The article deals with the issues of comparing the teachings of Tolstoy and Lao-zi according to the criterion of palingenesis, which is the basis for the construction of the entire ideological corpus of the most important treatise of Taoism “Tao de jing”. Lao-zi formulated the lapidary formula of palingenesis in the fortieth zhang of this treatise, recreating a picture of the harmonization of the Middle Kingdom, arguing that return is the movement of the Tao, and weakening is the (...) action of the Tao. The principle of palingenesis is one of the fundamental principles for which Tolstoy uses Christological vocabulary, and Lao-zi uses embryological vocabulary. The choice of the palingenesis criterion for comparative analysis of the teachings is due to the fact that the latter works as an immutable law when setting the task of recreating harmony in social chaos. Based on the assessments of the content of the zhangs of the “Tao de jing” canon, a representative line of palingenesis elements is built: the category of knowledge/truth; the category of ignorance; the category of simplicity; the category of naturalness; the category of “baby”; the category of non-action; the category of nonviolence. The principles of Taoism are not expressed by Tolstoy with a research sequence in logical definitions, but appear as categories and trends, working in the worldview of the Yasnaya Polyana sage. In the works “What is my faith?”, “Sayings of the Chinese sage Lao-Tse”, “Non-doing”, Tolstoy's teaching is presented in its entirety and is therefore convenient for comparison with the Taoist classics. It is noted that Tolstoy's conceptual idea is based on the desire to convert people to the good - unity with all people. This orientation towards the good is nothing else than the return to man of his original nature, on the way to which the principle of palingenesis associated with the boycott of the civilization of violence is realized. The conducted research has shown that in the teachings of Lao-zi and Tolstoy, which record the experience of theoretical exploration of the world, the categories of palingenesis are common to the Russian and Chinese spirit. (shrink)

In Epicurean cosmology, material reconstitution, or palingenesis (παλιγγενεσία) is the necessary consequence of the infinity of time and the eternity of atoms. I examine Lucretius’ treatment of this phenomenon (DRN 3.843–864) and consider the extent to which his view enables us to develop an Epicurean response to the question: what makes a person at two different times one and the same person? I offer a reading of this passage in the light of modern accounts of persistence and identity, and (...) what Lucretius states in Books 3 and 4 about memory and the soul’s motions. Guided by the metaphysical implications of this analysis, I determine the type of relation which, according to Lucretius, holds between the mental and the physical. (shrink)

Unter den Stichwörtern 'palingenesis' und apokatastasis studierte Leibniz die Grenzen menschlichen Wissens. Er betonte dabei den Unterschied zwischen unserem menschlichen Wissen, welches begrenzt ist, sowohl im Umfang als auch in seinen Einzelheiten, und dem Wissen Gottes, welches in beiderlei Hinsicht grenzenlos ist. Leibniz betrachtete eine korrekte Einschätzung dieses Umstandes als wesentlich für die Metaphysik. Denn es bedeutet, dass unser theoretisches Wissen nicht in der Lage ist, mit den Einzelheiten der Welt Schritt zu halten - und nicht allein mit ihren (...) tatsächlichen Einzelheiten, sondern auch mit den beobachteten Einzelheiten. Dies bedeutet aber, dass ein gewisser Grad an Verworrenheit unausweichlich für unser perzeptuales und konzeptuales Wissen über die Realität sein wird. (shrink)

In this article, I shall analyze Schopenhauer's conception of Buddhism in the context of the Western reception of Buddhism from the seventeenth century onwards. I will focus on Schopenhauer's notion of the Buddhist palingenesis and provide an overview of the Buddhist sources Schopenhauer read before the publication of the second edition of his main work The World as Will and Representation in 1844.

El 25 de agosto de 1769, Johann Caspar Lavater envió a Moses Mendelssohn una dedicatoria junto con la traducción de algunas secciones de La palingénésie philosophique, de Charles Bonnet. En esta dedicatoria, Lavater desafió a Mendelssohn a refutar públicamente los argumentos de Bonnet sobre la verdad del cristianismo o, en caso contrario, “hacer lo que Sócrates habría hecho si hubiera leído esta obra y la hubiera encontrado irrefutable”. En su réplica a Lavater, Mendelssohn interpreta este desafío como un llamado a (...) la conversión. El objetivo del presente artículo es analizar el modo en que los ideales de conocimiento y evidencia de Lavater están inextricablemente unidos a su celo misionero. (shrink)

In Romantic theories of art and literature, the notion of mimesis—defined as art’s reflection of the external world—became introspective and self-reflexive as poets and artists sought to represent the act of creativity itself. Frederick Burwick seeks to elucidate this Romantic aesthetic, first by offering an understanding of key Romantic mimetic concepts and then by analyzing manifestations of the mimetic process in literary works of the period. Burwick explores the mimetic concepts of "art for art's sake," "Idem et Alter," and " (...) class='Hi'>palingenesis of mind as art" by drawing on the theories of Philo of Alexandria, Aristotle, Immanuel Kant, Friedrich Schiller, Friederich Wilhelm Joseph von Schelling, Thomas De Quincey, and Germaine de Staël. Having established the philosophical bases of these key mimetic concepts, Burwick analyzes manifestations of mimesis in the literature of the period, including ekphrasis in the work of Thomas De Quincey, mirrored images in the poems of Samuel Taylor Coleridge and William Wordsworth, and the twice-told tale in the novels of Charles Brockden Brown, E. T. A. Hoffmann, and James Hogg. Although artists of this period have traditionally been dismissed in discussions of mimesis, Burwick demonstrates that mimetic concepts comprised a major component of the Romantic aesthetic. (shrink)

In Romantic theories of art and literature, the notion of mimesis—defined as art’s reflection of the external world—became introspective and self-reflexive as poets and artists sought to represent the act of creativity itself. Frederick Burwick seeks to elucidate this Romantic aesthetic, first by offering an understanding of key Romantic mimetic concepts and then by analyzing manifestations of the mimetic process in literary works of the period. Burwick explores the mimetic concepts of "art for art's sake," "Idem et Alter," and " (...) class='Hi'>palingenesis of mind as art" by drawing on the theories of Philo of Alexandria, Aristotle, Immanuel Kant, Friedrich Schiller, Friederich Wilhelm Joseph von Schelling, Thomas De Quincey, and Germaine de Staël. Having established the philosophical bases of these key mimetic concepts, Burwick analyzes manifestations of mimesis in the literature of the period, including ekphrasis in the work of Thomas De Quincey, mirrored images in the poems of Samuel Taylor Coleridge and William Wordsworth, and the twice-told tale in the novels of Charles Brockden Brown, E. T. A. Hoffmann, and James Hogg. Although artists of this period have traditionally been dismissed in discussions of mimesis, Burwick demonstrates that mimetic concepts comprised a major component of the Romantic aesthetic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Romanticism and Coleridge’s Idea of HistoryMichael John Kooy*Romantic historiography is widely understood in methodological terms as a subjectively determined treatment of the human past, according to which historical knowledge is grounded in imaginative activity. That ambition was amply fulfilled in Scott’s historical novels, as Georg Lukacs once demonstrated. 1 Writing in broader terms, Hayden White characterized that whole creative enterprise as an “effort at palingenesis,” the striving to (...) recreate or relive the past in individual consciousness. 2In more recent years, as the approach to the period has become more historicist, criticism has begun to separate the historical and the aesthetic aspects of this romantic sensibility, usually emphasizing one at the expense of the other. The result has been a standoff in critical thinking about the way Romanticism represents the past. One side is occupied by some new historicists who claim to find a precedent for their own methodology among prominent figures of the period. Heyne, Wordsworth, and Keats, it turns out, not only were engaged actively in their own contemporary history, but they also demonstrated in their sophisticated evocation of the past the impossibility of overcoming historical difference by reference to natural law. 3 Arguments advanced on the other side of the controversy insist that the Romantics were not nearly such good historicists as supposed. In these accounts, often allied to post-structuralism, the aesthetic absolutism implicit in the high romantic argument is undiminished by the burgeoning historical consciousness in the period. Indeed, Romanticism’s aesthetic [End Page 717] retrieval of the past appears to be an instance of how subjectivity, rather than admit its own historicity, again asserts mastery over the object through its own self-will. 4Each of these accounts commands a considerable following, and a peace between them seems unlikely, indeed undesirable. On one matter they do agree, though, and that is in their distrust of Coleridge. His historiography—the notion that ideas make history and that the way to get at these ideas is aesthetically—is too idealist for today’s historicists and too monumentally subjective for the post-structuralists. I think both judgments are hasty. Coleridge, more than most contemporaries, reflected for many years upon the difficulties that arose in his own attempts to interpret historical knowledge (which appeared as a subjective, aesthetic construct) in systematic terms (as the reflection of natural order); and a good look at the record will show that his thought is not quite so anti-historical as some believe, and his subjective approach not nearly so absolutist.The goal of this essay is to rehabilitate Coleridge’s idea of history, considering what it tells us about Romanticism and how it foreshadows current debates about methodology. 5 More specifically, I want to show how in different contexts Coleridge treats, with varying degrees of success, history as an ideational field that is both created and then interpreted by an inquiring subject. First, at the literary and cultural level, history is conceived as the object of imaginative reconstruction, where subjectivity provisionally orders the mass of material according to an idea found nowhere within history itself. Here the anti-positivist bias of Coleridge’s idealist historiography dominates a project that is, both in orientation and achievement, not so much cognitive as aesthetic. Secondly, at the level of religion, history is conceived in mythic terms, the past being revealed only symbolically to the discerning inquirer who must interpret the Christian mythos as recorded in the inspired biblical account of the nation of Israel. Here it is the application of certain interpretive or hermeneutic strategies that determines success or failure. Finally, as a single idea, history is conceived as the process of humanity seeking consciousness of itself, and this Coleridge expresses in a narrative of universal proportions, beginning in apostasy and ending in grace. Here teleology dominates, but as Coleridge discovers, this providential [End Page 718] history is a story that cannot be fully told, thought, or even, it turns out, imagined. It can only be postulated as an idea of reason or, in religious terminology, held as an article of faith. In a curious return to aesthetics Coleridge argues that for the grand historical narrative, just as for art... (shrink)

The subject of the study is the fundamental philosophical and aesthetic problems in the aesthetics of Pierre Simon Ballanche, who stood at the origins of French romanticism. Two layers of his creativity - explicit and implicit - have been identified and analyzed. It is shown that his ideas about the art of romanticism are verbalized in a strict academic style. The implicit layer, is associated with Ballanche’s artistic prose. It includes philosophical and aesthetic poems, testifying the originality of his aesthetic (...) position. Unlike most French romantics, who distance themselves from ancient culture as pagan in favor of Christianity and medieval art, Ballanche, in his talented paraphrases of mythological stories, romanticizes Antiquity, finding in it the beginnings of future Christian ideas of sublime love, mercy, sacrifice, beauty and goodness. The main conclusion of the study is the conclusion that art, according to Ballanche, plays a leading civilizational role in the cosmogonic-historical process. The core of Ballanche's implicit philosophical aesthetics is revealed - the original concept of palingenesis, interpreted by the author as a radical degeneration of the world for the sake of its future revival; it is precisely this stage of cultural and historical development that, in his opinion, marks romanticism. The author's special contribution lies in introducing into domestic scientific circulation, translated into Russian for the first time and analyzed the philosophical and aesthetic poems “Antigone”, “The Man with No Name”, “The Experience of Social Palingenesis. Orpheus". (shrink)

Schopenhauer repeatedly claims that suicide is both foolish and futile. But while many commentators have expressed sympathy for his charge of foolishness, most regard his charge of futility as indefensible even within his own system. In this paper, I offer a defense of Schopenhauer’s futility charge, based on metaphysical and psychological considerations. On the metaphysical front, Schopenhauer’s view implies that psychological connections extend beyond death. Drawing on Parfit’s discussion of personal identity, I argue that those connections have personal significance, such (...) that suicide does not allow one, as Hamlet hopes, simply “not to be.” On the psychological front, I argue that a distinction between agents’ intentions and underlying desires makes room for Schopenhauer to claim that paradigmatic suicidal agents ultimately desire the opposite of what suicide accomplishes. I conclude by showing how the resulting account of futility can buttress the charge of foolishness as well. My interpretation still leaves Schopenhauer vulnerable to certain objections, but shows that his account is significantly more defensible than previous commentators have realized. (shrink)

That Schopenhauer’s view of Buddhism influenced Wagner’s and Nietzsche’s Buddhism seems a commonplace among scholars. However, there seem to be no studies which actually demonstrated this, showing how Schopenhauer was their main source of Buddhism compared to the other Buddhist texts they read. In this article, I aim to fill this gap, analysing Wagner’s and Nietzsche’s Buddhism in the light of the sources of Buddhism they read. This will allow me to demonstrate how Schopenhauer was the main source of Buddhism (...) for both Wagner and Nietzsche, having a deep and long-lasting impact on their conceptions of Buddhism. (shrink)