Unit I David Hume
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HUMS 4904A Schedule Mondays 11:35 - 2:25 [Each Session Is in Two Halves: a and B]
CARLETON UNIVERSITY COLLEGE OF THE HUMANITIES Humanities 4904 A (Winter 2011) Mahatma Gandhi Across Cultures Mondays 11:35-2:25 Prof. Noel Salmond Paterson Hall 2A46 Paterson Hall 2A38 520-2600 ext. 8162 [email protected] Office Hours: Tuesdays 2:00 - 4:00 (Or by appointment) This seminar is a critical examination of the life and thought of one of the pivotal and iconic figures of the twentieth century, Mohandas Karamchand Gandhi – better known as the Mahatma, the great soul. Gandhi is a bridge figure across cultures in that his thought and action were inspired by both Indian and Western traditions. And, of course, in that his influence has spread across the globe. He was shaped by his upbringing in Gujarat India and the influences of Hindu and Jain piety. He identified as a Sanatani Hindu. Yet he was also influenced by Western thought: the New Testament, Henry David Thoreau, John Ruskin, Count Leo Tolstoy. We will read these authors: Thoreau, On Civil Disobedience; Ruskin, Unto This Last; Tolstoy, A Letter to a Hindu and The Kingdom of God is Within You. We will read Gandhi’s autobiography, My Experiments with Truth, and a variety of texts from his Collected Works covering the social, political, and religious dimensions of his struggle for a free India and an India of social justice. We will read selections from his commentary on the Bhagavad Gita, the book that was his daily inspiration and that also, ironically, was the inspiration of his assassin. We will encounter Gandhi’s clash over communal politics and caste with another architect of modern India – Bimrao Ambedkar, author of the constitution, Buddhist convert, and leader of the “untouchable” community. -
Summary of the Book That Inspired the Work
Summary of the book that inspired the work WORLD LIGHT – LIFE AND DEATH OF AN ARTIST by Ragnar Kjartansson Book One – The Revelation of the Deity Ólafur’s life is overshadowed by misfortune. Unloved and abandoned by the person who charged him with the burden of living a pitiful Book 4 Book 1 existence, as a young child, he longs for an escape from this painfully ugly isolation, which he endures on a farm in rural Iceland. Suffering from vague maladies, abused by his adoptive family in whose eyes he is nothing but ignorant, lazy and useless, he turns his entire being towards the deity of nature. What is more fulfilling then taking in the blue sky above? More exhilarating then watching the sun go down behind the glacier? Immersed in the greatness of God’s revelations, Book 3 Book 2 Ólafur’s soul enters a safe place, a place of joy that makes him forget the harshness of the world, and eventually himself. Love and reverence, glory and radiance in an intimate understanding of the higher realm spontaneously burst into his tragic World Light, was written in 1937-40 and published in circumstances. In his longing for beauty and four separate tomes at the height of the European salvation, he spends his time reading and writing: tragedy of WWII by the fervent Communist Halldór “Often the boy was overwhelmed by an Laxness. Paradoxically perhaps, it is not as much a uncontrollable yearning to write down in a realist drama championing social and political justice, hundred books everything he saw, despite what as are some of his other books. -
Complete Stories by Franz Kafka
The Complete Stories by Franz Kafka Back Cover: "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York. The foreword by John Updike was originally published in The New Yorker. -
Creativity in Nietzsche and Heidegger: the Relation of Art and Artist
Creativity in Nietzsche and Heidegger: The Relation of Art and Artist Justin Hauver Philosophy and German Mentor: Hans Sluga, Philosophy August 22, 2011 I began my research this summer with a simple goal in mind: I wanted to out- line the ways in which the thoughts of Friedrich Nietzsche and Martin Heidegger complement one another with respect to art. I had taken a few courses on each philosopher beforehand, so I had some inclination as to how their works might be brought into agreement. However, I almost immediately ran into difficulty. It turns out that Heidegger, who lived and thought two or three generations after Nietzsche, had actually lectured on the topic of Nietzsche's philosophy of art and had placed Nietzsche firmly in a long tradition characterized by its mis- understanding of art and of the work of art. This means that Heidegger himself did not agree with me|he did not see his thoughts on art as complementary with Nietzsche's. Rather, Heidegger saw his work as an improvement over the misguided aesthetic tradition. Fortunately for me, Heidegger was simply mistaken. At least, that's my thesis. Heidegger did not see his affinity with Nietzsche because he was misled by his own misinterpretation. Nevertheless, his thoughts on art balance nicely with those of Nietzsche. To support this claim, I will make three moves today. First, I will set up Heidegger's critique, which is really a challenge to the entire tradition that begins with Plato and runs its course up to Nietzsche. Next, I will turn to Heidegger's views on art to see how he overcomes the tradition and answers his own criticism of aesthetics. -
BY PLATO• ARISTOTLE • .AND AQUINAS I
i / REF1,l!;CTit.>NS ON ECONOMIC PROBLEMS / BY PLATO• ARISTOTLE • .AND AQUINAS ii ~FLECTIONS ON ECONO:MIC PROBLEMS 1 BY PLA'I'O, ARISTOTLE, JJJD AQUINAS, By EUGENE LAIDIBEL ,,SWEARINGEN Bachelor of Science Oklahoma Agricultural and Mechanical Collage Stillwater, Oklahoma 1941 Submitted to the Depertmeut of Economics Oklahoma Agricultural and Mechanical College In Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE 1948 iii f.. 'I. I ···· i·: ,\ H.: :. :· ··: ! • • ~ ' , ~ • • !·:.· : i_ ·, 1r 1i1. cr~~rJ3t L l: i{ ,\ I~ Y , '•T •)() 1 0 ,1 8 API-'HOV~D BY: .J ,.· 1.., J l.;"t .. ---- -··- - ·- ______.,.. I 7 -.. JI J ~ L / \ l v·~~ u ' ~) (;_,LA { 7 {- ' r ~ (\.7 __\ _. ...A'_ ..;f_ ../-_" ...._!)_.... ..." ___ ......._ ·;...;;; ··-----/ 1--.,i-----' ~-.._.._ :_..(__,,---- ....... Member of the Report Committee 1..j lj:,;7 (\ - . "'·- -· _ .,. ·--'--C. r, .~-}, .~- Q_ · -~ Q.- 1Head of the Department . · ~ Dean of the Graduate School 502 04 0 .~ -,. iv . r l Preface The purpose and plan of this report are set out in the Introduction. Here, I only wish to express my gratitude to Professor Russell H. Baugh who has helped me greatly in the preparation of this report by discussing the various subjects as they were in the process of being prepared. I am very much indebted to Dr. Harold D. Hantz for his commentaries on the report and for the inspiration which his classes in Philosophy have furnished me as I attempted to correlate some of the material found in these two fields, Ecor!.Omics and Philosophy. I should like also to acknowledge that I owe my first introduction into the relationships of Economics and Philosophy to Dean Raymond Thomas, and his com~ents on this report have been of great value. -
4Creativity, Shared Meaning, and Relationships
Creativity, Shared Meaning, and Relationships By Carlina Rinaldi 4The search for meaning begins from the moment of birth, from the child’s first silent “why,” and continues all through life. It is a difficult search. Young children make enormous efforts to put together often-disconnected fragments of experience to make sense of things. They persevere with their search stub- bornly, tirelessly, making mistakes, and often on their own. But while engaged in this search, children ask us to share the search with them. We as teachers are asked by children to see them as scientists or philosophers searching to understand something, to draw out a meaning, to grasp a “piece of life,” and to respect this search as a quality central to all human beings. We are asked to be the child’s traveling companion in this search for meaning. We are also asked to respect the meanings that children produce, the explanatory theories they develop, and their attempts to find and give answers. When we honor children this way, the children reveal themselves to us: We come to know how they perceive, question, and inter- pret reality, and to understand their relationships with it. Concepts for Care • 2 1 I believe that teachers must communicate behaviors that teachers exhibit toward a willingness to assist children in their the child’s intention to search, the pro- search for meaning in life. Two of the cess of searching, and the conclusions a most important questions we have to ask child reaches either support or dampen ourselves as teachers are creativity. The teacher’s job is to engage in a “relational creativity” with the child “How can we aid young children • that both revels in the child’s creativity in their search for the meaning of and stimulates the teacher’s own creativ- things, and the meaning of ity to find ways to help the child observe, life itself?” analyze, interpret, and build theories. -
TRUTH and FALSEHOOD in SCIENCE and the ARTS the Arts
The authors discuss truth and falsehood in science and ARTS THE AND SCIENCE IN FALSEHOOD AND TRUTH the arts. They view truth as an irreducible point of refer- TRUTH AND FALSEHOOD ence, both in striving for elementary knowledge about the world and in seeking methods and artistic means IN SCIENCE of achieving this goal. The multilevel and multiple-aspect research presented here, conducted on material from different periods and different cultures, shows very clearly AND THE ARTS that truth and falsehood lie at the foundation of all human motivation, choices, decisions, and behaviors. At the Edited by same time, however, it reveals that every bid to extra- polate the results of detailed studies into generalizations Barbara Bokus, Ewa Kosowska aimed at universalization – by the very fact of their discursivation – either subjects the discussion to the rules of formal logic or situates it outside the realm of truth and falsehood. The Editors www.wuw.pl TRUTH AND FALSEHOOD IN SCIENCE AND THE ARTS TRUTH AND FALSEHOOD IN SCIENCE AND THE ARTS Edited by Barbara Bokus, Ewa Kosowska Reviewers Stefan Bednarek Stanisław Rabiej Commissioning Editor Ewa Wyszyńska Proofreading Joanna Dutkiewicz Index Łukasz Śledziecki Cover Design Anna Gogolewska Illustration on the Cover kantver/123RF Layout and Typesetting Marcin Szcześniak Published with financial support from the University of Warsaw Published with financial support from the Faculty of “Artes Liberales”, University of Warsaw © Copyright by Wydawnictwa Uniwersytetu Warszawskiego, Warszawa 2020 Barbara Bokus ORCID 0000-0002-3048-0055 Ewa Kosowska ORCID 0000-0003-4994-1517 ISBN 978-83-235-4220-9 (pdf online) ISBN 978-83-235-4228-5 (e-pub) ISBN 978-83-235-4236-0 (mobi) Wydawnictwa Uniwersytetu Warszawskiego 00-497 Warszawa, ul. -
Epistemology As a Foundation for Epicurean Thought Emma E
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Epistemology as a Foundation for Epicurean Thought Emma E. Hughes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES EPISTEMOLOGY AS A FOUNDATION FOR EPICUREAN THOUGHT By EMMA E. HUGHES A Thesis submitted to the Department of Classics in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2012 Emma E. Hughes defended this thesis on March 26th, 2012. The members of the supervisory committee were: Svetla Slaveva-Griffin Professor Directing Thesis Timothy Stover Committee Member Nathanael Stein Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii TABLE OF CONTENTS Abstract.......................................................................................................................................... iv INTRODUCTION...................................................................................................................1 CHAPTER ONE: A NEW LOOK AT AN OLD SCHOOL ..................................................5 CHAPTER TWO: PROBLEMS IN EPICUREAN EPISTEMOLOGY ...............................18 CHAPTER THREE: AN EPISTEMOLOGICAL FOUNDATION......................................30 CHAPTER FOUR: CONCLUSION .....................................................................................38 -
Cervantes and the Spanish Baroque Aesthetics in the Novels of Graham Greene
TESIS DOCTORAL Título Cervantes and the spanish baroque aesthetics in the novels of Graham Greene Autor/es Ismael Ibáñez Rosales Director/es Carlos Villar Flor Facultad Facultad de Letras y de la Educación Titulación Departamento Filologías Modernas Curso Académico Cervantes and the spanish baroque aesthetics in the novels of Graham Greene, tesis doctoral de Ismael Ibáñez Rosales, dirigida por Carlos Villar Flor (publicada por la Universidad de La Rioja), se difunde bajo una Licencia Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported. Permisos que vayan más allá de lo cubierto por esta licencia pueden solicitarse a los titulares del copyright. © El autor © Universidad de La Rioja, Servicio de Publicaciones, 2016 publicaciones.unirioja.es E-mail: [email protected] CERVANTES AND THE SPANISH BAROQUE AESTHETICS IN THE NOVELS OF GRAHAM GREENE By Ismael Ibáñez Rosales Supervised by Carlos Villar Flor Ph.D A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy At University of La Rioja, Spain. 2015 Ibáñez-Rosales 2 Ibáñez-Rosales CONTENTS Abbreviations ………………………………………………………………………….......5 INTRODUCTION ...…………………………………………………………...….7 METHODOLOGY AND STRUCTURE………………………………….……..12 STATE OF THE ART ..……….………………………………………………...31 PART I: SPAIN, CATHOLICISM AND THE ORIGIN OF THE MODERN (CATHOLIC) NOVEL………………………………………38 I.1 A CATHOLIC NOVEL?......................................................................39 I.2 ENGLISH CATHOLICISM………………………………………….58 I.3 THE ORIGIN OF THE MODERN -
WRAP THESIS Robbins 1996.Pdf
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/36344 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Decadence and Sexual Politics in Three Fin-de-Siècle Writers: Oscar Wilde, Arthur Symons and Vernon Lee Catherine Ruth Robbins Submitted for the Degree of Doctor of Philosophy University of Warwick Department of English and Comparative Literature November, 1996 Contents Summary Introduction 1 Chapter One: Traditions of Nineteenth-Century Criticism 17 Chapter Two: Towards a Definition of Decadence 36 Chapter Three: 'Style, not sincerity': Wilde's Early Poems 69 Chapter Four: The Sphinx and The Ballad: Learning the Poetics of Restraint 105 Chapter Five: Arthur Symons — The Decadent Critic as Artist 137 Chapter Six: A Poetics of Decadence: Arthur Symons's bays and Nights and Silhouettes 165 Chapter Seven: 'Telling the Dancer from the Dance': Arthur Symon's London Nights 185 Chapter Eight: Vemon Lee: Decadent Woman? 211 Afterword: 'And upon this body we may press our lips' 240 Bibliography of Works Quoted and Consulted 244 List of Illustrations, bound between pages 136 and 137 Figure 1: 'The Sterner Sex', Punch, 26 November, 1891 Figure 2: 'Our Decadents', Punch, 7 July, 1894 Figure 3: 'Our Decadents', Punch, 27 October, 1894 Figure 4: Edward Bume-Jones, Pygmalion and the Image (1878), nos 1-3 Figure 5: Edward Bume-Jones, Pygmalion and the Image (1878), no. -
Russell and the Cambridge Moral Sciences Club L by Jack Pitt
Russell and the Cambridge Moral Sciences Club l by Jack Pitt IN HIS Autobiography Russell records his extreme satisfaction at being elected to the fraternal discussion group at Cambridge familiarly known as the Apostles. 2 In addition to including a number of congratulatory letters from elder Apostles, he writes: "The greatest happiness ofmy time at Cambridge was connected with a body whom its members knew as 'The Society,' but which outsiders, if they knew of it, called 'The Apostles.'''3 The sub sequent notoriety of this group obscured the fact that Russell I Gratitude is expressed to those at the University of Cambridge who kindly provided access to the Minutes of the Cambridge University Moral Sciences Club. The Minutes have been invaluable in constructing an historical context in which to locate Russell's participation in the Club, and in providing many details pertinent to that participation. 2 Its complete name is the Cambridge Conversazione Society. Its character and history is treated in Paul Levy's fascinating study, G. E. Moore and the Cam bridge Apostles (London: Weidenfeld and Nicolson, 1979). I am indebted to this book for many points of fact in this essay, especially as these concern members of the Society. The interested reader may also wish to consult Peter Allen's The Cambridge Apostles: The Early Years (Cambridge: Cambridge University Press, 1978). 3 Autobiography, 1872-1914 (Boston: Atlantic-Little, Brown, 1967), p. 91. 103 104 Russell winter 1981-82 Russell and the Cambridge Moral Sciences Club 105 maintained membership in other Cambridge societies. for The Athenaeum. Another of those in attendance was Alfred Philosophically the most important, and the one which will con Williams Momerie (Mummery), subsequently Professor of Logic cern us here, is the Cambridge University Moral Sciences Club and Metaphysics (1880-91) at King's College, London, and also (CUMSC). -
In Order to Continue My Education With
Contemporary Metaethics Part 1 My Personal Notes © James Gray 2009-2011 Originally published at http://ethicalrealism.wordpress.com/ 1 Table of Contents 1. What is “Morality?”................................................................................................................5 What does “morality” mean?..................................................................................................6 Moral and nonmoral standards...............................................................................................9 2. The Debate Over Moral Realism..........................................................................................11 What is Moral realism?........................................................................................................11 Is moral realism true?...........................................................................................................14 3. Meta-Ethical Theories...........................................................................................................16 Moral naturalism..................................................................................................................16 Moral intuitionism................................................................................................................17 Emotivism.............................................................................................................................17 Moral relativism...................................................................................................................18