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Paolo Stellino
Philosophical Perspectives on Suicide Paolo Stellino Philosophical Perspectives on Suicide Kant, Schopenhauer, Nietzsche, and Wittgenstein Paolo Stellino Nova Institute of Philosophy Universidade Nova de Lisboa LISBOA, Portugal ISBN 978-3-030-53936-8 ISBN 978-3-030-53937-5 (eBook) https://doi.org/10.1007/978-3-030-53937-5 © Te Editor(s) (if applicable) and Te Author(s), under exclusive license to Springer Nature Switzerland AG 2020 Tis work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Te use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. Te publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Te publisher remains neutral with regard to jurisdictional claims in published maps and institutional afliations. Tis Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG. -
The Affirmation of the Will
Cambridge University Press 978-1-107-62695-9 - Schopenhauer: A Biography David E. Cartwright Excerpt More information 1 The Affirmation of the Will RTHUR SCHOPENHAUER VIEWED himself as homeless. This sense of A homelessness became the leitmotif of both his life and his philos- ophy. After the first five years of his life in Danzig, where he was born on 22 February 1788, his family fled the then free city to avoid Prus- sian control. From that point on, he said, “I have never acquired a new home.”1 He lived in Hamburg on and off for fourteen years, but he had his best times when he was away from that city. When he left Hamburg, he felt as if he were escaping a prison. He lived for four years in Dresden, but he would only view this city as the birthplace of his principal work, The World as Will and Representation. More than a decade in Berlin did nothing to give him a sense of belonging. He would angrily exclaim that he was no Berliner. After living as a noncitizen resident in Frankfurt am Main for the last twenty-eight years of his life, and after spending fifty years attempting to understand the nature and meaning of the world, he would ultimately conclude that the world itself was not his home. If one were to take this remark seriously, then even Danzig had not been his home. He was homeless from birth. But being homeless from birth did not mean that there was no point to his life. Schopenhauer would also conclude that from birth he had a mission in life. -
František Kupka: Sounding Abstraction – Musicality, Colour and Spiritualism
Issue No. 2/2019 František Kupka: Sounding Abstraction – Musicality, Colour and Spiritualism Anna-Maria von Bonsdorff, PhD, Chief Curator, Finnish National Gallery / Ateneum Art Museum, Helsinki Also published in Anne-Maria Pennonen, Hanne Selkokari and Lene Wahlsten (eds.), František Kupka. Ateneum Publications Vol. 114. Helsinki: Finnish National Gallery / Ateneum Art Museum 2019, 11–25. Transl. Tomi Snellman The art of František Kupka (1871–1957) has intrigued artists, art historians and exhibition visitors for many decades. Although nowadays Kupka’s name is less well known outside artistic circles, in his day he was one of the artists at the forefront in creating abstract paintings on the basis of colour theory and freeing colours from descriptive associations. Today his energetic paintings are still as enigmatic and exciting as they were in 1912, when his completely non- figurative canvases, including Amorpha, Fugue in Two Colours and Amorpha, Warm Chromatics, created a scandal when they were shown in the Salon d’Automne in Paris. It marked a turning point in many ways, not least in the decision of the Gaumont Film Company to use Kupka’s abstract works for the news in cinemas in France, Germany, the United States and England.1 And as we will see, Kupka’s far-reaching shift to abstraction was a long process which grew partly out of his childhood interest in spiritualism and partly from Symbolist and occultist ideas to crystallise into the concept of an art which could be seen, felt and understood on a more multisensory basis. Kupka’s art reflects the idea of musicality in art, colour and spiritualism. -
Now You See It, Now You Don't!
CALIFORNIA STATE SCIENCE FAIR 2009 PROJECT SUMMARY Name(s) Project Number Stephanie S. Manson-Hing J1315 Project Title Now You See It, Now You Don't! Abstract Objectives/Goals The objective of my science project is to explore how the perception of objects, using peripheral vision, is affected by the objects' color. Methods/Materials I tested ten people from two different age groups: 30-60 year old adults and 13-15 year old adolescents. Using a vision protractor I designed and created myself for the project (made out of foam core), I tested which out of the colors blue, red, yellow, and green was percepted easiest and at the earliest degree on the protractor. Each person must focus on a pin in their direct line of central vision (90 degree mark on the vision protractor) thus forcing them to use their peripheral vision to detect the different, nickel sized, colored objects. I tested both eyes/sides of peripheral vision in my experiment. Results After gathering together my data, I concluded that the object colored yellow, for both age groups, was detected earliest and was easiest to see. For the 13-15 year old age group, the average perception was 9.5 degrees and the average for the 30-60 year olds was 11 degrees. I also figured out that green was the most difficult color of object to recognize. The younger age group recognized the objects earlier in general (with all four colors) by about 2-4 degrees on both sides. Conclusions/Discussion My hypothesis: If I test peripheral vision using the colors blue, red, yellow, and green, then the brightest color, yellow will be detected earliest and easiest out of the four colors, was proven correct by my experiment#s data. -
NASS MONOGRAPH #15 (2011) on the Specter of Speciesism in Spinoza
North American Spinoza Society NASS MONOGRAPH #15 (2011) On the Specter of Speciesism in Spinoza Michael Strawser University of Central Florida Copyright 2011, North American Spinoza Society San Diego, California North American Spinoza Society (NASS) The North American Spinoza Society (NASS), an organization of professional philosophers, philosophy students, and others interested in Spinoza, aims to foster and to promote the study of Spinoza’s philosophy, both in its historical context and in relation to issues of contemporary concern in all areas of research, and to foster communications among North American philosophers and other Spinozists world-wide through other national Spinoza societies. NASS fosters the study of Spinoza through the publication of the NASS Newsletter, org anization of regional meetings in association with meetings of the American Philosophical Association, and circulation of working research papers related to Spinoza and/or Spinozism. The NASS Monograph Series is an occasional one, offering papers selected by the NASS Board. Official languages of NASS are English, French, and Spanish: communications from members and publications may be in any of these. Membership in NASS is open to all who are in agreement with its purposes. Dues are $10.00 per year for regular memberships. Student membership dues are $5.00 per year. Membership for retired or unemployed academics is $5.00 per year. 20% of all membership income is allocated for support of Studia Spinozana. Members receive the NASS Newsletter, NASS Monograph for their membership year, and program papers. NASS Monographs: Purchase Prices Domestic (USA): 3.00 USD postpaid via third class. Foreign (all others): 5.00 USD postpaid via airmail. -
Schopenhauer on Empirical and Aesthetic Perception and Cognition
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Ghent University Academic Bibliography Schopenhauer on Empirical and Aesthetic Perception and Cognition Bart Vandenabeele 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, unsconsious will and because our life is determined by willing (i.e. by needs, affects, urges and desires), and since willing is characterised by lack, our life is essentially full of misery and suffering. We are constantly searching for objects that can satisfy our needs and desires and once we have finally found a way to satisfy one desire, another one crops up and we become restless willing subjects once again, and so on in an endless whirlpool of willing, suffering, momentary satisfaction, boredom, willing again, etc. Life is not a good thing. The only way, Schopenhauer argues, to escape from these torments of willing is by “seeing the world aright”, as Wittgenstein would have it, i.e. by acknowledging the pointlessness and insignificance of our own willing existence, and ultimately by giving up willing as such – which in fact really means abandoning our own individuality, our own willing selves – which is momentarily possible in aesthetic experiences of beauty and sublimity, and permanently achievable only in the exceptional ethical practices of detachment, mysticism and asceticism, in which the will to life is eventually denied and sheer nothingness is embraced – either through harsh suffering or through sainthood. -
Schopenhauer's Theory of Justice
The Catholic University of America, Columbus School of Law CUA Law Scholarship Repository Scholarly Articles and Other Contributions Faculty Scholarship 1994 Schopenhauer's Theory of Justice Raymond B. Marcin The Catholic University of America, Columbus School of Law Follow this and additional works at: https://scholarship.law.edu/scholar Part of the Law and Philosophy Commons Recommended Citation Raymond B. Marcin, Schopenhauer's Theory of Justice, 43 CATH. U. L. REV. 813 (1994). This Article is brought to you for free and open access by the Faculty Scholarship at CUA Law Scholarship Repository. It has been accepted for inclusion in Scholarly Articles and Other Contributions by an authorized administrator of CUA Law Scholarship Repository. For more information, please contact [email protected]. SCHOPENHAUER'S THEORY OF JUSTICE Raymond B. Marcin* "[I]n all that happens or indeed can happen to the individual, justice is always done to it." Arthur Schopenhauer** There is a curiosity about Schopenhauer. Most people know his name but little or nothing about his philosophy. If pressed, many would iden- tify him as a precursor of some aspects of fascism or Hitlerism, and per- haps he might have been, but his philosophy was not. The truth is that we would all be much better off if we knew something about his philosophy, but forgot his name, for Arthur Schopenhauer was a strange rarity-a true prophet who did not practice what he preached. Schopenhauer's theory of justice, the reader should be cautioned, is radical in the extreme. Justice, in Schopenhauer's system, is not an epis- temological construct. -
The Sound Figures in Goethe, Schopenhauer, and Nietzsche
Visions in sand: the sound figures in Goethe, Schopenhauer, and Nietzsche The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:39947189 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Visions in sand: the sound figures in Goethe, Schopenhauer, and Nietzsche A dissertation presented by Steven Patrick Lydon to The Department of Germanic Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Germanic Languages and Literatures Harvard University Cambridge, Massachusetts September 2018 ! i © 2018 Steven Patrick Lydon All rights reserved. ii Dissertation Advisor: Prof. John Hamilton Steven Patrick Lydon Prof. Oliver Simons Visions in sand: the sound figures in Goethe, Schopenhauer, and Nietzsche Abstract On the reception of the sound figures, an eighteenth-century acoustical experiment, in the writings of Goethe, Schopenhauer, and Nietzsche. It focuses especially on the philosophical ramifications for literary studies and the history of science. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! iii ! ! Table of contents Introduction: the sound figures between metaphysics and metaphor 1 1. Signatura rerum: Chladni's sound figures in Schelling, August Schlegel, and 12 Brentano 2. Beyond words: Goethe's interpretation of Chladni's sound figures via the 34 entoptic colors 3. Words without meaning: Schopenhauer decoding Chladni's sound figures via 56 Goethe and Jean Paul 4. -
ARTHUR SCHOPENHAUER on the Fourfold Root of the Principle of Sufficient Reason and Other Writings
Cambridge University Press 978-0-521-87271-3 - Arthur Schopenhauer: On the Fourfold Root of the Principle of Sufficient Reason: On Vision and Colours: On Will in Nature Edited by David E. Cartwright, Edward E. Erdmann and Christopher Janaway Frontmatter More information ARTHUR SCHOPENHAUER On the Fourfold Root of the Principle of Sufficient Reason and Other Writings The purpose of the Cambridge Edition of the Works of Schopenhauer is to offer translations of the best modern German editions of Schopenhauer’s work in a uniform format suitable for Schopenhauer scholars, together with philosophical introductions and full editorial apparatus. This volume of new translations unites three shorter works by Arthur Schopenhauer that expand on themes from his book The World as Will and Representation.InOn the Fourfold Root he takes the principle of sufficient reason, which states that nothing is without a reason why it is, and shows how it covers different forms of explanation or ground that previous philosophers have tended to confuse. Schopenhauer regarded this study, which he first wrote as his doctoral dissertation, as an essential preliminary to The World as Will and Representation. On Will in Nature examines contemporary scientific findings in search of corroboration of his thesis that processes in nature are all a species of striving towards ends; and On Vision and Colours defends an anti-Newtonian account of colour perception influenced by Goethe’s famous colour theory. This is the first English edition to provide extensive editorial notes on the different published versions of these works. david e. cartwright is a Professor of Philosophy and Religious Studies and the chair of the Department of Philosophy and Religious Studies at the University of Wisconsin–Whitewater. -
What Is Color Blindness?
A DESIGNER’S GUIDE TO COLOR BLINDNESS Designed Written Alex Villagomez i FOREWORD 02 WHAT IS COLOR BLINDNESS? 04 COLOR BLIND VISION 08 LIKELIHOOD OF HAVING CVD 10 ARE YOU COLOR BLIND? 12 RELEVANT THINGS TO CONSIDER 14 THE DESIGN PROBLEM 16 WHY YOU SHOULD CARE 18 PROBLEMATIC COLOR COMBINATIONS 20 SUGGESTED USE OF COLOR 22 CONTRAST IN COLOR 24 PLACEMENT AND LAYOUT 26 PATTERNS AND OTHER ELEMENTS 28 THE COLOR BLIND DESIGNER 30 ADDITIONAL METHODS OF COPING 32 QUICK REFERENCE 34 SOURCES FOREWORD This manual has been created to aid designers in making design de- cisions in regards to their projects while being mindful of color blind viewers. As a color blind designer, I would like to raise awareness to the condition that affects millions of people in the U.S. alone. My hopes are that designers worldwide can create design that eases the lives of people with color blindness and removes most, if not all, of the ambi- guity we face that can affect our lives severely. 02 Red-Green Axis (a) WHAT IS COLOR BLINDNESS? The inability to perceive color vision at its fullest is known as Color Vision Disorder. This, however, does not mean that every person with CVD cannot see color at all. In fact, only a small percentage of people who are color blind are truly blind to all color, with vision that only allows for shades of gray. Only they can truly live up to the term ‘color blind’. The acceptable term to refer those who are not blind to all color is ‘color deficient’. -
Schopenhauer's Use of Odd Phenomena to Corroborate His
The World as Weird: Schopenhauer’s Use of Odd Phenomena to Corroborate His Metaphysics Edward Erdmann (University of Wisconsin-Whitewater) Co-written with David Cartwright (University of Wisconsin-Whitewater) But the word will…is supposed to unlock the inner most essence of all things in nature for us like a magic spell” (WWR1 136/133). 1 1We will cite Schopenhauer’s books using the following acronyms, the Arabic numerals before the slash referring to the page number of the books that have appeared in The Cambridge Edition of the Works of Schopenhauer and those after the slash referring to corresponding page numbers of Arthur Hübscher, Arthur, Schopenhauer: Sämtliche Werke, Wiesbaden: F.A. Brockhaus, 1988, 7 volumes. For texts that have not appeared at this time in the Cambridge Edition, we will provide the translation and the page reference to the Hübscher edition of the Sämtliche Werke: WWR1=The World as Will and Representation, volume 1, translated and edited by Judith Norman, Alistair Welchman, and Christopher Janaway (Cambridge: Cambridge University Press, 2010). FR=On the Fourfold Root of the Principle of Sufficient Reason in On the Fourfold Root of the Principle of Sufficient Reason and Other Writings, translated and edited by David E. Cartwright, Edward E. Erdmann, and Christopher Janaway (Cambridge: Cambridge University Press, 2012). WN= On Will in Nature, in On the Fourfold Root of the Principle of Sufficient Reason and Other Writings, translated and edited by David E. Cartwright, Edward E. Erdmann, and Christopher Janaway (Cambridge: Cambridge University Press, 2012). There are many delights in reading Arthur Schopenhauer’s philosophy besides the discovery of philosophic insights presented in his relatively clear and elegant prose. -
Download This PDF File
BACK TO SCHOPENHAUER Larry Busk WEBSTER UNIVERSITY Abstract This paper analyzes the philosophy of Schopenhauer with reference to contemporary cultural attitudes, particularly the standard reaction to this philosopher’s “pessimism.” Schopenhauer’s melancholy thought is most often the subject of a kind of insincere ridicule; he is something of a “philosophers’ joke.” Is this because he is a bad philosopher? I think not. His philosophy is taken less than seriously simply because it is overtly and unmistakably pessimistic. Why is this? And what does it say about our culture if this is the case? I briefly discuss the pessimistic aspects of Schopenhauer’s ideas, and then turn to an analysis of how and why these ideas are more often caricatured than critiqued. We do not wish to hearken back to the Schopenhauer who laboriously constructed a metaphysical system in The World as Will and Representation. Our interest is in the Schopenhauer who is found in those brief thought-pieces, those hyper-critical essays, and those illuminating parables. These are given to us by the philosopher’s second major work, the massive Parerga and Paralipomena, and are more manageably handled by means of recent collections like Penguin’s Essays and Aphorisms. Let us return, then, to Schopenhauer as aphorist, not as metaphysician. The system has been all but forgotten, and perhaps not unduly. But the aphorisms remain well known to us only in a sort of cartoonish caricature. This Schopenhauer has become something of a joke. His work is treated at best as a philosophical curiosity; his ideas are seldom given much serious credence.