On the Uses and Abuses of Nietzsche in Self-Help Literature
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A Chameleon Called Musical Time: Some Observations About Time and Musical Time
A chameleon called musical time: Some observations about time and musical time Thomas Reiner In The Magic Mountain, Thomas Mann asks begin but merely starts. It does not build to a about the possibility of narrating time and gives an climax, does not purposefully set up internal example from music as part of his answer: expectations, does not seek to fulfill any expec- tations that might arise accidentally, does not Can one tell-that is to say, narrate-time, time build or release tension, and does not end but itself, as such, for its own sake? That would simply ceases.' surely be an absurd undertaking. A story which read: 'Time passed, it ran on, the time flowed Elaborating on the feeling of timelessness, onward' and so forth-no one in his senses Kramer states that it could consider that a narrative. It would be as though one held a single note or chord for a can be aroused not only by music but also whole hour, and called it music.' through other artforms, certain mental illnesses, dreams, unconscious mental processes, drugs, A single harmony is sustained for approximately and religious rituals. Vertical music does not 70 minutes in Stimmung, a work which Karlheinz create its own temporality but rather makes Stockhausen wrote in 1968. The work's title has contact with a deeply human time sense that is oflen denied in daily living (at least in Western several meanings and could be translated as tun- cultures). The significance of vertical composi- ing, intonation, atmosphere, or mood. The vocal- lions, and of many modernist anworks, is that ists in this composition sing the second, third, they give voice to a fundamental human experi- fourth, fifth, seventh, and riinth overtones of the ence that is largely unavailable in traditional fundamental note B flat. -
MAURICE MERLEAU-PONTY Translated by Forrest Williams
Study Project on the Nature of Perception (1933) The Nature of Perception (1934) MAURICE MERLEAU-PONTY Translated by Forrest Williams Translator's Preface On April 8, 1933, Maurice Merleau-Ponty, who was then teaching at a lycée in Beauvais, applied to the Caisse National des Sciences for a subvention, which he received, to undertake a project of study on the nature of perception. In 1934, he requested a renewal, and submitted an account, which he titled 'The Nature of Perception," of what he had already accomplished and of what he proposed to do next. The renewal request was not granted. Apart from three book reviews and some remarks made at a philosophy conference, La Structure du Comportement, which was completed in 1938 and published in 1942, is generally considered the first evidence of Merleau-Ponty's major philosophical concerns. In a sense, that is so. However, the two earlier texts translated below, relatively short and schematic though they are, may never the less be of interest to students of Merleau-Ponty's philosophy. As can be shown, I think, by a brief analysis of their contents, Merleau-Ponty had ar- ticulated fairly clearly, some four years before the completion of Structure, a number of motifs that proved to be fundamental throughout his intellectual career. Naturally, his ideas were to expand and develop from 1933 to the drafts for Le Visible et l' invisible on 1 2 which he was working at the time of his death in 1961. Therefore, it is also interesting to notice themes of his later work that were not en- visaged at the outset. -
Final Thesis
A DEFENSE OF AESTHETIC ANTIESSENTIALISM: MORRIS WEITZ AND THE POSSIBLITY OF DEFINING ‘ART’ _____________________________ A Thesis Presented to The Honors Tutorial College Ohio University _____________________________ In Partial Fulfillment Of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Arts in Philosophy and Art History _____________________________ By Jordan Mills Pleasant June, 2010 ii This thesis has been approved by The Honors Tutorial College and the Department of Philosophy ___________________________ Dr. Arthur Zucker Chair, Department of Philosophy Thesis Advisor ___________________________ Dr. Scott Carson Honors Tutorial College, Director of Studies Philosophy ___________________________ Jeremy Webster Dean, Honors Tutorial College iii This thesis has been approved by The Honors Tutorial College and the Department of Art History ___________________________ Dr. Jennie Klein Chair, Department of Art History Thesis Advisor ___________________________ Dr. Jennie Klein Honors Tutorial College, Director of Studies Art History ___________________________ Jeremy Webster Dean, Honors Tutorial College iv Dedicated to Professor Arthur Zucker, without whom this work would have been impossible. v Table Of Contents Thesis Approval Pages Page ii Introduction: A Brief History of the Role of Definitions in Art Page 1 Chapter I: Morris Weitz’s “The Role of Theory in Aesthetics” Page 8 Chapter II: Lewis K. Zerby’s “A Reconsideration of the Role of the Theory in Aesthetics. A Reply to Morris Weitz” -
Towards a Contemporary Lutheran Aesthetics of Discipleship
Concordia Seminary - Saint Louis Scholarly Resources from Concordia Seminary Doctor of Philosophy Dissertation Concordia Seminary Scholarship 12-1-2018 The Eclipse of Elegance: Towards a Contemporary Lutheran Aesthetics of Discipleship Andrew Whaley Concordia Seminary, St. Louis, [email protected] Follow this and additional works at: https://scholar.csl.edu/phd Part of the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Whaley, Andrew, "The Eclipse of Elegance: Towards a Contemporary Lutheran Aesthetics of Discipleship" (2018). Doctor of Philosophy Dissertation. 63. https://scholar.csl.edu/phd/63 This Dissertation is brought to you for free and open access by the Concordia Seminary Scholarship at Scholarly Resources from Concordia Seminary. It has been accepted for inclusion in Doctor of Philosophy Dissertation by an authorized administrator of Scholarly Resources from Concordia Seminary. For more information, please contact [email protected]. THE ECLIPSE OF ELEGANCE: TOWARDS A CONTEMPORARY LUTHERAN AESTHETICS OF DISCIPLESHIP A Dissertation Presented to the Faculty of Concordia Seminary, St. Louis, Department of Systematic Theology in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Andrew D. Whaley December, 2018 Approved by: Dr. Joel Biermann Dissertation Advisor Dr. Charles Arand Reader Dr. David Schmitt Reader © 2018 by Andrew D. Whaley. All rights reserved. ii To Jenna, Sam, and Kate: For all that jazz! iii “What we play is life.” Louis Armstrong iv CONTENTS PREFACE............................................................................................................................. -
Performance and Philosophy Now
Performance and Philosophy Now Tasoula Kallenou 1. Introduction The aim of this paper is to investigate the potential of performance and philosophy as interconnected disciplines. Performance and philosophy can collaborate in effectively communicating the ideas and concepts used in philosophy to a wide range of audiences, with the aim of providing ethical training. This practice can be seen in both the Hellenistic and Roman schools of thought, including the Stoics, the Sceptics and the Epicureans. Performance practices and philosophy can influence individuals in understanding the importance of practising philosophy. The dramatisation of philosophical figures through performance could potentially bring to life and make relevant philosophical ideas in contemporary times, as well as initiate an awareness of the importance of living a good (moral) life. The theatre practitioner can deliver a performance with the intent of representing a specific type of a character, using both their physique and emotions. Similarly, a philosopher may also deliver a kind of performance. This can be seen if we consider the example of Socrates, who used dramatic storytelling in his search for truth. There is a contemporary literary shift, which relates philosophy to performance practices and literary disciplines. Examples of such works include How to Live: A Life of Montaigne in One Question and Twenty Attempts at an Answer by Sarah Bakewell,1 The Art of Living: Socratic Reflections from Plato to Foucault by Alexander Nehamas,2 How Proust Can Change Your Life by Alain De Botton3 and Martin Puchner’s The Drama of Ideas: Platonic Provocations in Theatre and Philosophy.4 I shall examine both contemporary theories and performance practices in relation to philosophy. -
Embodied Cognition As Refutation to Langer's
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2010-01-01 Embodied Cognition as Refutation to Langer's "Illusory Powers": "I Move, therefore, I Know" Ruby Amanda Montana University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Epistemology Commons, and the Esthetics Commons Recommended Citation Montana, Ruby Amanda, "Embodied Cognition as Refutation to Langer's "Illusory Powers": "I Move, therefore, I Know"" (2010). Open Access Theses & Dissertations. 2733. https://digitalcommons.utep.edu/open_etd/2733 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. EMBODIED COGNITION AS REFUTATION OF LANGER’S “ILLUSORY POWERS”: “I MOVE, THEREFORE I KNOW” RUBY A. MONTANA Department of Philosophy APPROVED: Peter Robinson, PhD Juan Ferret, PhD Myron Nadel, MA Emily Morgan, MFA Patricia D. Witherspoon, Ph.D. Dean of the Graduate School Copyright © by Ruby A. Montana 2010 DEDICATION This thesis is dedicated to my parents, Sylvia and Samuel Montana, for all their love and support, to my grandfather, Matias Montana, for being my first dance teacher and the most loving person I will know, and to Dr. Bob Wren, aka Doc, for being the best friend and biggest inspiration over these last two years. EMBODIED COGNITION AS REFUTATION OF LANGER’S “ILLUSORY POWERS: “I MOVE, THEREFORE I KNOW” by RUBY A. MONTANA, BA Thesis Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Department of Philosophy THE UNIVERSITY OF TEXAS AT EL PASO May 2010 ACKNOWLEDGEMENTS I would like to acknowledge my thesis committee for their time and priceless guidance. -
Virtual Worlds , Fiction, and Reality
Virtual worlDs, Fiction, anD reality mundos virtuales, fiCCión y realidad ILkkA mAuNu NIINILuOTO University of Helsinki, Finland. [email protected] RECIbIDO EL 13 DE juLIO DE 2011 y APRObADO EL 30 DE AGOSTO DE 2011 resumen abstract Mi objetivo en este artículo es plantear My aim in this paper is to raise and discuss y discutir algunas de las preguntas some philosophical questions about Virtual filosóficas sobre la Realidad Virtual (RV). Reality (VR). The most fundamental El problema fundamental se refiere a problem concerns the ontological nature of la naturaleza ontológica de la realidad VR: is it real or fictional? Is VR comparable virtual: ¿es real o ficticia? ¿La RV es to illusions, hallucinations, dreams, comparable a ilusiones, alucinaciones, or worlds of fiction? Are traditional sueños, o mundos de ficción? ¿Son todas philosophical categories at all sufficient to las categorías filosóficas tradicionales give us understanding of the phenomenon suficientes para darnos la comprensión of VR? In approaching these questions, I del fenómeno de la RV? Para abordar shall employ possible world semantics estas cuestiones, emplearé como mis and logical theories of perception and herramientas filosóficas la semántica de imagination as my philosophical tools. My mundos posibles y las teorías lógicas main conclusion is that VR is comparable de la percepción y la imaginación. Mi to a 3-D picture which can be seen from conclusión principal es que la RV es the inside. comparable a una imagen en 3-D que puede ser vista desde el interior. palabras claVe Key worDs Ficción, alucinación, imaginación, Fiction, hallucination, imagination, percepción, realidad, realidad virtual. -
Interpretation of Susanne Langer's “Note on the Film”
volume 4 no. 1 (2020) DOI:10.14394/eidos.jpc.2020.0004 Tereza Hadravová Department of Aesthetics Charles University in Prague, Czech Republic https://orcid.org/0000-0002-5305-5457 Film as a Dream of the Modern Man: Interpretation of Susanne Langer’s “Note on the Film” Abstract: The paper concerns a “Note on the Film,” a short appendix toFeeling and Form by Susanne Langer. The inter- pretation interweaves the Note into a larger context of Langer’s philosophical work – primarily in terms of her understanding of the dream as a lower symbolic form, to which the film is compared – as well as in terms of her account of literary arts among which, she suggests, cinema belongs. Langer’s references to Sergei Eisenstein are discussed and their respective concepts of cinema are compared. An implicit political dimension of Langer’s writing on film is emphasized by relating her critique of modern civilization, as sketched in the last chapter of Philosophy in a New Key, to her film aesthetics. At the end of the paper I compare my interpretation of the Note with the one that was offered by Trisha Curran. Keywords: Susanne Langer, Sergei Eisenstein, film aesthetics, symbol, dream, modernity In the short “Note on the Film,” published as an Appendix to the book Feeling and Form,1 Susanne Langer extensively refers to the writings of Sergei Eisenstein, who was three years her junior.2 In Eisenstein’s thoughts 1) Langer, Feeling and Form, Appendix. 2) The first version of the paper was written for the occasion of the International Philosophy of Culture Week, which took place in Warsaw in June 2019. -
Is Teaching a Science Or an Art?
DOCUMENT RESUME ED 330 683 SP 033 004 AUTHOR Makedon, Alexander TITLE Is Teaching a Science or an Art? PUB DATE 10 Nov 90 NOTE 19p.; Paper presented at the Annual Conferencp of the Midwest Philosophy of Education Society (Chicago, IL, November 10, 1990). PUB TYPE Speeches/Conference Papers (150)-- Viewpoints (Opinion/Position Papers, Essays, etc.) (120) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Art; Classroom Environment; *Educational Philosophy; Educational Theories; Elementary Secondary Education; Learning Strategies; *Sciences; *Teacher Attitudes; *Teaching (Occupation); *Teaching Styles ABSTRACT A discussion of whether teaching is a science, an art, or both, and the extent to which it is either and why, is presented in this paper. Teaching-as-a-science (TAS) and teaching-as-an-art (TAA) are not specific teaching methods but rather two different ways to find teaching methods. Whether students learn as a result of the teacher's scientific or artistic attitude rather than how students learn is the focus of the discussion. The paper offers analyses of the following: the terms "art" and "science" in language; whether TAA and TAS are desirable; definitions of teaching; definitions of art ahd science; TAA and TAS compared; the logic of science; the role of rules (rules make science, but rules may be subject to creative redesign by the artist); and the politics of TAA and TAS. Whether teaching is an art or a science depends on the definition of teaching adopted and how the goals of teaching are perceived. (SM) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. -
118: How Philosophy Can Change Your Life, Alain De Botton
The Tim Ferriss Show Transcripts Episode 118: Alain de Botton Show notes and links at tim.blog/podcast Tim Ferriss: The guest that we have today is Alain de Botton, A-L-A-I-N D-E- B-O-T-T-O-N. He is many things, but I think of him as a philosopher of the most practical breed. And as I’ve mentioned before and written about quite extensively, I view pragmatic philosophy as a set of rules for making better decisions in life, ideally in high stress environments. So as you know, probably, I’m a huge fan of Stoic philosophy. Alain, in 1997, he turned away from writing novels, and instead wrote an extended essay with the funny title “How Proust Can Change Your Life,” which became an unlikely blockbuster in the self-help genre. No one expected it to happen, and bang, suddenly he was on the map. His subsequent books take on all sorts of fundamental worries of modern life. Am I happy? What do I do with status anxiety, etc. And this is informed by his deep reading in philosophy, but also by his novelist’s eye for small perfect moments. It’s a very cool combination. His books have been described as “philosophy of everyday life,” and are on a diverse range of subjects, including love, travel, architecture, religion, and work. His bestsellers include “Essays In Love,” “How Proust Can Change Your Life,” “Status Anxiety,” and “The Architecture of Happiness.” And I’m going to include links to all of these in the show notes at fourhourworkweek.com/podcast. -
Philosophy on Television
COMMENTARY Philosophy on television Ben Watson arx remarks somewhere that all true philosophy begins with the criticism of religion. If he had lived through the postwar era, he would have added: Mand the religion of a triumphant capitalism is television. Just as the medieval cathedral was the apotheosis of feudalism, television is the techno-exemplification of bourgeois market relations. Televisionʼs promise of democratic, anti-hierarchical accessi- bility turns into its opposite. Free competition at the molecular level arrives at totalizing monopolies and ideological domination. Today, any philosophy that fails to deal with television simply hasnʼt got started. For First World populations, television grants domestic bliss at the price of mute passivity (the great debate about ʻdumbing-downʼ in the mass media rarely mentions that a one-way medium makes us, quite literally, dumb). News reports we cannot inter- rogate tell us how lucky we are to be safe at home watching television, while the rest of the globe suffers war, pogroms and starvation. Social-democratic apologists claim that switching channels is tantamount to voting, whilst the exhausted and alienated subject knows only the ineluctable drift towards late-night Channel Five, which at least provides a libidinal jolt, even if its non-interactive imaginary only leads to masturbation and sleep. The Disposable Heroes of Hiphoprisy, updating Marxʼs equation of religion with opium, remark somewhere: ʻtelevision – drug of the nation!ʼ Whether or not this situation demands censure depends on your philosophy, and your estimate of the potential for alternative endeavour. Certainly, the joys of radical philosophy – logical rigour, conceptual shock, bracing scepticism – rarely breach our television screens. -
Panaiotidi 133-142
E. PANAIOTIDI: THE MYTH OF THE ISOMORPHISM, IRASM 38 (2007) 2, 133-142 133 THE MYTH OF THE ISOMORPHISM1 ELVIRA G. PANAIOTIDI UDC: 78.01 Original Scientific Paper Department of Social Sciences, Izvorni znanstveni rad Received: November 17, 2006 North-Ossetian State Pedagogical Institute, Primljeno: 17. studenoga 2006. 362003 VLADIKAVKAZ, K. Marx St. 36, Accepted: April 3, 2007 Republic North Ossetia-Alania, Russian Federation PrihvaÊeno: 3. travnja 2007. E-mail: [email protected] Abstract — Résumé The immense influence of Greek musical Though the thesis of isomorphism was thought upon Western theory and philosophy applied to different art forms, music remained of music is well known. We owe to the ancient the paradigm case. To trace its history in the con- thinkers our basic aesthetic concepts, such as text of musical discourse is a worthwhile enter- harmony and beauty, valuable observations con- prise since this thesis is still being adduced for cerning the origin and nature of music, its ef- explanation and justification for the variety of fects and its role in the life of the individual and effects and functions of music. The problem society. Among the most significant motifs in however is that its validity has yet to be estab- the writings of Greek theoreticians is the idea of lished and its epistemological status clarified. isomorphism between music and human sub- This will be shown by looking at the ancient jectivity that was taken up and developed theory of ethos and at Susanne K. Langer’s aes- through centuries by philosophers and thetic theory. aestheticians. Apt examples in the modern Key words: theory of musical ethos; struc- philosophy of art are provided by Arthur tural analogy between music and subjective re- Schopenhauer’s and Susanne K.