_A Companion to Schopenhauer_ provides a comprehensive guide to all the important facets of Schopenhauer’s philosophy. The volume contains 26 newly commissioned essays by prominent Schopenhauer scholars working in the field today. A thoroughly comprehensive guide to the life, work, and thought of Arthur Schopenhauer Demonstrates the range of Schopenhauer’s work and illuminates the debates it has generated 26 newly commissioned essays by some of the most prominent Schopenhauer scholars working today reflect the very latest trends in Schopenhauer scholarship Covers (...) the full range of historical and philosophical perspectives on Schopenhauer’s work Discusses his seminal contributions to our understanding of knowledge, perception, morality, science, logic and mathematics, Platonic Ideas, the unconscious, aesthetic experience, art, colours, sexuality, will, compassion, pessimism, tragedy, pleasure, and happiness. (shrink)
When we are touched by the beauty of something, we cannot help judging that the experienced feeling of pleasure ought to be shared by others. In Kantian terms, a pure judgement of taste requires or demands everyone else's assent. I examine some of the major intricacies of Kant's account and aim to correct some distorted views of it. I argue that the autonomy (or heautonomy) of the judgement of taste is not presupposed but made possible by the modal requirement as (...) such, i.e. by the subjective necessity to be universally shared—a necessity that is not moral, as several commentators hold, but strictly epistemological. CiteULike Connotea Del.icio.us What's this? (shrink)
The article explores German philosopher Arthur Schopenhauer's view on aesthetics and the values of art. It contends that some important aspects of Schopenhauer's discussion of tragedy indicate that the theory that the value of art is deductible to the aesthetic pleasure it affords is inadequate. Moreover, it claims that Schopenhauer attaches great importance to the distinction between concept and idea. It also asserts that Schopenhauer's account of aesthetic experience is inspired by Plato's ideas.
In this essay, I argue that Schopenhauer’s view of the aesthetic feelings of the beautiful and the sublime shows how a “dialectical” interpretation that homogenizes both aesthetic concepts and reduces thediscrepancy between both to merely quantitative differences is flawed. My critical analysis reveals a number of important tensions in both Schopenhauer’s own aesthetic theory—which does not ultimately succeed in “merging” Plato’s and Kant’s approaches—and the interpretation that unjustly reduces the value of aesthetic experience to a merely preliminary stage of ethical (...) will-less salvation. (shrink)
: Although Kant holds that the universal communicability of aesthetic judgments logically follows from the disinterested character of the pleasure upon which they are based, Kant’s emphasis on the a priori validity of judgments of beauty can be viewed as a rebuttal of the kind of empiricist arguments that Burke offers to justify the social nature of the experience of beauty. I argue that the requirement of universal communicability is not a mere addition to the requirement of universal validity and (...) is far more relevant to an adequate characterisation of the beautiful than has customarily been assumed. I further argue that the ‘exemplary necessity’ of pure judgments of taste, if understood correctly, reveals beauty’s primordial social significance, enabling us to become alive to a profound universal solidarity among aesthetic subjects. (shrink)
In Schopenhauer’s view, the whole organic and inorganic world is ultimately governed by an insatiable, blind will. Life as a whole is purposeless: there is no ultimate goal or meaning, for the metaphysical will is only interested in manifesting itself in (or as) a myriad of phenomena, which we call the “world” or “life.” Human life, too, is nothing but an insignificant product or “objectivation” of the blind, unconscious will, and because our life is determined by willing (that is, by (...) needs, affects, urges, and desires), and since willing is characterized by lack, our life is essentially full of misery and suffering. We are constantly searching for objects that can satisfy our needs and desires; once we have .. (shrink)
While several commentators agree that Schopenhauer’s theory of ‘will-less contemplation’ is a variant of Kant’s account of aesthetic disinterestedness, I shall argue here that Schopenhauer’s account departs from Kant’s in several important ways, and that he radically transforms Kant’s analysis of aesthetic judgement into a novel aesthetic attitude theory. In the first part of the article, I critically discuss Kant’s theory of disinterestedness, pay particular attention to rectifying a common misconception of this notion, and discuss some significant problems with Kant’s (...) approach. In part two, I argue that Schopenhauer gives up Kant’s concern with the transcendental conditions of the reflecting judgement, but nonetheless retains two crucial aspects of Kant’s analysis: first, the idea that pure aesthetic pleasure cannot be based on the satisfaction of some personal desire or inclination and, second, that aesthetic experience is ultimately based on the stimulation of our cognitive powers. For Kant, too, suggests that, although our application of the predicate ‘beautiful’ be independent of the subsumption of the object under any determinate concept, it still leaves room for the imagination and the understanding to play ‘beyond’ what is regulated by determinate concepts. For Schopenhauer, aesthetic pleasure is equally the result of the cognitive freedom and expansion that the ‘will-less’ attitude affords. Schopenhauer thus transforms the Kantian transcendental analysis of beauty in terms of non-conceptual reflection’ into a psychological theory of beauty in terms of ‘non-conceptual cognition’. Hence, according to both Kant and Schopenhauer (or so I argue) a beautiful object yields a degree of harmony that cannot be reduced to the discursively rigid unity offered by conceptual knowledge. And, although Schopenhauer’s ‘idealistic’ version of aesthetic perception fails to accommodate for several valuable ways in which artworks can convey ideas, thoughts, and emotions, his account of aesthetic contemplation in terms of ‘will-lessness’ and objectivity is still rich in psychological insight. (shrink)
This volume unites various contributions reflecting the intellectual interests exhibited by Professor Herman Parret, who has continued to observe, and often critically assess, ongoing developments in pragmatics throughout his career. In fact, Parret's contributions to philosophical and empirical/linguistic pragmatics present substantive proposals in the epistemics of communication, while simultaneously offering meta-comments on the ideological premises of extant pragmatic analyses. In a lengthy introduction, an overview is provided of his achievements in promoting an integrated, "maximalist" pragmatics, as well as of the (...) links between his own work in philosophy of language and in semiotics and aesthetics. The remaining 12 essays address relevant pragmatic themes or look into the relation between pragmatics and neighboring disciplines. They deal with grammatical deixis and mood, performativity, speech-act types and their praxeological dimensions, Wittgensteinian language games, cultural and intercultural identities, and the visual arts. (shrink)
Drawing on anthropological examples of first contacts between people from different cultures, I argue that non-verbal communication plays a far bigger part in intercultural communication than has been acknowledged in the literature so far. Communication rests on mutually attuning in a large number of judgements. Some sort of structuring principle is needed at this point, and Davidson's principle of charity is a good candidate, provided sufficient attention is given to non-verbal communication. There will always be more and less successful interpretations (...) and translations, and their success will depend on the success of the non-verbal communication at hand. There is no need for cognitive or semantic universals: people understand each other because they share (a) certain form(s) of life. How ever, it is incorrect to treat forms of life as rigid entities with clear boundaries: it is both impossible and unnecessary to determine them in an exact way. Any appeal to cognitive or cultural essences to explain how people communicate successfully is flawed. My critique of essentialism is not a defence of linguistic ‘anything goes' relativism whatsoever. Assumptions underwriting a relativist stance often wrongly issue, in a decidedly non-relativist confidence in one fixed set of categories, values or meanings. S. Afr. J. Philos. Vol.21(2) 2002: 85-96. (shrink)
This article discusses Kant's and Schopenhauer's analyses of the feeling of the sublime. The focus is on the relationship between their ethics and aesthetics. It is argued that the kantian-schopenhauerian analysis of the sublime reveals an insurmountable fissure at the heart of subjectivity. This points out that a dialectical interpretation of kantian-schopenhauerian aesthetics, that reduces the sublime feeling to a kind of bridge or passage (Übergang) from the beautiful to the good is not without complications. Although this is not always (...) explicitly acknowledged by Kant and Schopenhauer, some of their remarks show that the sublime feeling confronts the subject affectively with the impossibility to coincide with itself. In the first section, it is shown that the sublime in Kant cannot be fully explained by interpreting it merely as the (preparatory) feeling of a kind of ethical superiority. Moreover, in the light of recent developments in art history (which offers sundry examples of the extremely sublime to the abject), the ethical mediation of sublime communicability as it is offered by Kant and Schopenhauer (section 2) can no longer be defended as valid alternatives. As is claimed in section 3, a deep tragic heterogeneity manifests itself in an exemplary way in the affective ambivalence typical of the sublime feeling, which cannot be ethically or dialectically recuperated. (shrink)
Since the advent and standardization of the theatrical feature length film, the audio-visual short has been more or less marginalized in the discussions on cinematic experience. Historically stretching from the ‘early cinema’ of the vaudeville, to the now obsolete ‘little films’ of YouTube and beyond, the audio-visual short traverses a wide variety of media platforms, practices and technologies, including animation, video installation art, video clips and TV commercials, as well as animated GIFs, machinima and DIY movies, made to measure for (...) handheld devices. The widespread usage of the format suggests that short audio-visual artefacts are not an anomaly or rarity on the periphery of cinema, but rather should be put at the centre of our discussions when rethinking cinematic experience and the moving image today. Such is the request we have made to the contributors to this volume: to write a short essay on short film experience. (shrink)
