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Heidegger, Being and Time
Heidegger's Being and Time 1 Karsten Harries Heidegger's Being and Time Seminar Notes Spring Semester 2014 Yale University Heidegger's Being and Time 2 Copyright Karsten Harries [email protected] Heidegger's Being and Time 3 Contents 1. Introduction 4 2. Ontology and Fundamental Ontology 16 3. Methodological Considerations 30 4. Being-in-the-World 43 5. The World 55 6. Who am I? 69 7. Understanding, Interpretation, Language 82 8. Care and Truth 96 9. The Entirety of Dasein 113 10. Conscience, Guilt, Resolve 128 11. Time and Subjectivity 145 12. History and the Hero 158 13. Conclusion 169 Heidegger's Being and Time 4 1. Introduction 1 In this seminar I shall be concerned with Heidegger's Being and Time. I shall refer to other works by Heidegger, but the discussion will center on Being and Time. In reading the book, some of you, especially those with a reading knowledge of German, may find the lectures of the twenties helpful, which have appeared now as volumes of the Gesamtausgabe. Many of these have by now been translated. I am thinking especially of GA 17 Einführung in die phänomenologische Forschung (1923/24); Introduction to Phenomenological Research, trans. Daniel O. Dahlstrom (Bloomington, Indiana University Press, 2005) GA 20 Prolegomena zur Geschichte des Zeitbegriffs (1925); History of the Concept of Time, trans. Theodore Kisiel (Bloomington, Indiana University Press, 1985) GA 21 Logik. Die Frage nach der Wahrheit (1925/26). Logic: The Question of Truth, trans. Thomas Sheehan GA 24 Die Grundprobleme der Phänomenologie (1927); The Basic Problems of Phenomenology, trans. -
L'histoire Du Soldat Qui Emprunte Au Mythe De Faust Et Où, Comme Dans La Légende D'orphée1, La Musique a Droit De Vie Ou De Mort.… Les Origines Du Conte
Cahier pédagogique L’Histoire du soldat Charles-Ferdinand Ramuz, Igor Stravinsky // Jean-Michel d’Hoop Théâtre de Liège Salle de la Grande Main 07/01>10/01/2014 Sommaire L’argument 3 Les origines du conte 3 Le début du théâtre musical 4 Adaptation du conte par Igor Stravinsky 5 L’histoire du soldat, en bref 7 Igor Stravinsky, un compositeur caméléon 8 Période de jeunesse 8 Période russe 8 Période suisse 9 Période parisienne 9 Période américaine 9 Igor Stravinsky, en bref 11 Charles-Ferdinand Ramuz 12 Jean-Michel d’Hoop 14 L’intrigue vue par le metteur en scène 14 La dramaturgie 15 La scénographie 16 Les marionnettes 17 Conception de la marionnette, Xooang Choi 18 L’ensemble Quartz 18 ANNEXES 19 Extrait 19 Stravinsky et Picasso 20 Le mythe de Faust 21 Faust ou la damnation médiévale 22 Un simple charlatan 22 L’orthodoxie du savoir et les sciences défendues 22 Le héros de la quête du savoir 22 La légende 23 De Marlowe à Goethe 23 Mythe et variations aux 19e et 20e siècles 25 Liste d'œuvres inspirées par le mythe de Faust 27 Infos pratiques 31 Théâtre de Liège - Service pédagogique Bernadette Riga - [email protected] Sophie Piret - [email protected] Page 2 L’argument Un soldat de retour de guerre marche d'un bon pas et se distrait en jouant du violon. Il se repose au bord d'un ruisseau et est réveillé par un vieillard. Celui-ci lui propose d'échanger son violon contre un livre. Le soldat refuse dans un premier temps mais le vieillard lui indique que ce livre a le pouvoir de rendre riche celui qui le possède. -
Running out of Space? Architecture and the Need for a Post-Copernican Geocentrism" February 23, 2017, Yale University
Geocentrism 1 "Running out of Space? Architecture and The Need for a Post-Copernican Geocentrism" February 23, 2017, Yale University 1 For many years I taught a course called The Philosophy of Architecture. That I taught this course at all was the result of conversations with Kent Bloomer, who suggested, many years ago, that the undergraduate major could use such a course. Before then I had been teaching a course called The Philosophy of Modern Art. The Meaning of Modern Art, published in 1968, was the result of that course. That book was quite successful. After all these years it is still in print. But with its appearance I lost some of my interest in that course, and so I was quite ready to respond to Kent Bloomer’s invitation, especially so since my interest in architecture goes back to my childhood. That course, too, finally resulted in a Book, The Ethical Function of Architecture. It, too, has been successful. It was just honored with a second Festschrift. But, again, with the appearance of the book I lost some of my interest in the course, although I did teach it for one last time in the fall. But I have kept thinking and lecturing about architecture. Not that I have changed my position in any fundamental way. But circumstances have changed; the world has changed. More especially, the way we relate to space has changed and continues to change. Our understanding of space has changed; and since architecture may be understood as the art of bounding space that suggests that our understanding of architecture, too, will have changed. -
Die Japanische Bibelexegese Des Kleinen Mannes
Die japanische Bibelexegese des kleinen Mannes Digitales | Games: El Shaddai – Ascension of the Metatron Style über Substanz? Das Videospiel als Jahrmarktattraktion? Oder doch wieder die alte Kunstdebatte? RUDOLF INDERST wirft einen Blick auf ›El Shaddai: Ascension of the Metatron‹. In ›El Shaddai: Ascension of the Metatron‹ erleben Spielerinnen die Geschichte eines einsamen Kämpfers, dessen Aufgabe nichts weniger als die Rettung der menschlichen Rasse ist. Der Titel spielt in einer Welt voller Tumulte und kriegerischer Auseinandersetzungen, in der eine Reihe von Engeln namens Grigori die Herrschaft ausübt. Ursprünglich waren diese himmlischen Wesen Diener Gottes und wachten über die Menschheit. Doch eines Tages erlagen sie der Versuchung und verließen den Himmel, um auf der Erde unter den Menschen zu leben. Doch die Grigori übten einen negativen Einfluss auf die Menschheit aus und errichteten zudem mit dem Turm zu Babel ein blasphemisches Denkmal zu ihren eigenen Ehren. Folglich beschloss der himmlische Rat, eine große Flut über die Erde zu schicken, um sowohl diese Engel als auch die Menschheit auszulöschen. Gegen diesen Plan der göttlichen Herrscher erhob sich nur eine Stimme: Enoch, ein Mensch, der als bescheidener Schriftgelehrter im Himmel seinen Dienst erfüllte. Enoch erwirkt einen Handel: Gelingt es ihm, die abtrünnigen Engel einzufangen, verzichten die Götter auf ihre Bestrafung. Und damit beginnt das abenteuerliche Geschehen von El Shaddai und seinen insgesamt zwölf Missionen. Sich des Kulturschatzes bedienen Recht konsequent bedient sich das Entwicklerteam aus angeblich gemeinsamen Fundament Europas – der Bibel. Aber auch eine gehörige Portion Judentum steckt in der Plastikhülle:: Aber kann das jemanden ernsthaft verwundern? Haben wir nicht schon in ›Knights Contract‹ als Ritter Heinrich mit der Hexe Gretel den irren Dr. -
Kitsch and Contemporary Culture
Kitsch and contemporary culture Bert Olivier Philosophy, Centre for Advanced Studies, University of Port Elizabeth, South Africa. E-mail: [email protected] This paper addresses the question of kitsch by interpreting it as :'bad" a:t of a partic~lar kind. It draws mainl~, but not exclusively, on Karsten Harries's phenomenological exploratIOn of kItsch to pr?vIde a. framewor~ from whIch to approach kitsch in contemporary (postmodern) culture. It is shown that, by u.ncovenng attnb~tes of kItsch su~h as the self-enjoyment of the spectator and lack of reflective distance, Harries provIdes valuable pomters for assessmg what is ultimately the anaesthetizing political function of kitsch in contemporary culture. Kitsch is one of the major problems of the remembered and the sentimentalism which present. This claim may seem far-fetched to pervades it (that is, the wallowing in the some people, especially to those who take a feelings that accomp-any the memories). certain delight in "art objects" which do not The point is that kitsch manifests itself hide their status as "kitsch", like a "retro" whenever feelings seem to have lost their telephone in the shape of a 50s pink Cadillac correlates, their "objects"; whenever the whose roof serves as the receiver. 1 But this world, objects, and even other people, seem is not really surprising - those objects derive to have retreated, to be out of reach, so that their charm from the aura of nostalgia which "enjoyment" is ultimately enjoyment of surrounds them, something that is one's feelings and sensations for their own paradoxically reminiscent of a more sake instead of for the sake of "authentic" era, despite the artificiality of communicating with others or with things in the "art object". -
In Defense of Sentimentality (The Passionate Life) (2004).Pdf
In Defense of Sentimentality ROBERT C. SOLOMON OXFORD UNIVERSITY PRESS In Defense of Sentimentality thepassionatelife A Series on the Philosophy of Emotions by Robert C. Solomon Not Passion’s Slave: Emotions and Choice In Defense of Sentimentality In Defense of Sentimentalityrobert c. solomon 1 2004 1 Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Sa˜o Paulo Shanghai Taipei Tokyo Toronto Copyright # 2004 by Robert C. Solomon Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Solomon, Robert C. In defense of sentimentality / Robert C. Solomon. p. cm.—(The passionate life) Includes bibliographical references and index. ISBN 0-19-514550-X 1. Emotions (Philosophy) 2. Sentimentalism. I. Title. B105.E46S665 2004 1280.37—dc22 2003061007 987654321 Printed in the United States of America on acid-free paper for Kathleen and Kathryn Higgins This page intentionally left blank Preface: Emotions and Sentimentality Feeling is everything.—Johan Wolfgang von Goethe Philosophy has as much to do with feelings as it does with thoughts and thinking. It requires sensitivity and devotion as well as curiosity about the world and a critical spirit. -
The Abetment of Nihilism: Architectural Phenomenology's
Benjamin M. Roth The Abetment Of Nihilism: Architectural Phenomenology’s Ethical Project But you did not and could not toss out of your heart that part of you from which the God notion had come. – Richard Wright, The Outsider Phenomenological theorists of architecture are admirably attuned to the ways in which our experience of the built envi- ronment is rich in meaning and value. Emphasize pure space and form, and questions of meaning won’t arise. Think of architecture as mere technology and they won’t either (one asks how to use a hammer, and for what, not what it means). In the middle of the 20th century, as Jorge Otero-Pailos writes, a group of architect-theorists retrospectively desig- nated as the architectural phenomenology movement, and who “thought individual experience had been impoverished by the process of industrialization and became disillusioned with the modernist faith in technology,” rose to prominence: “Out went the conviction that technology drove history, and in came the sense that architectural history was driven by 1 1. Jorge Otero-Pailos, Architecture’s the search for authentic, original human experiences.” More Historical Turn: Phenomenology and the Rise of the Postmodern (Minneapolis: University recently, phenomenology has inspired an even broader theo- of Minnesota Press, 2010), xi. rizing of architecture by thinkers like Karsten Harries (from philosophy) and Alberto Pérez-Gómez (from architectural history and theory) of a specifically ethical bent. Both Harries and Pérez-Gómez are dissatisfied with the current status of architecture, which they perceive as subservient to technol- ogy and in which they see an abdication of architecture’s abil- ity, even responsibility, to represent – that is, display back to us – meaning. -
End and Origin of Art 1
The End and Origin of Art 1 Karsten Harries The End and Origin of Art (Philosophy of Modern Art) Lecture Notes Fall Semester 2002 Yale University Copyright Karsten Harries The End and Origin of Art 2 Contents Preface 3 Introduction 1. Zips and Slashes 7 Part One: The End of Art 2. “I Can Do Everything” 26 3. Narratives of the End of Art 49 4. Hegel on the Death of Art 65 5. The Place of Art in the Age of the World-Picture 87 Part Two: The Need for Art 6. Between Hope and Resignation 101 7. Art as Origin 124 8. Art and the Sacred 141 9. The Golden Calf 160 Part Three: The Present and Future of Art 10. Kitsch, Vulgarity, and Abjection 178 11. The Sublime and the Interesting 197 12 Evening Art 214 13. Dreams of Alchemy 232 Conclusion 14. The Snake’s Promise Technology and Art at the Beginning of the Third Millennium 253 The End and Origin of Art 3 Preface In these lectures I attempt to show why art, especially painting, continues to matter, despite so much in today’s art-world that argues against this — and, as I will also show, such arguments are supported by the very shape of our modern world. The title demands explanation. End can mean something like death. In recent years there has thus been a great deal of talk about a possible death or end of art. But end can also mean telos or goal. And these two readings can merge: there may be a sense in which art has to die when it finally reaches its goal. -
An Inquiry Into Christopher Marlowe, Doctor Faustus and Hermetic Thought 1583-1593
‘What doctrine call you this?’ An Inquiry into Christopher Marlowe, Doctor Faustus and Hermetic Thought 1583-1593 Marion Jane Nelson Faculty of Humanities and Social Sciences Discipline of English in the University of Adelaide Thesis to be submitted for the degree of Master of Arts by research June 2012 Contents Abstract iii Declaration v Acknowledgements vi A Note on the Texts vii A Note on Hermetism and Hermeticism viii Introduction The Background 1 The Study 5 Chapter One: About Christopher Marlowe The Cambridge years 9 The London years 10 A good poet with a bad reputation 11 Religion and politics in Marlowe’s England 14 Is he really ‘like Dr. Faustus’? 21 Chapter Two: Origins of the Faust Legend, and Marlowe’s Sources Part I The legend of Faustus: Faustus in antiquity 23 Faustus in history and legend 26 A real Faustus 28 Part II Marlowe’s Sources: The First German Faustbuch 29 The English Faust Book 31 Chapter Three: Doctor Faustus and some problems of natural and religious philosophy Part I Reason, faith and doubt 39 Part II Competing religious beliefs: The Egyptians 45 The Jews 46 The Greeks 47 The early Christians 48 Western Christianity and the Roman Catholic Church 49 Gnostic beliefs 52 Valentinian Gnosticism 53 Philo of Alexandria: an Hellenic Jew in Egypt 53 i Plotinus: an Alexandrian Greek in Rome 54 Hermes Trismegistus 55 Part III Renaissance Hermeticism and the Reformation: contested theologies: The Hermetica in 15th century Europe 56 Christianity in England in the sixteenth century 64 Hermeticism in England 68 Chapter Four: -
Nietzsche Truth, Value, Tragedy
Nietzsche Harries 1 Karsten Harries Nietzsche Truth, Value, Tragedy Seminar Notes Spring Semester 2015 Yale University Copyright Karsten Harries Nietzsche Harries 2 Contents 1. Introduction: Nietzsche, Schopenhauer, and Wagner 3 2. "On the Pathos of Truth" I 32 3. “On the Pathos of Truth" II 45 4. "On Truth and Lie in an Extramoral Sense" I 59 5. "On Truth and Lie in an Extramoral Sense" I 76 6. Artisten-Metaphysik 87 7. Apollo and Dionysus 102 8. Socrates 119 9. Incipit Tragoedia 132 10. Old and New Values 146 11. The Problem of Time 154 12. The Eternal Recurrence 168 13. Conclusion: Tragedy and Redemption 186 Nietzsche Harries 3 1. Introduction: Nietzsche, Schopenhauer, and Wagner 1 In the 19th century the traditional Platonic-Christian conception of human being underwent a revolution in which we are still caught up and with which we still have to come to terms. Darwin is one name often mentioned in this connection, Marx another, Freud a third. In this seminar I would like to examine some aspects and consequences of this revolution by taking a look at some of Nietzsche's writings. This examination will focus on three themes, truth, value, and tragedy. My discussion will end with a consideration of Zarathustra,1 but much of it will be concerned with Nietzsche’s early writings, especially The Birth of Tragedy. To introduce that discussion I shall begin, however, by taking a careful look at two short essays dating from that period, at "The Pathos of Truth," dating from 1872, and "On Truth and Lie in an Extramoral Sense," dating from the following year.2 More clearly than The Birth of Tragedy3 these essays allow us to understand the nature of Nietzsche's philosophical project, his life-long struggle with nihilism. -
Heidegger, Wittgenstein, and the Future of Philosophy
Wittgenstein, Heidegger and the Future of Philosophy 1 Karsten Harries Wittgenstein, Heidegger and the Future of Philosophy Fall Semester 2014 Yale University Copyright Karsten Harries Wittgenstein, Heidegger and the Future of Philosophy 2 Contents 1. Introduction 4 2. Cartesian Method 14 3. Ontological Implications 27 4. The Adequacy of Pictures 39 5. Two Conflicting Interpretations of Language in Wittgenstein’s Tractatus 50 6. Truth and Transcendence 59 7. Heidegger’s Logical Beginnings 69 8. Nihilism and Mysticism 80 9. The Shipwreck of Philosophy 94 10. Legitimacy and Limits of Scientific Language 103 11. Two Conflicting Interpretations of Language in Wittgenstein’s Investigations 114 12. Ordinary Language as Ground 128 13. No Place for Freedom 138 14. Language and Fundamental Ontology 145 15. Discourse and Language 153 16. Idle Talk 163 17. Language and Authenticity 176 18. Poetry 190 19. The Ontological Difference and the Holy 199 20. Poetry and Truth 209 21. Is There a Measure on Earth? 218 22. Hölderlin, Patmos 229 Wittgenstein, Heidegger and the Future of Philosophy 3 23. Heidegger and Hölderlin 247 24. Poetry and Community 256 25. Poetry and Metaphysics 265 26. Conclusion 273 Wittgenstein, Heidegger and the Future of Philosophy 4 1. Introduction1 1 In the Philosophical Investigations Wittgenstein remarks that philosophical problems: have the form “I don 't know my way about.”2 Of course, not all problems having this form are therefore philosophical: e.g., to have lost one's way in some strange city hardly suffices to make one a philosopher. But why not? Is it perhaps because in such cases our disorientation is only superficial? In a deeper sense we still know our place and what to do. -
PHL 317K Introduction to Philosophy of the Arts Fall 2014 Unique Numbers
1 PHL 317K Introduction to Philosophy of the Arts Fall 2014 Unique numbers: 42940, 42945, 42950, 42955, 42960, 42962, 42963, 42964, TIME: Tuesdays and Thursdays, 2:00-2:50 p.m. and a third hour LOCATION: TTH 2:00 CAL 100 (Check your schedule for third hour location) INSTRUCTOR: Prof. Kathleen Higgins OFFICE: WAG 203 (512) 471-5564 OFFICE HOURS: Tuesdays and Thursdays, 10:45-11:45 a.m. E-MAIL: <[email protected]> COURSE DESCRIPTION: This course will consider some of the answers given in the Western philosophical tradition to questions about the nature of art and beauty, as well as offering a brief overview of some perspectives from Japan. Particular attention will be given to the distinction between art and reality, and to the nature of the aesthetic experience from the standpoint of both the artist and the observer. TEACHING ASSISTANTS: Simone Gubler Office: WAG 427 Office Hours E-mail address: <[email protected]> Brian Pollex Office: WAG 406 Office Hours: Mondays, 3:45-4:45 p.m. and Fridays, 2:15-3:15 p.m. E-mail address: <[email protected]> Hannah Trees Office: WAG 412 Office Hours E-mail address: <[email protected]> 2 TEXTBOOK: Kathleen Marie Higgins, ed., Aesthetics in Perspective GRADING AND IMPORTANT DATES: September 9 Short paper due 5% September 18 Journal topic #1 due September 25 Exam I 15% September 30 Journal topic #2 due October 2 Journal topic #3 due October 7 Journal topic #4 due October 16 Journal topic #5 due October 23 Journal topic #6 due October 30 Exam II 15% November 4 Journal topic #7 due November 6 Journal topic #8 due November 11 Journal topic #9 due November 13 Journal topic #10 due November 18 Take-home Exam III due 15% November 20 Journal topic #11 due November 25 Journal topic #12 due December 4 Final written project due 20% Participation 10% Journal Topics Total 20% NOTE: Participation includes attendance both in lectures and in discussion sections, in- class writing, in-class quizzes, etc.