Criticism as a means towards ampler understanding has been a key theme of Hans Albert’s work for many decades. In the main his influential and widely appreciated efforts have addressed its role in advancing scientific progress. And there is, further, good reason to think that it is equally profitable elsewhere, and in this brief discussion I would accordingly like to stress the role of criticism in relation to philosophical work.

Determination of time-of-death is closely related to the mortality criteria. In prehistoric times, the criteria of death were narrated through the event of the body being evacuated from the spirit or soul leaving the human body. Along with the development of science in the modern era, scientists argue the criteria of biological death and clinical death. This study projected to critically philosophically analyze the time-of-death determination related to scientific criteria. The methods used in the data analysis stage were historical, hermeneutic, (...) comparative, and critical reflection. The results showed that the scientific criteria of death were inadequate to be used in the determination of time-of-death. Time-of-death objectively existed as a separate reality outside of human beings and its existence was absolutely determined or influenced by the existence of other realities. Time-of-death ontologically meant the end of life; epistemologically signified the absence of life and had no mysterious nature; axiologically it was a symbol or metaphor of human powerlessness to judge and determine the continuity of life. (shrink)

Not many years ago Carl Jung levelled the charge of “ crackpot psychology” against the philosophical writings of Hegel.1 There is, of course, an element of truth in Jung’s stricture; for one has only to read again the Phenomenology of Spirit in order to realize anew that the conceptual matrix of this work is an account of the self’s psycho-social development. Thus, both Hegel’s notion that the Other is a necessary condition of my selfidentity and his account of the (...) master-slave relationship draw upon psychological insights which become transformed into metaphysical utterances in the doctrine that the Logical Idea must pass over into Nature—that Nature, as other than Idea, is estranged Idea. Though Jung’s criticism is intended negatively, it serves positively to point up the interrelationship that has often (though not always) existed between philosophy and psychology—the former paying house calls (not sick calls) to the latter. In recent years psychology has returned the visit. A growing group of psychologists have turned to philosophy in order to borrow categories for interpreting various patterns of neurosis and psychosis. And here and there isolated voices have accused them of “ crackpot philosophy.” I am referring, of course, to the school of existential psychotherapy, which has by and large adopted Heidegger’s categories of being-in-the-world, facticity, thrownness, care, temporality, lived-space, authenticity, everydayness, project, freedom, anxiety, utensility, and being-unto-death as ready-made schemes for focusing neurotic and psychotic syndromes. Such reliance upon Heidegger’s existential analysis of human reality has tended to minimize the use of Sartre’s philosophy. (shrink)

Baron d’Holbach was a critic of established religion, or a philosophe, in late 18 th -century France. His work is often perceived as less inventive than the work of other materialist philosophes, such as Helvétius and Diderot. However, I claim that d’Holbach makes an original, unjustly overlooked move in the criticism of religious moral teaching. According to the materialist philosophes, this teaching claims that true happiness is only possible in the afterlife. As an alternative, Helvétius and Diderot offer theories (...) according to which the experience of pleasure constitutes happiness, the end of all human desire. In contemporary terms, these theories would represent psychological hedonism. But, as Diderot himself admits, they have a problem in accounting for why people seem to naturally regard some pleasures as preferable to others. I argue that in response to this challenge, instead of accepting the psychological hedonism of his fellow materialists, d’Holbach shows how one can abstain from reducing happiness to pleasure and yet remain a materialist. (shrink)

Excerpt from Studies in Philosophical Criticism and Construction In the following pages my aim is to illustrate the principles of philosophic method by endeavouring critically to establish certain fundamental principles or Grundbegriffe in the spheres of Psychology, Logic and Epistemology, Ethics and Metaphysics; in other words, to lay the foundation for a more complete structure in each of these three branches of Philosophy. This double aim, however much it complicates the inquiry, is inevitable. A general discussion of (...) class='Hi'>philosophical method in abstracto, without concurrently developing a general philosophical position, would seem to me to be futile even if it were possible. This is true of all branches of knowledge - true of the physical sciences as much as of any others. Generalisations as to scientific method - that is, as to the intellectual processes by which actual scientific results ought to be obtained - must assuredly be of very little value unless drawn in close connexion with concrete scientific work. But nowhere is the connexion more close than in Philosophy. Here, we cannot formulate our problems unless we are prepared with at least partial solutions. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Tzachi Zamir is Professor of English and General & Comparative Literature at the Hebrew University of Jerusalem, where he directs the Amirim Interdisciplinary Honors Programme in the Humanities. Just Literature: Philosophical Criticism and Justice is his fifth book, continuing the exploration of the relationship between philosophy and literature begun in Double Vision: Moral Philosophy and Shakespearean Drama (2007) and developed in Ascent: Philosophy and Paradise Lost (2017). Aside from his complex and innovative work in this field, he is (...) best-known for establishing the first systematic philosophical aesthetics of the art form of acting in Acts: Theater, Philosophy, and the Performing Self (2014). Just Literature is part of Routledge’s New Literary Theory series, published in the Routledge Focus format. Routledge Focus, like Palgrave Pivot and Emerald Points, is a fairly recent development in academic publishing, featuring short monographs whose publication is expedited in order to be able to provide commentary on or analysis of current events or topical issues. I am not sure about the value of the expedition for academic work, but I am in favour of the format, which is about half the length of a standard monograph and encourages clear, concise, and focused writing. Zamir introduces his unique approach to the overlap of literary studies and philosophy as being a response to the codependence of the aesthetic and epistemic values of literature, expressed in the following three claims: (1) exemplary literature enables insights by means of experiential pathways; (2) aesthetic value and epistemic or cognitive value are often interlinked; and (3) criticism becomes philosophical when it bridges the gap between emotion and insight. The purpose of Just Literature is twofold, to introduce philosophical criticism and to employ philosophical criticism to achieve a better understanding of the concept of justice. The monograph consists of an introduction, five chapters divided into two parts, a coda, and an appendix. The parts are divided by theory and practice, with the first sketching philosophical criticism in more detail than the introduction (Chapter 1) and introducing justice as a concept (Chapter 2). Part II applies this theory to practice, extrapolating the relationships between justice on the one hand and attachment (Chapter 3), pity (Chapter 4), and mercy (Chapter 5) on the other. The coda presents a pithy and memorable conclusion by means of a personal anecdote, recalling the author’s use of the same device in his second monograph, Ethics and the Beast: A Speciesist Argument for Animal Liberation (2007). (shrink)

기술시대의 한 새로운 이념으로 트랜스휴머니즘이 발흥하고 있다. 그것은 기술 발달을 통하여 노화와 죽음을 초월하고자 하는 이상을 제시한다. 이 논문은 생명 연장과 죽음 지연 나아가 인간 불멸을 추구하는 트랜스휴머니즘의 이념을 전체적인 생태 차원에서 고찰한다. 여기서 ‘생태’란 동시대 인간과 후세대 인간 그리고 다른 종들과의 연관 관계 속에서 존립하는 전체 환경체계를 일컫는다. 그 같은 시각으로부터 우리는 트랜스휴머니즘의 개체주의적, 행복주의적 생명/죽음관이 부분적인 설득력과 정당성을 갖는다고 하여도 총체적으로는 더 큰 난점을 함유하고 있다고 논변한다. 우리는 이 입장의 현대적인 단초를 한스 요나스의 철학에서, 그리고 그 최근의 발달을 (...) 로지 브라이도티의 사상에서 발견한다. 그들의 철학에 대한 비판적 수용을 기반으로 하여 이 논문은 트랜스휴머니즘이 제시하는 생명/죽음관의 특징과 한계를 논의한다. (shrink)

Philosophy as criticism of categories, by A. Seth.--The relation of philosophy to science, by R. B. Haldane and J. S. Haldane.--Logic as the science of knowledge, by B. Bosanquet.--The historical method, by W. R. Sorley.--The rationality of history, by D. G. Ritchie.--The philosophy of art, W. P. Ker.--The social organism, by H. Jones.--The struggle for existence, by J. Bonar.--Pessimism and the religious consciousness, by T. B. Kilpatrick.

이 논문은 예술작품의 가치, 기법, 상상력 등의 복합적 요소들을 분석하는 비평의 관점, 방법, 구성 등에 대해 살펴보고자 한다. 비평은 작품의 기법이나 가치를 형성하고 있는 사 상적 문화적 배경, 또는 작가가 무심코 행한 예술적 행위도 새로운 측면에서 해석하기 때 문에 또 하나의 창작이라고 말할 수 있다. 이 글에서 말하고자 하는 비평적 분석은 작품 속에 숨겨진 그와 같은 복합성의 요소들을 분석하고 그 열린 구조를 찾아내는 방법이다. 이런 측면에서 이 글은 ‘예술비평은 무엇을 분석하는가’, ‘예술작품을 철학적으로 어떻게 비평할 것인가’ 등에도 주요 초점을 갖고 작품 (...) 및 비평의 의미, 비평의 구성방법과 사례들 을 소개하고자 했다. 그리고 들뢰즈의 예술비평과 그 예시를 통해 작품을 읽고 생각할 수 있는 철학적 비평의 방법을 살펴보고자 했다. 그 결과 우리가 작품을 창의적으로 읽고 이 해한다는 것은 그 복합성을 분석하고 이해할 수 있는 통섭(通涉)의 시선을 필요로 한다는 점을 강조하고자 한다. (shrink)

In this article, I am discussing the social phenomenon of touchiness (excessive sensitivity to differences of opinion and lifestyle) as a result of the polarization of discourse in contemporary Western culture. This polarization and the resulting touchiness are partly an effect of media, but the later also reflects structural problems of cultures and social practices. The problems arise from the dense network of potentially conflicting values. I am discussing some diagnoses of this phenomenon and some purported philosophical remedies including (...) departure from the language of values and abandoning the idea of a strong subject of action and beliefs. I am criticizing these solutions and I am proposing the idea of radical criticism instead. I am presenting the idea about established theories of philosophical criticism, including those by Horkheimer, Spaemann, Habermas. I am also presenting a practical application of the idea of radical criticism in education: promoting philosophical inquiry in the classroom. (shrink)

Prompted by Hasok Chang’s conception of the history and philosophy of science (HPS) as the continuation of science by other means, I examine the possibility of obtaining scientific knowledge through philosophical criticism and reflection, in the light of four historical cases, concerning (i) the role of absolute space in Newtonian dynamics, (ii) the purported contraction of rods and retardation of clocks in Special Relativity, (iii) the reality of the electromagnetic ether, and (iv) the so-called problem of time’s arrow. (...) In all four cases it is clear that a better understanding of such matters can be achieved —and has been achieved— through conceptual analysis. On the other hand, however, it would seem that this kind of advance has more to do with philosophical questions in science than with narrowly scientific questions. Hence, if HPS in effect continues the work of science by other means, it could well be doing it for other ends than those that working scientists ordinarily have in mind. (shrink)

Analyses of the dynamics of change present in Europe are not complete without taking into account the role and function of the critical approach as a founding element of European culture. An appreciation of critical thinking must go hand-in-hand with reflection on its essence, forms, and centuries-long tradition. The European philosophical tradition has thematized the problem of criticism since its appearance. This book contains articles on the history of philosophical criticism and ways that it has been (...) understood in European thought. Individual chapters contain both historical-philosophical and problem-oriented analyses, indicating the relationships between philosophical criticism and rationalism, logic, scepticism, atheism, dialectic procedure, and philosophical counseling, among others. Philosophical reflection on critical thinking allows for an acknowledgment of its significance in the fields of epistemology, philosophy of politics, aesthetics, methodology, philosophy of language, and cultural theory. The book should interest not only humanities scholars, but also scholars in other fields, as the development of an anti-dogmatic critical approach is a lasting and indispensible challenge for all disciplines. (shrink)

This article reexamines Condillac's Traité des systêmes (1749) and the broader Enlightenment controversy over "systems." Historians have often read this work as an epistemological treatise: an expression of the empiricist rejection of seventeenth-century rationalism. Yet a different picture emerges when we consider its pedagogical aims. Condillac sought not only to refute his opponents, but also to train readers how to evaluate philosophical arguments on their own, promoting a streamlined critical technique that involved parsing texts for a reductive logical structure. (...) In the process, he helped construct an enduring stereotype of the seventeenth-century philosophers as rigidly systematic thinkers. (shrink)

In this work, Collingridge offers a general philosophy of criticism. Many philosophers influenced by the ideas of Karl Popper have hoped to see an expansion from his view of the operation of criticism within science to a more general account of criticism, and, until now, moves in this direction have had only limited success. This book extends Popper's account of the role of criticism in science to many other areas of inquiry.

Several philosophical problems concerning the object of criticism in dance are identified and analyzed as preliminary to an eventual theory of evaluation of dance. Basic to philosophical adequacy is understanding the artform as it is actually practiced and appreciated, recognizing its complexity as a performing artform using unique human bodies as instruments. ;Definitions of "dance" proposed by philosophers, dance historians, and others are inadequate to specify necessary and sufficient conditions of dance, to distinguish dance from other human (...) non-art phenomena, and to distinguish dance from other artforms. Definitions can be adequate for a specific purpose, using descriptive characteristics and standards for evaluation and appreciation by an audience. ;The ontological status of dance is best understood as consisting of the primary media of movement by human bodies and music and secondary media of the visual dimensions of costumes, scenery, and lighting. Improved understanding of the artform is possible with this more comprehenive recognition of its complex multi-media status, as shown in an analysis of "appropriateness" of the various media, a typical criterion for evaluation. ;The identity of a work of art in dance can be established using a notational system in conjunction with a standard for acceptable compliance with that notation. "Substantial similarity," as determined by lay observers, the test for copyright infringement, provides a useful standard for dance. Other theories have required too much of an identity standard; its purpose is to identify a particular performance as one of a certain work, not to teach dancers to perform the work, nor to enable directors to produce it, nor to provide standards for a good performance of the work. ;A necessary condition of the proper object of criticism is perceivability. The considerable interest in the dance world in production and other factors not perceivable on stage during performance is best understood as a interest in the on-going skills of artists, as opposed to the evaluation of an aesthetic object. (shrink)