to this is Bernard Williams's important paper, ‘Don Juan as an Idea’, which contains an illuminating discussion of Kierkegaard's ground-breaking interpretation of the opera, ‘The Immediate Erotic Stages or the Musical-Erotic’, in Either/Or. Kierkegaard's pseudonymous author's approach here is, in some respects, reminiscent of a currently rather fashionable narrative-inspired moral philosophy, (...) of which Williams himself is perhaps the most impressive recent exponent. In the light of this apparent methodological confluence, Williams's disagreement with A about the meaning of Don Giovanni's final two scenes seems particularly significant. By offering an interpretation of Don Giovanni that both retains A's fundamental ideas and manages to get round the problems in Williams's account, I will show that the greatness of Mozart's opera is largely a function of the challenge it presents to the ‘morality system’. (shrink)

Kant wants to show that freedom is possible in the face of natural necessity. Transcendental idealism is his solution, which locates freedom outside of nature. I accept that this makes freedom possible, but object that it precludes the recognition of other rational agents. In making this case, I trace some of the history of Kant’s thoughts on freedom. In several of his earlier works, he argues that we are aware of our own activity. He later abandons this approach, as he (...) worries that any awareness of our activity involves access to the noumenal, and thereby conflicts with the epistemic limits of transcendental idealism. In its place, from the second Critique onwards, Kant argues that we are conscious of the moral law, which tells me that I ought to do something, thus revealing that I can. This is the only proof of freedom consistent with transcendental idealism, but I argue that such an exclusively first-personal approach precludes the recognition of other rational agents. I conclu.. (shrink)

This paper challenges recent influential arguments which would encourage legislators and courts to give weight to an assessment of the “evaluative judgements” expressed by the emotions which motivate crimes. While accepting the claim of Kahan and Nussbaum and others that emotions, other than moods, have intentional objects , and are not mere impulses which bypass cognition, it suggests the following criticisms of their analysis. First, the concept of an emotional “evaluative judgement” tends to elide the distinction between “judgements” that are (...) merely the sense of an emotion, and do not have the character of acts, and deliberative emotional judgements that do resemble acts and so properly fall within the corrective scope of the law. Second, intentional emotions are empowered by pre–intentional psychological resources which are less amenable than intentional states to the agent's conscious supervision: The traditional recognition of “infirmity” in mitigation of crimes uncharacteristic of the criminal's overall conduct towards others is justified by the unpredictable action of these pre–intentional elements and can survive the abandonment of the mechanistic conception of emotion. (shrink)

This article argues for the elimination of the concept of life worth living from philosophical vocabulary on three complementary grounds. First, the basic components of this concept suffer from multiple ambiguities, which hamper attempts to ground informative evaluative and classificatory judgments about the worth of life. Second, the criteria proposed to track the extension of the concept of life worth living rest on unsupported axiological assumptions and fail to identify precise and plausible referents for this concept. And third, the concept (...) of life worth living is not shown to serve any major evaluative or classificatory purpose besides those served by already available axiological concepts. By eliminating the concept of life worth living, philosophers will free themselves of the task of addressing ill-posed axiological questions and ground reflection about the worth of life on more rigorous conceptual foundations. (shrink)

I argue that Nietzsche puts forward a pandispositionalist view that can be seen as the conjunction of two basic claims: that powers are the basic constituents of reality, on the one hand, and that the only properties things possess are relational qua dispositional, on the other hand. As I believe that such a view is, at least in part, motivated by his rejection of Kant’s notion of things in themselves, I start by sketching the metaphysics of Kant’s transcendental idealism and (...) by presenting Nietzsche’s critical reaction to it. After that, I start to work out Nietzsche’s pandispositionalist view by considering first the case of physical reality and second that of psychological reality. I then argue that in both cases that view does not conflict with Nietzsche’s naturalism. In the last part of the paper I explore how his notion of will to power fits into such a pandispositionalist picture. Here, I shall argue, some serious tension does arise, for the claim that Nietzsche sometimes makes to the effect that the will to power is a fundamental physical force seems to clash with central aspects of his mature thought. However, whereas he repeatedly entertains that claim in his unpublished notes, it is far from clear that he ever meant to endorse it in his published work. Thus, I conclude that the available textual evidence only justifies attributing to Nietzsche the kind of pandispositionalist view spelled out in the first sections of the present paper, and not also the further claim that the will to power is a fundamental physical force. (shrink)

(2000). The eternal present of Utopianism. Critical Review of International Social and Political Philosophy: Vol. 3, The Philosophy of Utopia, pp. 44-55.

_The Nietzschean Self_, by KatsafanasPaul. Oxford: Oxford University Press, 2016. Pp. 292.

ABSTRACTDeath as an inevitable reality is a subject of study in various philosophical schools. This concept can be reviewed within three realms: semantics, ontology, and epistemology. The objective of this article is to examine death within the ontological realm in the thoughts of Mullā Sadrā and Schopenhauer, and it attempts to answer the question whether philosophical discussions on the concept of death in Sadrā’s transcendental wisdom, despite differences in principles, methods, and objectives, are comparable to Schopenhauer’s intellectual framework. Using a (...) descriptive-analytical approach, the present study first investigates the issue of death in the thought of both philosophers and then focuses on their comparative analysis. The findings of this study show that both philosophers believe in the dichotomy in the world, immortality of human nature after death, existence of suffering in the world, asceticism, austerity, love, and affection to all human beings. However, each of them analyzes and explains the issue of death within his own intellectual framework. (shrink)

Grice and Strawson's 'In Defense of a Dogma is admired even by revisionist Quineans such as Putnam (1962) who should know better. The analytic/synthetic distinction they defend is distinct from that which Putnam successfully rehabilitates. Theirs is the post-positivist distinction bounding a grossly enlarged analytic. It is not, as they claim, the sanctified product of a long philosophic tradition, but the cast-off of a defunct philosophy - logical positivism. The fact that the distinction can be communally drawn does not show (...) that it is based on a real difference. Subcategories that can be grouped together by enumeration will do the trick. Quine's polemical tactic (against which Grice and Strawson protest) of questioning the intelligibility of the distinction is indeed objectionable, but his argument can be revived once it is realized that 'analytic' et al. are theoretic terms, and there is no extant theory to make sense of them. Grice and Strawson's paradigm of logical impossibility is, in fact, possible. Their attempt to define synonymy in Quinean terms is a failure, nor can they retain analyticity along with the Quinean thesis of universal revisability. The dogma, in short, is indefensible. (shrink)

Presentism states that everything is present. Crucial to our understanding of this thesis is how we interpret the ‘is’. Recently, several philosophers have claimed that on any interpretation presentism comes out as either trivially true or manifestly false. Yet, presentism is meant to be a substantive and interesting thesis. I outline in detail the nature of the problem and the standard interpretative options. After unfavourably assessing several popular responses in the literature, I offer an alternative interpretation that provides the desired (...) result. This interpretation is then used to clarify the distinction between ‘real change’ from mere variation and temporal relativisation. Reflecting on my solution, I try to diagnose the source of confusion over these issues. Then, building upon Fine’s distinction between ontic and factive presentism, I elucidate what the presentist thesis specifically concerns and how best to formalise it. In the process I distinguish a weak and strong version of the presentist thesis. Finally, I end by drawing out some limitations of the paper. (shrink)

Adorno's moral philosophy is famously problematic. One of the main reasons for this is that it revolves around the moral addendum: a physical impulse of solidarity with suffering beings that, he argues, cannot and should not be rationalized. I show that, since this moral addendum remains vague and since Adorno's radical negativity forces him to dismiss as uncritical all other approaches to morality, he deliberately places his thought in danger of relapsing into irrationality. Most commentators therefore disagree about the manner (...) in which Adorno's references to the moral addendum can be translated into a moral theory. In this paper, I bring in some often overlooked material to form a more complete overview of the issues at hand and to adjudicate this contested area. I do this by briefly discussing Schopenhauer's moral observations on Mitleid and by focusing on Adorno's references to animal cruelty and corporeality. Although this interpretation stays close to Adorno's observations on the moral addendum, it forces us to accept that his moral philosophy is rather weak. I conclude, however, that this weakness reflects a disturbing aspect of reality and in that sense has critical value. (shrink)