This collection of aphorisms (composed over many years by a noted philosopher) is an aid to crystallising your own thoughts - there are sectors on truth, love, ambition, religion, ageing, cruelty, friendship and all the other vital issues that we confront in life. Aphorisms can be a more enjoyable stimulus for thought than longer philosophical works - because of their variety, because of their compactness, because they invite different interpretations, and because they provide such clear targets - for (...) agreement or disagreement. (shrink)

Assembled with skill and sensitivity, this selection of brief and incisive quotations range from religion and theology, personal and social ethics, service, and international and political affairs, to the family, education, culture, Indian problems, and Gandhi's most original concept, satyagraha - group nonviolent direct action. Some quotes from this book: Ahimsa is the highest ideal. It is meant for the brave, never for the cowardly. Eating for the sake of pleasure is a sin like animal indulgence for the sake of (...) it. The real meaning of economic equality is 'to each according to his need'. Without prayer there is no inward peace. (shrink)

Behind the superficial obscurity of what fragments we have of Heraclitus' thought, Professor Kahn claims that it is possible to detect a systematic view of human existence, a theory of language which sees ambiguity as a device for the expression of multiple meaning, and a vision of human life and death within the larger order of nature. The fragments are presented here in a readable order; translation and commentary aim to make accessible the power and originality of a systematic thinker (...) and the first great master of artistic prose. The commentary locates Heraclitus within the tradition of early Greek thought, but stresses the importance of his ideas for contemporary theories of language, literature and philosophy. (shrink)

Nietzsche Awakens! is a philosophical work, written entirely in aphorisms. It is an analytical way to trigger readers to think; to negate the "common sense" notions; to re-question the raison d'être of principles and elements; to refuse the "absolutes"; to criticize the epistemology and the methodology of sciences; and to wonder about the ontology of the human being and his teleology. The first part of the book consists of "modifying" Nietzsche's aphorisms, either to contradict his sayings or to (...) be even more cynical than he is, or to explore new dimensions to his thinking. The second part consists of persuading him, to accept the author's refutation. Indeed, the main concept of the book is to concretize "The Eternal Recurrence." Rather than being influenced by Nietzsche, the author is bringing Nietzsche alive. Rather than saying the author is influenced by Nietzsche, can't we say that the author enables Nietzsche's aphorisms to expand, innovate, and enrich themselves? (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Why do Americans, and so often, American writers, profess moral sentiments and yet write so little in the traditionally "moralistic" genres of maxim and fable? What is the relation between "moral" concerns and literary theory? Can any sort of morality survive the supposed nihilism of deconstruction? Jefferson Humphries undertakes a discussion of questions like these through a comparative reading of the ways in which moral issues surface in French and American literature. Humphries takes issue with the "amoral" view of deconstruction (...) espoused by many of its detractors, arguing that the debate between the theory's advocates and opponents comes down to two opposing literary and moral traditions. While the American tradition views morality as a rigid system capable of being enforced by injunctions along the lines of "Thou shalt" and "Thou shalt not," the French tradition conceives of morality as a function of a relentless and unsentimental pursuit of truth, and finally, an admission that "truth" is not a static thing, but rather an ongoing process of rigorous thought. (shrink)

The "aphoristic form causes difficulty," Nietzsche argued in 1887, for "today this form is not taken seriously enough." Nietzsche's Aphoristic Challenge addresses this continued neglect by examining the role of the aphorism in Nietzsche's writings, the generic traditions in which he writes, the motivations behind his turn to the aphorism, and the reasons for his sustained interest in the form. This literary-philosophical study argues that while the aphorism is the paradigmatic form for Nietzsche's writing, its function shifts as his thought (...) evolves. His turn to the aphorism in Human, All Too Human arises not out of necessity, but from the new freedoms of expression enabled by his critiques of language and his emerging interest in natural science. Yet the model interpretation of an aphorism Nietzsche offers years later in On the Genealogy of Morals tells a different story, revealing more about how the mature Nietzsche wants his earlier works read than how they were actually written. This study argues nevertheless that consistencies emerge in Nietzsche's understanding of the aphorism, and these, perhaps counter-intuitively, are best understood in terms of excess. Recognizing the changes and consistencies in Nietzsche's aphoristic mode helps establish a context that enables the reader to navigate the aphorism books and better answer the challenges they pose. (shrink)

This commentary provides valuable insight into the basic tenets of an unknown sect from the formative years of Hellenistic Pythagoreanism, a movement which had a major impact on the morality and philosophy of the Greco-Roman world.

"Disillusioned with life as a literary publicist in London, as well as with her hotshot, unevolved TV presenter boyfriend, Rosie Richardson chucks the glitz and escapes to run a refugee camp in the African desert. When famine strikes and a massive refugee influx threatens to overwhelm the camp... Richardson returns to London to organize a star-studded and risky emergency appeal."--Front jacket.

A PICTURE MAY BE WORTH A THOUSAND WORDS-- BUT A FEW CHOICE WORDS CAN SPEAK VOLUMES! _ If Ignorance Is Bliss, Why Aren't More People Happy? Bottled Water Is for Suckers Clones Are People Too At Least the War on the Environment Is Going Well Don't Believe Everything You Think The Revolution Will Be Tweeted _ Long before blogs, tweets, and sound bites, people were telling the world how they felt in brief, blunt bursts of information plastered on the backs (...) of their cars. Whether they're political or religious, passionate or proud, controversial or corny, these brightly colored, boldly lettered mini manifestos are declarations of who we are, where we stand, and what we'd rather be doing. But as bestselling author and noted philosopher Jack Bowen reveals, there's much more to the pop-culture phenomenon of bumper stickers than rolling one-liners and drive-by propaganda--no less, in fact, than a wise, funny, poignant, contentious, and truthful discourse on the human condition. _ Mixing pop culture with the ideas of historically prominent philosophers and scientists, If You Can Read This exposes the deeper wisdom couched behind these slogans--or, as need be, exposes where they have gone wrong. If you brake for big ideas, now's the time. _. (shrink)

Avi Shulman has taught thousands of people how to look at life and see positive ways to make everything better. In this precious collection of his astute observations, he shares a wealth of wisdom in his concise and simple manner that always hits the target and makes the reader ask himself, why didn't I think of that? With lessons on assuming responsibility, setting attainable goals, creating a warm atmosphere at home, and avoiding the feeling of burnout, Vitamins for the Spirit (...) is a joy to read and an incredible investment in your future happiness and success. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Elencos y discursos -- Discurso en los exámenes generales del Colegio El Salvador, pronunciado el 16 de diciembre de 1858 -- Aforismos -- Cuestión de método -- Impugnación a Cousin.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 112-129 [Access article in PDF] Musical Aphorisms and Common Aesthetic Quandaries Yaroslav Senyshyn Simon Fraser University, Canada I have written in the style of aphorisms because their form is useful for both the sake of brevity and possible complexity. As well, they are historically significant as they have served many philosophers in the past and in our own time. Some (...) will argue that they do not say enough, but this is unfounded as in saying less there is often scope for more. Who knows perhaps academe will experiment with this mode of writing more frequently?For the sake of a sense of direction, I will borrow Russell Nieli's title to his thoughtful book on Wittgenstein's philosophy, From Mysticism to Ordinary Language, 1 to characterize the procedure of these aphorisms. Thus my initial aphorisms begin with music as a thing-in-itself, a striving toward a Kantian noumenon 2 and move toward the everyday practical concerns of music education. There are no determinate limits to a philosophy of music; unfortunately, this is also true of confusion. The following aphorisms (while hardly exhaustive of any possible gamut of music philosophy) strive to demystify some of the more common aesthetic quandaries and hopefully provide an opportunity for a wider field of discussion in music philosophy and education. [End Page 112] Music: External and Internal Inferences Sound and silence as potentiation of music precedes human existence.If music precedes existence then it can never be defined in absolute terms of thought. It remains thus even if nothingness were an all-pervasive, encompassing silence (that is, the silence of music or music as silence). 3 Silence as music in our culture may be perceived to be music by some and not necessarily by all cultures. As the sound and silence that preceded our being, it is indeed music in everlasting potentiation.In this sense sound can only be philosophically inferred as the "other," outside music, which the pre-Socratic philosophers referred to mystically and metaphorically as "the music of the spheres"; it is that music outside of us and finds its origins in sounds indirectly related to us. 4 It is what I prefer to call the Sound and Silence that define and are defined by each other in their potentiation for music. Thus this sound is music as potential or dynamis if intended to be music and perceived as such. It is also the possible music or sounds of the environment and non-humans such as whales, elephants, and monkeys. But the latter is our perception of their "music" and not necessarily their own appropriation. In the former we can use or intend the sounds of the environment to be music if these are perceived as such by at least one other person.Thus all sound is music in potentiation.The notion of a possible pre-existence of music, as stated in the first aphorism, is then defined by music as both a source and external entity.As an external inference (that is, the possibility of such) music does not communicate with us; rather, we utilize it through our own means and culture to communicate by it indirectly. It becomes our social construct and thus not an absolute notion.This source of music can be verified as it is implicit in our respective societies and world cultures.A music which possibly or inferentially precedes existence is, of necessity, part of that possible catalyst of sound waves identified by modern-day physics by which the universe may have been formed. For this reason, such notions usually appropriated by world mythologies have made it possible to worship music, perceive it as a supernatural force, or even view it is a possible cause in the big bang theory. 5Music is embodied in experience in that it is appropriated by members of extant cultures for its own particular use. We can speak of music from within our personal experiences of it. But this can only be appropriated or understood properly by others when our description of it accords with that cultural... (shrink)

Aphorismen: Allgemeines über Historismus und Aufklärungshistorie. Möser. Herder. Goethe. Ranke.--Skizzen: Ein Wort über geschichtliche Entwicklung. Von der Krisis des Historismus. Deutung eines Rankewortes. Gedanken über Welt- und Universalgeschichte.

Cette nouvelle édition commentée des Fragments d'Héraclite est le fruit d'un travail totalement inédit. Alors que les éditions de référence (Hermann Diels en 1922 et Walter Kranz en 1934), comme celle de Jean Bollack et Heinz Wismann, se limitaient à les présenter selon un ordre alphabétique arbitraire, Marcel Conche procède ici à un mouvement d'ensemble du concret vers l'abstrait. Après des règles de méthodes viennent ainsi des lois universelles, puis les réalités elles-mêmes : le monde, les âmes, la cité... Le (...) schéma eût sans doute fait sourire Héraclite (ce qui n'eût pas été marque de désaveu), mais il rappelle qu'un fragment ne doit pas être interprété seul, et que les Fragments sont avant tout le reflet d'un système achevé en constante redéfinition. (shrink)

In den fünf Büchern der "Fröhlichen Wissenschaft", seinem vielleicht bekanntesten Werk, radikalisiert Nietzsche seine Kritik an der Metaphysik, der Erkenntnis und der Moral. Hier findet sich der berühmte Satz »Gott ist todt«, verkündet von dem »tollen Menschen« . Der Tod Gottes steht bei Nietzsche für das historische Ereignis des Untergangs des christlichen Glaubens und dessen Folgen._1885 faßte Friedrich Nietzsche den Entschluß, eine Neue Ausgabe seiner Schriften erscheinen zu lassen, die »das Eigene und Unvergleichliche in diesen Werken« herausstellen sollte. Diesem Konzept (...) folgt auch die von Claus-Artur Scheier neu herausgegebene Ausgabe der philosophischen Werke in sechs in Bänden.BAND 1 Jenseits von Gut und Böse Die Geburt der Tragödie X, 414 SeitenBAND 2 Menschliches, Allzumenschliches 1 VI, 358 SeitenBAND 3 Menschliches, Allzumenschliches 2 VI, 330 SeitenBAND 4 Morgenröthe VI, 330 SeitenBAND 5 Die fröhliche Wissenschaft / Wir Furchtlosen VI, 338 SeitenBAND 6 Zur Genealogie der Moral Götzen-Dämmerung VI, 314 SeitenDiese erste Ausgabe der philosophischen Werke Friedrich Nietzsches in der »Philosophischen Bibliothek« folgt dem 1885 von Nietzsche selbst gefaßten und begründeten Konzept einer Neuen Ausgabe seiner im eigentlichen Sinne »philosophischen« Schriften und bietet den Text nach den Originalausgaben von 1886/1887, ergänzt um die 1889 erschienene Götzen-Dämmerung.Eine »vollständige Ausgabe letzter Hand« nach dem Vorbild Goethes hat Friedrich Nietzsche nicht vorlegen können, denn am Ende war er nicht mehr Herr seiner Sinne. Doch gibt das wirklich Grund zur Klage? Oder anders gefragt: Hätte Nietzsche eine solche Ausgabe, die einfach alles versammelt, was er geschrieben hat, überhaupt gewollt und gutgeheißen? Die Frage muß offen bleiben. Doch es gibt gewiß Gründe, Nietzsche nicht mit jenen gleichzustellen, denen es auf diese Weise nur darum zu tun war, ihren Nachruhm zu sichern und nach eigenen Vorstellungen zu steuern. Denn es gibt sie ja, die von Nietzsche selbst gewollte und kritisch kommentierte Ausgabe ganz eigener Art: nämlich die durch Jenseits von Gut und Böse und die Genealogie der Moral eingerahmte Neue Ausgabe von 1886/87, die die vor dem Zarathustra veröffentlichten, mit neuen Vorreden versehenen philosophischen Schriften enthält, von denen der Autor selber sagte: »Sie werden bemerken, daß Menschliches, Allzumenschliches, die Morgenröte, die fröhliche Wissenschaft einer Vorrede ermangeln: es hatte gute Gründe, daß ich damals, als diese Werke entstanden, mir ein Stillschweigen auferlegte – ich stand noch zu nahe, noch zu sehr ›drin‹ und wußte kaum, was mit mir geschehen war. Jetzt, wo ich selber am besten und genauesten sagen kann, was das Eigene und Unvergleichliche in diesen Werken ist und inwiefern sie eine für Deutschland neue Literatur inaugurieren , würde ich mich zu solchen zurückblickenden und nachträglichen Vorreden gerne entschließen. Meine Schriften stellen eine fortlaufende Entwicklung dar, welche nicht nur mein persönliches Erlebnis und Schicksal sein wird: – ich bin nur der Erste, eine heraufkommende Generation wird das, was ich erlebt habe, von sich aus verstehn und eine feine Zunge für meine Bücher haben. Die Vorreden könnten das Notwendige im Gange einer solchen Entwicklung deutlich machen.« Mit der 1990 unter dem Titel ›Friedrich Nietzsche: Ecce auctor‹ vorgelegten Edition der Vorreden von 1886 hatte Claus-Artur Scheier zum ersten Mal darauf aufmerksam gemacht, daß Nietzsche die für die Neue Ausgabe seiner im eigentlichen Sinne »philosophischen« Schriften verfaßten Vorreden als in sich geschlossenen, genealogisch angelegten Versuch einer selbstkritischen Neubewertung und Einordnung seines Werkes ansah: »Von der Vorrede zur Geburt der Tragödie bis zur Vorrede des letztgenannten Buchs [der ›Genealogie der Moral‹] – das gibt eine Art ›Entwicklungsgeschichte‹« . Jetzt sah sich Nietzsche im Zenit seiner Schaffenskraft, und die Neue Ausgabe sollte den Mitte 1885 gefaßten Plan vorantreiben, »eine große Schul-Tätigkeit als Philosoph auszuüben […]. Die Bücher heraus aus diesem Winkel!!! Es sind meine Angelhaken; wenn sie mir keine Menschen fangen, so haben sie keinen Sinn!«. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 112-129 [Access article in PDF] Musical Aphorisms and Common Aesthetic Quandaries Yaroslav Senyshyn Simon Fraser University, Canada I have written in the style of aphorisms because their form is useful for both the sake of brevity and possible complexity. As well, they are historically significant as they have served many philosophers in the past and in our own time. Some (...) will argue that they do not say enough, but this is unfounded as in saying less there is often scope for more. Who knows perhaps academe will experiment with this mode of writing more frequently?For the sake of a sense of direction, I will borrow Russell Nieli's title to his thoughtful book on Wittgenstein's philosophy, From Mysticism to Ordinary Language, 1 to characterize the procedure of these aphorisms. Thus my initial aphorisms begin with music as a thing-in-itself, a striving toward a Kantian noumenon 2 and move toward the everyday practical concerns of music education. There are no determinate limits to a philosophy of music; unfortunately, this is also true of confusion. The following aphorisms (while hardly exhaustive of any possible gamut of music philosophy) strive to demystify some of the more common aesthetic quandaries and hopefully provide an opportunity for a wider field of discussion in music philosophy and education. [End Page 112] Music: External and Internal Inferences Sound and silence as potentiation of music precedes human existence.If music precedes existence then it can never be defined in absolute terms of thought. It remains thus even if nothingness were an all-pervasive, encompassing silence (that is, the silence of music or music as silence). 3 Silence as music in our culture may be perceived to be music by some and not necessarily by all cultures. As the sound and silence that preceded our being, it is indeed music in everlasting potentiation.In this sense sound can only be philosophically inferred as the "other," outside music, which the pre-Socratic philosophers referred to mystically and metaphorically as "the music of the spheres"; it is that music outside of us and finds its origins in sounds indirectly related to us. 4 It is what I prefer to call the Sound and Silence that define and are defined by each other in their potentiation for music. Thus this sound is music as potential or dynamis if intended to be music and perceived as such. It is also the possible music or sounds of the environment and non-humans such as whales, elephants, and monkeys. But the latter is our perception of their "music" and not necessarily their own appropriation. In the former we can use or intend the sounds of the environment to be music if these are perceived as such by at least one other person.Thus all sound is music in potentiation.The notion of a possible pre-existence of music, as stated in the first aphorism, is then defined by music as both a source and external entity.As an external inference (that is, the possibility of such) music does not communicate with us; rather, we utilize it through our own means and culture to communicate by it indirectly. It becomes our social construct and thus not an absolute notion.This source of music can be verified as it is implicit in our respective societies and world cultures.A music which possibly or inferentially precedes existence is, of necessity, part of that possible catalyst of sound waves identified by modern-day physics by which the universe may have been formed. For this reason, such notions usually appropriated by world mythologies have made it possible to worship music, perceive it as a supernatural force, or even view it is a possible cause in the big bang theory. 5Music is embodied in experience in that it is appropriated by members of extant cultures for its own particular use. We can speak of music from within our personal experiences of it. But this can only be appropriated or understood properly by others when our description of it accords with that cultural... (shrink)

Alfarabi was among the first to explore the tensions between the philosophy of classical Greece and that of Islam, as well as of religion generally. His writings, extraordinary in their breadth and deep learning, have had a profound impact on Islamic and Jewish philosophy. This volume presents four of Alfarabi's most important texts, making his political thought available to classicists, medievalists, and scholars of religion and Byzantine and Middle Eastern studies. In a clear prose translation by Charles E. Butterworth, these (...) treatises provide a valuable introduction to the teachings of Alfarabi and to the development of Islamic political philosophy. All of these texts are based on new Arabic editions. Two of the texts—Book of Religion and Harmonization of the Two Opinions of the Two Sages: Plato the Divine and Aristotle—appear in English for the first time. The translations of the other two works—Selected Aphorisms and chapter five of the Enumeration of the Sciences—differ markedly from those previously known to English-language readers. Butterworth situates each essay in its historical, literary, and philosophical context. His notes help the reader follow Alfarabi's text and identify persons, places, and events. English-Arabic and Arabic-English glossaries of terms further assist the reader. (shrink)

Alfarabi was among the first to explore the tensions between the philosophy of classical Greece and that of Islam, as well as of religion generally. His writings, extraordinary in their breadth and deep learning, have had a profound impact on Islamic and Jewish philosophy. This volume presents four of Alfarabi's most important texts, making his political thought available to classicists, medievalists, and scholars of religion and Byzantine and Middle Eastern studies. In a clear prose translation by Charles E. Butterworth, these (...) treatises provide a valuable introduction to the teachings of Alfarabi and to the development of Islamic political philosophy. All of these texts are based on new Arabic editions. Two of the texts—Book of Religion and Harmonization of the Two Opinions of the Two Sages: Plato the Divine and Aristotle—appear in English for the first time. The translations of the other two works—Selected Aphorisms and chapter five of the Enumeration of the Sciences—differ markedly from those previously known to English-language readers. Butterworth situates each essay in its historical, literary, and philosophical context. His notes help the reader follow Alfarabi's text and identify persons, places, and events. English-Arabic and Arabic-English glossaries of terms further assist the reader. (shrink)

This is a book about our plight in the modern world, about how we live and how we lie about how we live. It consists of sayings completed in the time it takes to recognise another, to smile and to stand back surprised as they pass by. These are stories that are as complete as they ever will be, and perhaps can be.