The British Idealists' Receptions of Plato
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Hegel and the Metaphysical Frontiers of Political Theory
Copyrighted material - provided by Taylor & Francis Eric Goodfield. American University Beirut. 23/09/2014 Hegel and the Metaphysical Frontiers of Political Theory For over 150 years G.W.F. Hegel’s ghost has haunted theoretical understanding and practice. His opponents first, and later his defenders, have equally defined their programs against and with his. In this way Hegel’s political thought has both situated and displaced modern political theorizing. This book takes the reception of Hegel’s political thought as a lens through which contemporary methodological and ideological prerogatives are exposed. It traces the nineteenth- century origins of the positivist revolt against Hegel’s legacy forward to political science’s turn away from philosophical tradition in the twentieth century. The book critically reviews the subsequent revisionist trend that has eliminated his metaphysics from contemporary considerations of his political thought. It then moves to re- evaluate their relation and defend their inseparability in his major work on politics: the Philosophy of Right. Against this background, the book concludes with an argument for the inherent meta- physical dimension of political theorizing itself. Goodfield takes Hegel’s recep- tion, representation, as well as rejection in Anglo-American scholarship as a mirror in which its metaphysical presuppositions of the political are exception- ally well reflected. It is through such reflection, he argues, that we may begin to come to terms with them. This book will be of great interest to students, scholars, and readers of polit- ical theory and philosophy, Hegel, metaphysics and the philosophy of the social sciences. Eric Lee Goodfield is Visiting Assistant Professor at the American University of Beirut, Lebanon. -
Humour in Nietzsche's Style
Received: 15 May 2020 Accepted: 25 July 2020 DOI: 10.1111/ejop.12585 ORIGINAL ARTICLE Humour in Nietzsche's style Charles Boddicker University of Southampton, Southampton, UK Abstract Correspondence Nietzsche's writing style is designed to elicit affective Charles Boddicker, University of responses in his readers. Humour is one of the most common Southampton, Avenue Campus, Highfield Road, Southampton SO17 1BF, UK. means by which he attempts to engage his readers' affects. In Email: [email protected] this article, I explain how and why Nietzsche uses humour to achieve his philosophical ends. The article has three parts. In part 1, I reject interpretations of Nietzsche's humour on which he engages in self-parody in order to mitigate the charge of decadence or dogmatism by undermining his own philosophi- cal authority. In part 2, I look at how Nietzsche uses humour and laughter as a critical tool in his polemic against traditional morality. I argue that one important way in which Nietzsche uses humour is as a vehicle for enhancing the effectiveness of his ad hominem arguments. In part 3, I show how Nietzsche exploits humour's social dimension in order to find and culti- vate what he sees as the right kinds of readers for his works. Nietzsche is a unique figure in Western philosophy for the importance he places on laughter and humour. He is also unique for his affectively charged style, a style frequently designed to make the reader laugh. In this article, I am pri- marily concerned with the way in which Nietzsche uses humour, but I will inevitably discuss some of his more theo- retical remarks on the topic, as these cannot be neatly separated. -
Humour and Caricature Teachers Notes Humour and Caricature
Humour and Caricature Teachers Notes Humour and Caricature “We all love a good political cartoon. Whether we agree with the underlying sentiment or not, the biting wit and the sharp insight of a well-crafted caricature and its punch line are always deeply satisfying.” Peter Greste, Australian Journalist, Behind the Lines 2015 Foreward POINTS FOR DISCUSSION: Consider the meaning of the phrases “biting wit”, “sharp insight”, “well-crafted caricature”. Look up definitions if required. Do you agree with Peter Greste that people find political cartoons “deeply satisfying” even if they don’t agree with the cartoons underlying sentiment? Why/why not? 2 Humour and Caricature What’s so funny? Humour is an important part of most political cartoons. It’s a very effective way for The joke cartoonists to communicate their message to their audience can be simple or — and thereby help shape public opinion. multi-layered and complex. POINTS FOR DISCUSSION: “By distilling political arguments and criticisms into Do a quick exercise with your classmates — share a couple clear, easily digestible (and at times grossly caricatured) of jokes. Does everyone understand them? Why/why not? statements, they have oiled our political debate and What does this tell us about humour? helped shape public opinion”. Peter Greste, Australian Journalist, Behind the Lines foreward, http://behindthelines.moadoph.gov.au/2015/foreword. Why do you believe it’s important for cartoonists to make their cartoons easy to understand? What are some limitations readers could encounter which may hinder their understanding of the overall message? 3 Humour and Caricature Types of humour Cartoonists use different kinds of humour to communicate their message — the most common are irony, satire and sarcasm. -
A Philosophical Discussion of Representation
International Visual Literacy Association, Cheyenne, 1996 A PHILOSOPHICAL DISCUSSION OF REPRESENTATION One of the most basic theoretical areas in the study of visual communication and visual literacy is the nature of representation. Much of the discussion of this topic comes from either philosophy or aesthetics. This paper reviews some of the more important writings in this area in an attempt to develop a model of representation. The primary works reviewed include: E. H. Gombrich, "The Visual Image;" "Representation and Misrepresentation" Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols, "Representation Re- presented" Paul Messaris, Visual Literacy: Image, Mind & Reality David Novitz, "Picturing" Marx Wartofsky, "Pictures, Representation, and Understanding;" "Visual Scenarios: The role of Representation in Visual Perception" Richard Wollheim, "Representation: The Philosophical Contribution to Psychology;" Pictures and Language;" and "Art, Interpretation, and Perception" In describing the requirements for a general theory of representation, Wollheim says it must answer two questions: What is it to represent? (what is the relationship between the representation and the something that it is of?) What, in the narrow sense of the term, is a representation? Using his two questions to guide our analysis, we find that the major theoretical issues that need to be investigated include: Is pictorial representation based on natural resemblance or convention? What is the relationship between pictures and reality? Finally, as part of this review, we are investigating if it is possible to develop an overriding theory of representation that accommodates the various issues and viewpoints. What is the relationship between pictures and reality? In beginning this discussion, let's first look at Wollheim's second question about what is a representation. -
Paintings and Photographs, Introduction to "William Wegman" Curtis Carter Marquette University, [email protected]
Marquette University e-Publications@Marquette Philosophy Faculty Research and Publications Philosophy, Department of 1-1-2002 Paintings and Photographs, Introduction to "William Wegman" Curtis Carter Marquette University, [email protected] Published version. "Introduction," in William Wegman. Roman Zenner, 2002: 1-5. Permalink. © 2002 Roman Zenner. Used with permission. WILLIAM WEG MAN Roman Zenner 2002 PAINTINGS AND PHOTOGRAPHS When William Wegman began his career in the late 1960s, he like many young artists of his generation decided to abandon painting preferring instead to use pho tography and video to explore contemporary issues in art. Why abandon painting at this point? Painting, after all, had been under attack since the invention of photogra phy in the mid-nineteenth century. Still its output has continued for centuries virtu ally without interruption. Perhaps it was because painting in the 60s seemed less exciting or less flexible than the new media and unable to satisfy the needs of artists and the public in a technological post-modem society. Against the aesthetics of post modernism, painting as a medium affirms the values of originality and uniqueness. But these values had already been called into question decades earlier by Marcel Duchamp, Man Ray, and others. The decision to abandon painting overlooks certain facts about its resiliency. Painting has had a long history of success as an art form within a broad range of diverse cultures. As Richard Wollheim has argued," If artists over the centuries had not succeeded in putting across what they wished to convey, they would have turned to some other activity .... Or their public would have asked them to do SO."1 At the conclusion of a lengthy book on pain~ing, Wollheim's strongest argument for the continuation of painting is its survival as an art form. -
RICHARD WOLLHEIM Copyright © British Academy 2001
RICHARD WOLLHEIM Copyright © British Academy 2001 – all rights reserved Richard Arthur Wollheim 1923–2003 RICHARD ARTHUR WOLLHEIM was born on 5 May 1923 in London, the younger son of Eric Wollheim, of a German Jewish family, and Constance Baker, whose family came from the West Country and for centuries were peasants. His father was a theatrical impresario, who from 1918 acted as the Diaghilev ballet’s London manager. His mother was a Gaiety show- girl, who performed as an actress playing to the troops during the First World War, but at her husband’s insistence left the stage when she married. In his posthumously published memoir of his childhood, Germs (2004), which begins with his tottering out through the front door into the light at the age of two, Richard traces the roots in childhood of a variety of emotions he experienced in later life—resentment against calm, quiet places, the lure of danger, shame at the unreliability of his body, certain fears of inundation—and paints vivid pictures of his parents’ opinions, routines, behaviour and character. His father was emancipated and although he embraced no religious faith—indeed, considered all religion to be folly, he insisted that Richard was brought up as a Christian, an encumbrance Richard freed himself from when he grew up, from then on regarding all religions as harmful illusions, and, like Hume and Nietzsche, believing that religions tend to be worse the further they stray from polytheism. At the age of 13 he went to Westminster School as a King’s Scholar. It was the first time that he had been away to boarding-school, something he had been looking forward to but which turned out to be very different from what he had expected. -
Schelling, Hunter and British Idealism Tilottama Rajan1
47 The Official Journal of the North American Schelling Society Volume 1 (2018) The Asystasy of the Life Sciences: Schelling, Hunter and British Idealism Tilottama Rajan1 In 1799 the British Crown purchased 13,000 fossils and specimens from the estate of John Hunter (1728-93). This “vast Golgotha”2 then became the object of attempts to classify and institutionalize the work of one of the most singular and polymathic figures in the British life sciences whose work encompassed medicine and surgery, physiology, comparative anatomy and geology. The result was the Hunterian Museum at the Royal College of Surgeons, separate Lecture Series on comparative anatomy and surgery from 1810, and “Orations” on Hunter’s birthday from 1814. Almost symbolically, these efforts were disrupted by the burning of twenty folio volumes of Hunter’s notes on the specimens in 1823 by his brother-in-law and executor Sir Everard Home. Home may have wanted to emerge from Hunter’s shadow or disguise his borrowings but saw nothing wrong in his actions and divulged them to Hunter’s amanuensis William Clift (by then Chief Conservator of the Museum). Having based over ninety articles on Hunter’s work, Home claimed he had published and acknowledged everything of value, and that Hunter wanted him to burn the papers, though interestingly he waited thirty years to do so. He also claimed he had wanted to present Hunter’s work in more complete form, and spare him from charges of irreligion. And indeed it had been recently that the debate between John Abernethy and William Lawrence had broken out, over whether Hunter and science should be aligned with religion or materialism: a debate 1 The author acknowledges the support of the Canada Research Chairs Program in the preparation of this article. -
A Constructive Theology of Truth As a Divine Name with Reference to the Bible and Augustine
A Constructive Theology of Truth as a Divine Name with reference to the Bible and Augustine by Emily Sumner Kempson Murray Edwards College September 2019 This dissertation is submitted for the degree of Doctor of Philosophy Copyright © 2020 Emily Sumner Kempson 2 Preface This thesis is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. It does not exceed the prescribed word limit for the relevant Degree Committee. 3 4 A Constructive Theology of Truth as a Divine Name with Reference to the Bible and Augustine (Summary) Emily Sumner Kempson This study is a work of constructive theology that retrieves the ancient Christian understanding of God as truth for contemporary theological discourse and points to its relevance to biblical studies and philosophy of religion. The contribution is threefold: first, the thesis introduces a novel method for constructive theology, consisting of developing conceptual parameters from source material which are then combined into a theological proposal. -
Theory of Knowledge in Britain from 1860 to 1950
Baltic International Yearbook of Cognition, Logic and Communication Volume 4 200 YEARS OF ANALYTICAL PHILOSOPHY Article 5 2008 Theory Of Knowledge In Britain From 1860 To 1950 Mathieu Marion Université du Quéebec à Montréal, CA Follow this and additional works at: https://newprairiepress.org/biyclc This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Marion, Mathieu (2008) "Theory Of Knowledge In Britain From 1860 To 1950," Baltic International Yearbook of Cognition, Logic and Communication: Vol. 4. https://doi.org/10.4148/biyclc.v4i0.129 This Proceeding of the Symposium for Cognition, Logic and Communication is brought to you for free and open access by the Conferences at New Prairie Press. It has been accepted for inclusion in Baltic International Yearbook of Cognition, Logic and Communication by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Theory of Knowledge in Britain from 1860 to 1950 2 The Baltic International Yearbook of better understood as an attempt at foisting on it readers a particular Cognition, Logic and Communication set of misconceptions. To see this, one needs only to consider the title, which is plainly misleading. The Oxford English Dictionary gives as one August 2009 Volume 4: 200 Years of Analytical Philosophy of the possible meanings of the word ‘revolution’: pages 1-34 DOI: 10.4148/biyclc.v4i0.129 The complete overthrow of an established government or social order by those previously subject to it; an instance of MATHIEU MARION this; a forcible substitution of a new form of government. -
Humour and the Young Child
RESEARCH 4 19/2006/E Catherine Lyon Humour and the young child A review of the research literature What exactly is a sense of humour? Finally, does having a sense of hu- vision of a socially acceptable means On the basis of relevant research mour matter? Do children with a of expressing hostility and softening results on children and adults, ma- sense of humour have more friends, of an assertive/dominating style of ny favourable aspects of humour do better in school, or enjoy better interaction (McGhee, 1988). He states are presented. We learn that hu- emotional and physical health or not? rather unequivocally, “It is concluded mour is a skill that can be trained, Is a sense of humour inborn or some- that development of heightened early and this is where the use of media thing we can encourage? If we can humor helps to optimize children’s in the development of children’s teach a sense of humour, how do we social development.” humour comes into play. do that? Humour is frequently used to dispel Unlike other psychological constructs anxiety; by secondary reinforcement, (e. g., intelligence or extraversion) humour becomes a learned motive to there is no standard conception of experience mastery in the face of 1. What the research tells us sense of humour upon which re- anxiety – the “whistling in the dark” searchers generally agree (Martin, phenomenon. In studies investigating about humour and its 1998). With the caveat that this field stress and a sense of humour, e. g. development is currently made up of multiple ap- Martin and Lefcourt (1983 – cit. -
DOCTORAL THESIS Stories of Comedy and Tragedy in Therapy
DOCTORAL THESIS Stories of comedy and tragedy in therapy psychological therapists' experiences of humour in sessions with clients diagnosed with a terminal illness Chauhan, Gauri Award date: 2016 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 03. Oct. 2021 STORIES OF COMEDY AND TRAGEDY IN THERAPY: PSYCHOLOGICAL THERAPISTS’ EXPERIENCES OF HUMOUR IN SESSIONS WITH CLIENTS DIAGNOSED WITH A TERMINAL ILLNESS by Gauri Chauhan BSc A thesis submitted in partial fulfilment of the requirements for the degree of PsychD Department of Psychology Roehampton University 2015 Abstract This research explores psychological therapists’ experiences of humour in sessions with clients diagnosed with a terminal illness. In considering the extensive research uncovered involving humour and death, comparatively -
Humour and Fate in Tom Stoppard's Play Rosencrantz and Guildenstern Are Dead
Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Sayı 25/1,2016, Sayfa 74-86 HUMOUR AND FATE IN TOM STOPPARD’S PLAY ROSENCRANTZ AND GUILDENSTERN ARE DEAD Ayça ÜLKER ERKAN∗ Abstract The purpose of this study is to discuss physical humour arising from the characters’ quest for identity and to depict how the themes of death/ chance/ fate/ reality/ illusion function in the existentialist world of Rosencrantz and Guildenstern. Humour plays a significant role in the analysis of this tragicomedy. The theatre of the Absurd expresses the senselessness of the human condition, abandons the use of rational devices, reflects man’s tragic sense of loss, and registers the ultimate realities of the human condition, such as the problems of life and death. Thus the audience is confronted with a picture of disintegration. This dissolved reality is discharged through ‘liberating’ laughter which depicts the absurdity of the universe. Stoppard uses verbal wit, humour and farce to turn the most serious subjects into comedy. Humour is created by Guildenstern’s little monologues that touch on the profound but founder on the absurd. The play has varieties of irony, innuendo, confusion, odd events, and straight-up jokes. Stoppard’s use of the ‘play in play’ technique reveals the ultimate fate of the tragicomic characters Rosencrantz and Guildenstern. They confront the mirror image of their future deaths in the metadramatic spectacle performed by the Players. As such, the term “Stoppardian” springs out of his use of style: wit and comedy while addressing philosophical concepts and ideas. Key Words: The theatre of the Absurd, Humour, Identity confusion, Fate, The theme of death, Wit and comedy.