This chapter contains sections titled: Resented Relations Back to Fichte Schopenhauer Hears and Reads Fichte A Fairy Tale A Fairy Tale in a Leaden Age From the Freedom of the Will to the Freedom of Non‐Willing Notes References.

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 for Schopenhauer scholars, together with philosophical introductions and full editorial apparatus. The World as Will and Representation contains Schopenhauer's entire philosophy, ranging through epistemology, metaphysics, philosophy of mind and action, aesthetics and philosophy of art, to ethics, the meaning of life and the philosophy of religion. This second volume was (...) added to the work in 1844, and revised in 1859. Its chapters are officially 'supplements' to the first volume, but are indispensable for a proper appreciation of Schopenhauer's thought. Here we have his most mature reflections on many topics, including sex, death, conscious and unconscious desires, and the doctrines of salvation and liberation in Christian and Indian thought. Schopenhauer clarifies the nature of his metaphysics of the will, and synthesizes insights from a broad range of literary, scientific and scholarly sources. This new translation reflects the eloquence and power of Schopenhauer's prose, and renders philosophical terms accurately and consistently. It offers an introduction, glossary of names, bibliography, and succinct editorial notes. (shrink)

Schopenhauer is widely recognized as the Western philosopher who has shown the greatest openness to Indian thought and whose own ideas approach most closely to it. This book examines his encounter with important schools of Hindu and Buddhist philosophy and subjects the principal apparent affinities to a careful analysis. Initial chapters describe Schopenhauer’s encounter with Indian thought in the context of the intellectual climate of early nineteenth-century Europe. For the first time, Indian texts and ideas were becoming available and the (...) belief that they could bring about a second Renaissance—an “Oriental Renaissance”—was widespread. Schopenhauer shared in this enthusiasm and for the rest of his life assiduously kept abreast of the new knowledge of India. Principal sections of the book consider the two main pillars of Schopenhauer’s system in relation to broadly comparable ideas found, in the case of Hindu thought, in Advaita Vedānta, and within Buddhism in the Mādhyamika and Yogācāra schools. Schopenhauer’s doctrine of the world as representation, or a flow of impressions appearing in the consciousness of living beings, is first considered. The convergence between this teaching and Indian idealism, especially the doctrine of illusory appearance, has long been recognized. Schopenhauer himself was aware of it, emphasizing that it was the result not of influence but of a remarkable convergence between Eastern and Western thought. This convergence is subjected to a much more detailed examination than has previously been carried out, undertaken in the light of twentieth-century Indology and recent studies of Schopenhauer. The second main pillar of Schopenhauer’s system, the doctrine of the world as will, is then examined and its relationship to Indian thought explored. This section of the work breaks new ground in the study of Schopenhauer, for although the similarity of his ethical and soteriological teaching to that of Indian religions has long been noted the underlying reasons for this have not been grasped. It is demonstrated that they are to be found in hitherto unrecognized affinities, of which Schopenhauer himself was largely unaware, between the metaphysics of the will and Indian ideas relating to karmic impressions, the store-consciousness, the causal body, and śakti as the “force” or “energy” that maintains the existence of the world. Final chapters discuss the controversial and difficult question of the relation of the will to final reality in Schopenhauer’s thought in the light of Indian conceptions, and suggest that the two central pillars of his philosophy may be seen, to a greater extent than previously supposed, as a bridge by which the Eastern and Western traditions of philosophical thought may be brought into a closer and more creative relationship. (shrink)

Nietzsche was a severe critic of German Idealism, but what exactly is the relation between his thought and theirs? Papers from leading specialists in Kant, Hegel, Schelling, Schopenhauer, Kierkegaard and Nietzsche contribute to a clearer understanding of the differences and affinities between Nietzsche's philosophy and that of his predecessors.".

Nietzsche was a severe critic of German Idealism, but what exactly is the relation between his thought and theirs? Papers from leading specialists in Kant, Hegel, Schelling, Schopenhauer, Kierkegaard and Nietzsche contribute to a clearer understanding of the differences and affinities between Nietzsche's philosophy and that of his predecessors.".

The Cambridge Critical Guides series offers cutting-edge research volumes on some of the most important works of philosophy. Each volume presents newly-commissioned essays by an international team of contributors, and will appeal to a scholarly and graduate-level audience. One of the themes that this volume brings out is the endurance and contemporary relevance of some of Schopenhauer’s most pressing concerns. In a sense, he is right to be ahistorical: is it not this reaching out of its time that makes a (...) work a classic, eternal even? Principal among these concerns of course is the question of how to respond as plagues overwhelm us (which is Schopenhauer’s description of existence in a normal state, the plague of existence rather than a plague within existence). His famous answer involves the negation of the will, the ascetic denial and rejection of desire. Of course, this response is more striking than it is clear, and several of the essays tackle the question of what is meant, entailed, and achieved by negation of the will. (shrink)

This book’s goal is to give an intellectual context for the following manuscript. -/- Includes bibliographical references and an index. Pages 1-123. 1). Philosophy. 2). Metaphysics. 3). Philosophy, German. 4). Philosophy, German -- 18th century. 5). Philosophy, German and Greek Influences Metaphysics. I. Hegel, Georg Wilhelm Friedrich -- 1770-1831 -- Das älteste Systemprogramm des deutschen Idealismus. II. Rosenzweig, Franz, -- 1886-1929. III. Schelling, Friedrich Wilhelm Joseph von, -- 1775-1854. IV. Hölderlin, Friedrich, -- 1770-1843. V. Ferrer, Daniel Fidel, (...) 1952-. [Translation from German into English of the-- Das älteste Systemprogramm des deutschen Idealismus.]. -/- Note: the manuscript is in the handwriting of G.W.F. Hegel, but the actual authorship is disputed. No date is given. Franz Rosenzweig made up the title as it is known today. He published the text in 1917. At that time, F. Rosenzweig thought F.W.J. Schelling was the author. No one has read this book for errors. As always, any errors, mistakes or oversights etc. are mine alone. Given a couple more years, I could improve this book. This is a philosophical translation and not a philological translation. Martin Luther who did the famous early translation of the Bible into German wrote in a letter, “If anyone does not like my translation, they can ignore it… (September 15, 1530)”. There are no ‘correct’ translations. Some are just better than other translations. -/- The Oldest Systematic Program of German Idealism. The German title is: Das Älteste Systemprogramm Des Deutschen Idealismus. This title was made up by Franz Rosenzweig in 1917, when he first published the manuscript. He found the manuscript in the Royal Library in Berlin in 1913. The manuscript suggested date is around 1796 and was done by handwriting research. However, the manuscript is not dated. The Prussian State Library auctioned in March 1913 from the auction of the house Liepmannssohn in Berlin a single sheet on the front and back with Hegel's cursive handwriting. The manuscript was lost during WWII. But Dieter Henrich found it again in 1979 in the “Biblioteka Jagiellonska” in Krakow (Poland), where it is today. Address: Jagiellonian Library, Jagiellonian University, al. Mickiewicza 22, 30-059 Cracow, Poland. Later research suggests that manuscript had come from the estate of Hegel’s student Friedrich Christoph Förster (1791-1868). He was one of the editors of Hegel’s posthumous works and most likely had access to a number of Hegel’s manuscripts. This text actually being one of them. Hegel traveled around Bohemia with Marie and Friedrich Christoph Förster around the year 1820-21 (see Klaus Vieweg). -/- Philosophical mystery -- who is the author or authors of this text? -/- Take a plunge into the deep and cold waters. Maybe a quagmire or quandary, but decidedly interesting. This project is to contextualize an old handwritten manuscript which is about 225 years old. The actual author is a mystery. I offer my own assessment. You can make your own assessments. The mystery has continued to unfold since 1917. There is plenty to read. Otherwise, think about the authorship and read more of the German philosophers and authors from this period and enjoy the depth of thinking and philosophizing. On one hand, there is just the sheer fun in the puzzle of the authorship questions; and on the other hand, these are the alluring thoughts that lead to the nascent stage of German Idealism and our intellectual heritage. There is no end to the accolades for this group of philosophers. A heritage that we still hear in in our attempts to move forward into our future. -/- Do your own astute exegesis (ἐξήγησις) as all paths are still open. Let your thought take to the wings of what is called thinking with this text. Critical encounters (Auseinandersetzung, or a Gegenüberstellung) with at least: Friedrich Hölderlin (1770-1843) Friedrich Wilhelm Joseph Schelling (1775-1854), and Georg Wilhelm Friedrich Hegel (1770-1831) --- starts here! German Idealism. We are not going to study this situation endlessly, instead we make some broad strokes and provide you a general context. You are allowed to read between the lines too. Goal: to understand the overall affinity and differences between the intellectuals of this period in German history; and to come to grips with this demanding text within its large scholarly context in the last 100 years. There are no final answers. (shrink)

This chapter contains sections titled: Non‐Scientific Confirmations of Schopenhauer's Metaphysics in “The Wisdom Deposited in Language,” Zhu Xi's Neo‐Confucianism, Animal Magnetism and Magic Scientific Confirmations of Schopenhauer's Metaphysics in Plant and Animal Physiology, Comparative Anatomy and Physical Astronomy The Independence of Will from Intellect The Will as Kant's “Thing‐in‐Itself” Schopenhauer's Paradoxical References to the Brain Some Nietzsche‐Related Parerga in On the Will in Nature Notes References Further Reading.

In lieu of an abstract, here is a brief excerpt of the content:Schopenhauer's Pessimism and the Unconditioned Good MARK MIGOTTI SCHOPENHAUERTOOK PESSIMISMtO be a profound doctrine that had long been accepted by the majority of humanity, albeit usually in the allegorical form given to it by one or another religious creed. Accordingly, he credited himself, not with the discovery of pessimism, but with the provision of a satisfactory philosophical exposition and defense of its claims. It was, he contended, only (...) within the context of his philosophy, animated by the "single thought" that "the world is the self-knowledge of the will,"' that the ultimate significance of pessimism and the arguments demonstrating its inescapability can be brought to light. If, nevertheless, he sometimes appears to protest too much, to defend pessimism as if it were a striking and novel affair, he would have attributed this to the fact that he was, unfortunately, writing in the midst of one of the most naively optimistic cultures known to world history. 2 The philosophical reception of Schopenhauer's pessimism since the publication of The World as Will and Representation in 1818 would, one suspects, have been taken by him as further evidence of modern Western philosophy's optimistic somnambulance. For while other, comparably fundamental aspects of his thought--for example, his theories of action, of the self, and his criticisms of Kant--have received a welcome amount of fruitful, critical attention, his I would like to thank John Atwell, David Schmidtz, Susan Haack, Rudolf Makkreel and, especially,two anonymous referees, for prompting me to make substantial improvements to an earlier draft of this paper. ' Arthur Schopenhauer, Der handschrifllicher Nachlass 1, ed. Arthur Hiibscher (Frankfurt-amMain : Kramer, 1967),462; Manuscript Remains 1, trans. E. F.J. Payne(NewYork: Berg Publishing, 1988), 512. 'See, for example, Arthur Schopenhauer, D/e Welt als Wille und VorsteUung II. In Arthur Schopenhauer. Ziircher Ausgabe, ed. Arthur Hiibscher et. al. (Zurich: DiogenesVerlag, 1977),w 4:721, 732-33; The World as Will and Representation II, trans. E. F. J. Payne(New York: Dover Press, 1969),615, 625-26. Future references to this work willbe made within the text, by the abbreviation WW followed by section number, German edition volume and page number and English translation page number. [643] 644 JOURNAL OF THE HISTORY OF PHILOSOPHY 33:4 OCTOBER ~995 pessimism has not. Amongst enthusiastic followers it has sometimes been swallowed more or less whole, but from more independent-minded readers it has generally met with disdainful mockery or well-intentioned neglect.3 The aim of this paper is to help rectify' this imbalance. In the first of its four sections, I present an account of Schopenhauerian pessimism that can claim a good measure of textual support, and the essential features of which are found often enough in the secondary literature to warrant calling it the mainstream interpretation.4 In section 2 I show that, as critics have charged, the arguments for pessimism on this interpretation suffer from a pair of fatal ambiguities, and in section 3 I sketch an alternative argument for pessimism, one not so obviously open to the sort of knock-down refutation to which the first argument succumbs. In the paper's final section l explore further the philosophical consequences of this alternative argument for pessimism. 3Gyorg'yLukacs, "Schopenhauer," chapter ~,section 4 of The Destruction of Reason, trans. Peter Palmer (London: Merlin Press, 1979), 19~-243, isthe locusclassicusof an attitude of superior scorn. Bryan Magee, The Philosophy of Schopenhauer (Oxford: "the Clarendon Press, 1983), z3-14, D. W. Hamlyn, Schopentmuer (London: Routledge, z98o), *43, Michael Fox, "Schopenhauer on Death, Suicide, and Renunciation." in Schopenhauer: His Philosophical Achievement, ed. Michael Fox (Totowa, NJ: Barnes and Noble Books, 198o), ]47-7o, and David Cartwrigh*, "Schopenhauer on Suffering, Death, Guilt, and the Consolation of Metaphysics,"in Schopenhauer: New Essays in Hotwr ofHis 2ooth Birthday, ed. Eric yon der Luft (Lewiston,NY: Edwin Mellen Press, t988), 66, all incline to the viewthat it was temperament, not argument, that drove Schopenhauer to pessimism, while Patrick Gardiner, Schopenhatwr (London: Penguin Books, ]963), does not discuss pessimism by name. Not even Nietzsche, the deepest and most astute of Schopenhauer'scritics,can resistbarbs of the following sort: "Schopenhauer, although a pessimist, in ]act played the flute... (shrink)

Schopenhauer is acknowledged as “the philosopher of pessimism” and author of a system that teaches how art and morality can help humans navigate life in “the worst of all possible worlds.” This dominant image has cut off an important branch of Schopenhauer’s tree of philosophy—metaphysics of nature and its constant dialogue with the sciences of the time. Beginning with a reappraisal of Schopenhauer’s system as a whole—which he defined as a “single thought”—this book interprets his metaphysics as a knowledge that (...) brings value and meaning to our lives. More specifically, Schopenhauer’s writings show that he saw science as adding value to metaphysical knowledge. Understanding Schopenhauer’s metaphysics therefore requires both an understanding of the dialogue he maintained with the natural sciences and an appreciation of the role of the natural sciences in his philosophical project. And exploring the relationship between science and metaphysics provides a new perspective on his metaphysics and its development between the first edition of The World as Will and Representation (1819) and 1844, when Schopenhauer added a second volume of Supplements to his work. In 1819, he valued Schelling’s philosophy of nature as a model for establishing a link between metaphysical speculation and science. In the years that followed, he assessed the implications for metaphysics of the transformation of scientific research into a practice increasingly independent of philosophy. Such an assessment also affected his metaphysics, and even the will and Ideas underwent a process of revision. (shrink)

Adorno´s critique of absolute idealism is beset with considerable hermeneutical errors. Adorno does not fail to notice, however, that Hegel addressed many of the open questions of transcendental idealism and tried to solve them. For example, Adorno recognizes that Hegel criticized Kant and Fichte precisely because they both ultimately advocated a formal conception of subjectivity; Hegel unceasingly stressed instead the importance of the intrinsic unity of subject and object. Furthermore, Adorno acknowledges that Hegel rejected the pure identity of (...) the I as the starting point of the system and claimed that the different conceptions of reality developed by the human mind are based on the successive contradictions of the objects with their own concepts – for Adorno this is the reason why Hegel was able to expound his philosophy on the basis of the thoughts of the subject in the Phenomenology of Spirit and from the determinations of the object in the Science of Logic. Adorno explicitly recognizes that the attempt to develop dialectics from both sides, that is, from the subject and the object, was an advance of Hegel over earlier idealists. Adorno, finally, accepts that, although Hegel characterizes subjectivity as absolute, objectivity plays a decisive role in his philosophy. With Hegel, according to Adorno, idealism reaches its maximum strength and its highest elevation. Now, despite recognizing the advantages of Hegel´s approach Adorno nonetheless maintains that absolute idealism ultimately rests on the radicalization of transcendental idealism, as a further expansion of its basic principle. Hegel disagreed with transcendental idealism, but he did not abandon its main project of deriving all determinacy from subjective thought; he therefore did not contest the priority of the subject. Although Adorno recognizes the value of many of the solutions that Hegel offers to solve the theoretical tensions within transcendental idealism, he thinks that those solutions do not actually resolve these tensions – in Adorno´s eyes they simply cannot be solved within the idealistic paradigm. It is not unfair to say that Adorno misunderstands Hegel´s absolute idealism as a heterodox attempt to further develop Fichte´s philosophical program in a divergent way (especially as it is presented in the Foundation of the Entire Wissenschaftslehre). Adorno´s supposedly ‘immanent’ critique of absolute idealism is in fact based on a highly controversial interpretation of Hegel´s approach, which is to resolve those problematic claims of Kant´s and Fichte´s variants of idealism that Adorno himself considers untenable. (shrink)

Fichte's reputation at the present time is in some respects a curious one. On the one hand, he is by common consent acknowledged to have exercised a dominant influence upon the development of German thought during the opening decades of the nineteenth century. Thus from a specifically philosophical point of view he is regarded as an innovator who played a decisive role in transforming Kant's transcendental idealism into the absolute idealism of his immediate successors, while at a (...) more general level he is customarily seen as having put into currency certain persuasive conceptions which contributed—less directly but no less surely—to the emergence and spread of romanticism in some of its varied and ramifying forms. On the other hand, however, it is noticeable that detailed consideration of his work has not figured prominently in the recent revival of concern with post-Kantian thought as a whole which has been manifested by philosophers of the English-speaking world. Although his name is frequently mentioned in that connection, one suspects that his books may not be so often read. In part this may be due to his particular mode of expounding his views, which at times attains a level of opacity that can make even Hegel's obscurest passages seem comparatively tractable. It is also true that Fichte's principal theoretical works—if not his semipopular writings—are largely devoid of the allusions to scientific, historical, psychological or cultural matters with which his German contemporaries were prone to illustrate their philosophical doctrines and enliven their more abstract discussions: there is a daunting aridity about much of what he wrote which can raise nagging doubts in the modern reader's mind about the actual issues that are in question. Yet the fact remains that by the close of the eighteenth century his ideas had already made a profound impact, capturing the imagination of a host of German thinkers and intellectuals. The problem therefore arises as to what preoccupations, current at the time, they owed their indubitable appeal and to what puzzles they were welcomed as proffering a solution. If these can be identified, it may become at least partially intelligible that Fichte should have been widely regarded as having provided a framework within which certain hitherto intractable difficulties could be satisfactorily reformulated and resolved. Let me accordingly begin by saying something about them. (shrink)

A relation between Sartre's phenomenological ontology and the German idealist tradition is frequently assumed in the secondary literature on Sartre. The literature that confronts this question usually adopts a piecemeal approach, treating individual philosophers, usually Hegel, in the mode of comparison and contrast. This approach, though fruitful in a limited fashion, obscures the broader question of Sartre's relation to German idealism as a whole. This study attempts to place Sartre in the context of an internal debate (...) class='Hi'>within idealist thought, as one player in an ongoing dialogue. Its task is the establishment of Sartre's phenomenological ontology in Being and Nothingness as essentially idealist in both form and content. ;This work proceeds primarily through interaction with primary texts, beginning with Sartre's early piece, Imagination: A Psychological Critique. From this book we abstract a critical methodology that we discover is ubiquitous in Sartre's early works. In particular, we examine the application of it to the idealists in Being and Nothingness, learning both its failures in terms of representational accuracy and its successes in advancing Sartre's argument. These discoveries lead us to explore the distinction Sartre draws between metaphysics and ontology, which is critical to understanding the nature of Sartre's entire project. Having clarified this distinction, we return our attention to the critical methodology, which displays both an intimate connection to, and important distinctions from, Hegel's dialectical logic. Notably, if Sartre's position is best understood as an ongoing 'moment' in the developing narrative of idealist thought, we conclude that the profound nature of Sartre's relation to Hegel is that of opposition. Sartre's opposition to Hegel in turn may be seen as analogous to the Kantian project of establishing intellectual space for ethics in the face of scientific rationalism. Sartre, I argue, reinstitutes Kant's "Copernican revolution" on the ontological level as a response to the necessitarianism issuing from Hegel's dialectical logic. This response intends to place the realm of ethics forever beyond the possibility of doubt by forbidding metaphysical speculation any functional relevance to human existence. To live as anything other than free moral agents is to live in bad faith. (shrink)

The aim of this paper is to investigate the function of the aesthetic paradigm of German idealism within Adorno’s thought. In order to do so, I have chosen to focus on the issue of the social significance of the work of art and the role played by the concept of literary material. Adorno’s aesthetics, in fact, can be read as a reinterpretation of the idealist aesthetic model based precisely on a non-idealist notion such as that of aesthetic (...) material.If one is to allow a seemingly brutal simplification, there are two ways to think about the social meaning of literature. One identifies somehow the subject of the text, assesses whether or not this challenges the society from which the literary work stems, and on this ground establishes its social character. According to this perspective, Brecht’s Threepenny Opera and Sciascia’s The Day of the Owl can be seen as socially engaged literature, while Proust’s Recherche cannot, or can only to a lesser extent. The other approach argues instead that any literary work, and in any of its instances, says something about the society in which it takes shape. In this contribution I would like to focus on this latter approach. In particular, I am interested in understanding how literature is connected to society, that is, through which identifiable elements literary works express certain aspects of society. The Hegelian idealistic idea according to which Greek tragedy expresses the constitutive features of Athenian society, and which is found again and again in the authors who in various ways have taken up Hegel’s legacy, is generally accepted as such and valued for the explanatory opportunities it offers. It is my opinion, however, that one notion in particular can be retrieved within the whole inherited baggage of that aesthetic tradition, which may be able to further clarify the relationship between literature and society. This concept is that of material and the author who has most thoroughly investigated it is Adorno. In this paper I will try to outline the main features of a counterintuitive notion such as that of “literary material” and thereby explain why it plays such an important role in Adorno’s rework of the aesthetic paradigm of German idealism. The concept of material, in fact, is key to the definition of another aesthetic category around which, according to Adorno, most of the problems connected to works of art gravitate, that is to say, the notion of form. From Adorno’s aesthetics, in fact, one of his most insightful readers, Peter Szondi, draws the main principle for his study of the historical form of modern drama, namely the idea that form is essentially a precipitation, a sedimentation of contents. The work of art, then, at least according to this definition, is essentially identified by its form. Or, better said, the artwork must be interpreted as the way in which a certain (historical) content sediments in a certain external form. That the form of the work of art is precipitated content means, in simple terms, that no effective disjunction can be assumed between form and content. This is how Adorno reinterprets the concept of “identity of form and content” stressed by classical aesthetics. The content is such only insofar as it is precipitated into a certain form. This amounts to saying that no objective distinction can be established between one and the other. Now, if one were to ask how the form is made, Adorno’s answer is quite straightforward: the form is made by means of organization and, precisely, by means of the organization of the material. As one reads in Aesthetic Theory, in fact, “the substantial element of genres and forms has its locus in the historical needs of their materials,” and the particular form of an artwork is defined as the “organization” of its “materials” (Adorno 1970, transl. 1997: 201). The concept of material, therefore, is key to the definition of the very notion of work of art in its constituent components, namely the relationship between form and content. In this paper I will first of all clarify the notion of artistic material in general and subsequently I will turn to strictly literary material. Finally, and this is the main goal of this essay, I will show to what extent this definition of the material possibly contributes to a better understanding of a widely and variedly debated literary phenomenon of our time, namely the form of the so-called postmodern novel. (shrink)

This is not yet another book on Heideg-ger's politics, nor does its author attempt, as have others, to discover within the development of Heidegger's thought the basis for his infamous political convictions. Rather, Schalow argues that there are unacknowledged—particularly by Heidegger himself—trajectories in Heidegger's thought, present as early as Sein und Zeit, that provide the basis and inspiration for a postmodern politics and its standard values of pluralism and tolerance. The basis for these trajectories lies in a subargument (...) class='Hi'>within Heidegger's deconstruction of Western metaphysics, namely, a critique of traditional moral philosophy that seeks to uncover a more primordial ethos underlying all moral values that sustains rather than dismisses or radically reinterprets those values. Schalow contends that Heidegger's reflections on language and his critique of instrumental reason point toward the possibility of a new ethos and sense of “the good” that can inspire and sustain a radical challenge to the political status quo and a new argument for positive freedom within a postmodern world. (shrink)

Schopenhauer's claim that the essence of the world consists inWilleencounters well-known difficulties. Of particular importance is the conflict of this metaphysical claim with his restrictive account of conceptuality. This paper attempts to make sense of Schopenhauer's position by restoring him to the context of post-Kantian debate, with special attention to the early notebooks andFourfold Root of the Principle of Sufficient Reason. On the reconstruction suggested here, Schopenhauer's philosophical project should be understood in light of his rejection of (...) post-Kantian metaphilosophy and his opposition to German Idealism. (shrink)

This collection brings together thirteen essays by some of the most respected contemporary scholars of Schopenhauer's aesthetics from a wide spectrum of philosophical perspectives. The dynamics of the empirical will and Will as a thing-in-itself in the interplay of Schopenhauer's metaphysics and philosophy of fine art has important implications for the freedom, salvation and tragic suffering of the artist, the representation of Platonic Ideas in art, and the role of artistic inspiration, emotion and aesthetic pleasure in the beautiful (...) and sublime. These essays examine the unique theory Schopenhauer developed to explain the life and work of the artist, and the influence his aesthetic philosophy has had on subsequent artistic traditions in such diverse areas as music, painting, poetry, literature and architecture. The authors present Schopenhauer's thought as a vital and enduring contribution to aesthetic theory, and to the idealist vision which continues to guide Romantic and neo-Romantic art. (shrink)

This comprehensive Handbook offers a leading-edge yet accessible guide to the most important facets of Arthur Schopenhauer's philosophical system, the last true system of German philosophy. Written by a diverse, international and interdisciplinary group of eminent and up-and-coming scholars, each of the 28 chapters in this Handbook includes an authoritative exposition of different viewpoints as well as arguing for a particular thesis. Authors also put Schopenhauer's ideas into historical context and connect them when possible to contemporary philosophy. (...) Key features: Structured in six parts, addressing the development of Schopenhauer's system, his epistemology and metaphysics, aesthetics and philosophy of art, ethical and political thought, philosophy of religion and legacy in Britain, France, and the US. Special coverage of Schopenhauer's treatment of Judaism, Christianity, Vedic thought and Buddhism Attention to the relevance of Schopenhauer for contemporary metaphysics, metaethics and ethics in particular. The Palgrave Schopenhauer Handbook is an essential resource for scholars as well as advanced students of nineteenth-century philosophy. Researchers and graduate students in musicology, comparative literature, religious studies, English, French, history, and political science will find this guide to be a rigorous and refreshing Handbook to support their own explorations of Schopenhauer's thought. (shrink)

: This article examines Slavoj Žižek’s reading of F.W.J. Schelling’s Ages of the World from the standpoint of the ontological status of nothingness in Schelling’s idealism as contrasted with Žižek’s methodology of dialectical materialism. Although Schelling’s theosophical theism differs from Žižek’s materialist hermeneutic, Schelling’s thought nevertheless enacts an important breakthrough in Western philosophy that anticipates the dynamics of the Marxist interpretation of the dialectic. In particular, his positing of opposed unconscious drives within the ante-cosmic Godhead prefigures Sigmund Freud’s (...) theory of the death drive. (shrink)

Arthur Schopenhauer was one of the greatest writers and German philosophers of the nineteenth century. His work influenced figures as diverse as Wagner, Freud and Nietzsche. Best known as a pessimist, he was one of the few philosophers read and admired by Wittgenstein. In this comprehensive introduction, Julian Young covers all the main aspects of Schopenhauer's philosophy. Beginning with an overview of Schopenhauer's life and work, he introduces the central aspects of his metaphysics fundamental to understanding his (...) work as a whole: his philosophical idealism and debt to the philosophy of Kant; his attempt to answer the question of what the world is; his account of science; and in particular his idea that 'will' is the essence of all things. Julian Young then introduces and assesses Schopenhauer's aesthetics, which occupy a central place in his philosophy. He carefully examines Schopenhauer's theories of the sublime, artistic genius and music, before assessing his ethics of compassion, his arguments for pessimism and his account of 'salvation'. In the final chapter, he considers Schopenhauer's legacy and his influence on the thought of Nietzsche and Wittgenstein, making this an ideal starting point for those coming to Schopenhauer for the first time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kant's Critique of Berkeley HENRY E. ALLISON THE CLAIMTHAT KANT'S IDEALISM,or at least certain strands of it, is essentially identical to that of Berkeley has a long and distinguished history. It was first voiced by several of Kant's contemporaries such as Mendelssohn, Herder, Hamann, Pistorius and Eberhard who attacked the alleged subjectivism of the Critique of Pure Reason. 1 This viewpoint found its sharpest contemporary expression in the (...) notorious Garve-Feder review to which Kant responded at length in the Prolegomena. In subsequent times it has been championed by Schopenhauer, and most nineteenth century German commentators on the relation between the two philosophers. 2 In addition, it has been, and continues to be, the prevailing view of the vast majority of British writers on Kant, including, with significant qualifications, Norman Kemp Smith. 3 This tradition continues despite the fact that Kant specifically, and in no uncertain terms, repudiated this identification in the Prolegomena and the second edition of the Critique. In both works he responds to the charges of subjectivism, and in so doing distinguishes his position from that of Berkeley, who in the eighteenth century was commonly regarded as a solipsist and denier of the "external world." 4 In contra-distinction to Kant's own critical or transcendental idealism, which explains the possibility of synthetic a priori knowledge within the realm of possible experience, Berkeley is characterized as a "dogmatic" or "visionary idealist." He is judged guilty of "degrading bodies to mere illusion" (B69), of regarding things in space as "merely imaginary entities" (B274), and of holding with all "genuine idealists" that: "all knowledge through the senses and experience is i Cf. Hans Vaihinger, Commentar zu Kant's Kritik der Reinen Vernunft (Stuttgart, Berlin, Leipzig, 1892), II, 494-505. Cf. Friederich Fredericks, Der Phainomenale Idealisraus Berkeley's und Kant's (Berlin, 1871); Robert Zimmerman, "Ober Kant's Widerlegung des Idealismus yon Berkeley" (Sitzungsberichte der Akademie der Wissenschaften, Vienna, Philox.-hist. Kl.), LXVIII (1871); Gustav Dieckert, tiber dos Verhiiltnis des Berkeleyschen ldealismus zu Kantischen Vernun]tkritik (Konitz, 1888). Tiffs is a consequence of the general British tendency to view Kant in phenomenalist terms. A typical recent example is found in P. F. Strawson, The Bounds of Sense (London, 1966). Kemp Smith in his Commentary to Kant's Critique o[ Pure Reason (2nd ed., rev., 1923) takes greaZ pains to distinguish between the subjectivist strand in Kant's thought, which is essentially identical to Berkeley's position, and the genuine critical doctrine which stands side by side with it in the text. 9 Cf. I-I.M. Bracken, The Early Reception of Berkeley's Materialism 1710-1733, rev. ed. (The Hague: Martinus Nijhoff, 1965). [43] 44 HISTORY OF PHILOSOPHY nothing but sheer illusion, and only in the ideas of pure understanding is there truth" (374). 5 One of the chief reasons for the continuation of the Kant-Berkeley tradition is that these, and similar statements about Berkeley, which we find in these works and in Kant's correspondenc e with Beck, have not been taken very seriously by Kant's critics. They are usually dismissed as obvious misinterpretations, due to Kant's ignorance of Berkeley's actual writings, and of his reliance upon distorted second and third hand accounts of Berkeley's thought such as is to be found in Beattie. Furthermore, this view is often supported by the philological reflection that Kant did not read English, and that Berkeley's writings were not yet available in German translation. 6 The philological argument, however, loses much of its force when we consider that there was indeed a German translation of Berkeley's Dialogues, which although apparently unknown to nineteenth century scholars, was readily accessible to Kant. This is to be found, together with a translation of Collier's Clavis Universalis and critical analyses, in a work by the professor of philosophy at Rostock, Johann Christian Eschenbach, entitled: Samlung der vornehmsten Schri[tsteller die die tFirklichkeit ihres eignen K~rpers und der ganzen Ki~rperwelt leugnen (Rostock, 1756). Furthermore, in addition to this work, which was probably known to Kant, there is Berkeley's important Latin work, De Motu (1721), as well as French translations of many of... (shrink)

Arthur Schopenhauer (born 1788 in Danzig, died 1860 in Frankfurt am Main), was the son of Heinrich Floris Schopenhauer, a wealthy merchant, and Johanna Trosiener, who was later to become a well‐known member of Goethe's circle in Weimar and, subsequently, a popular novelist whose collected works, published in 1831, filled twenty‐four volumes. The death of his father (a probable suicide) in 1805 led to the future philosopher's ultimate abandonment of the plan that he should enter business. After further study, he (...) attended the University of Göttingen in 1809 where he studied with G. E. Schulze, whose Aenisidisumus (1796), with its critique of Kant's conception of the thing‐in‐itself, had played a crucial role in the early development of Fichte's Wissenschaftslehre. It was through Schulze that he became acquainted, not only with Kant, but with Plato and Schelling (see Hübscher 1989, pp. 159ff). The connection between Plato and Kant, a crucial thesis of his philosophy as a whole, is the subject of some of his earliest and most penetrating notebook entries (Schopenhauer 1988, vol. I, nos 17, 228, 442). Schopenhauer left Göttingen for Berlin to attend Fichte's lectures. Despite apparently serious attempts, testified by his voluminous notebooks (preserved in Schopenhauer 1988, vol. II), Schopenhauer found himself deeply out of sympathy with the Fichtean philosophy of reflection, and his distaste for German idealism, which only increased with the years, dates from this encounter. On the heels of Napoleon's invasion of Berlin, Schopenhauer retired to a small town outside of Weimar, where (June‐November 1813) he wrote his dissertation On the Fourfold Root of the Principle of Sufficient Reason, whose simplification and transformation of the Kantian doctrine of the concepts of the understanding into a third “form of intuition” next to space and time forms the basis of his distinctive epistemology and its difference from Kant's. (This difference is most clearly expressed in §21; see also the “Critique of Kantian Philosophy”, the Appendix to The World as Will and Representation, vol. I, pp. 437–451). The “ideality of sensation” is the theme of On Vision and Colors, written in 1815 under the influence of his encounter with Goethe's Farbenlehre (a sympathy not reciprocated by Goethe for the younger man's contribution). At this time, Schopenhauer moved to Dresden, where for four years he worked out The World as Will and Representation in intellectual isolation. In addition to the dual influence of Plato and Kant, Schopenhauer had also been introduced to doctrines of Eastern religion by F. Meyer in Weimar (1813), and is often said to be the first Western philosopher seriously to incorporate Eastern thought into his system (see Schopenhauer 1988, vol. I, no. 564). The “work” is announced in a note that is even earlier, from 1813, which begins. (shrink)

In this thesis, I examine the perceptibility of the Platonic Ideas in the thought of Arthur Schopenhauer. The work is divided into four chapters, each focusing and building upon a specific aspect related to this question. The first chapter (“"Plato and the Primacy of Intellect"”) deals with Schopenhauer’s interpretation specific to Platonic thought. I there address the question of why it is that Schopenhauer should consider Plato to have interpreted the Ideas as 'perceptible', particularly in view of evidence which seems (...) to testify to the contrary. Does Schopenhauer misinterpret Plato, or are there sufficient grounds for considering his interpretation consistent? This is important in light of Schopenhauer’s reinterpretation of the Platonic Idea on the basis of the primacy of the will in contradistinction to Plato’'s own emphasis upon the intelligible. In effect, for Schopenhauer, Plato confuses the nature of imperceptible concepts with the more perceptually grounded Ideas. In the second chapter (“"On the Direct Path to Knowledge"”), I explore Schopenhauer’'s methodological approach on the basis of the will. I there discuss the difference between Schopenhauer and Kant with respect to Transcendental Idealism, particularly in terms of their separate analysis and derivation of the thing-in-itself. From there, I turn to a consideration of Schopenhauer'’s discussion of the nature of formal and empirical intuitions, of abstraction and the nature of universal concepts, and finally of the intuitively grounded nature of mathematical demonstration which serves as an analogy for the manner in which Schopenhauer deals with knowledge of the Ideas. In the third chapter ("“The Perceptibility of the Ideas”"), I discuss the manner in which the Ideas become accessible as the manifestation of the Will, arising through the representation of perception. There a number of distinctions are made between Ideas and concepts, as well as the nature of contemplation through Genius. The Ideas are found to be perceptible as aesthetic intuitions which relate not only to the in-itself nature inherent to phenomena, but serve also as the essential basis and foundation for all genuine forms of art. In the fourth and final chapter (“"Critical Discussion of Schopenhauer’s Ideas"”), I consider and outline a number of potential problems with respect to Schopenhauer’s analysis. In particular, Schopenhauer encounters difficulties on the basis of the simultaneous immanence and transcendence of the Ideas; of the knowledge of the Ideas characterized as intuitive while yet having a strangely abstract basis; of the unity of the will in face of the plurality of Ideas and phenomena; and finally of the annihilation of the will which creates essential problems in terms of the desideratum of knowledge itself. I here also attempt to offer various solutions to these problems where relevant. The conclusion which I arrive at in this work is that any radical reorientation of ontology must bear an essential effect upon the character and methodology of knowledge itself. In other words, Schopenhauer’s interpretation of the perceptibility of the Ideas is a direct consequence of hi s analysis of the will as the metaphysical thing-in-itself. In fact, this essential change colors his entire epistemological approach, from science and mathematics, to logic and the Ideas—from the ground the up. (shrink)

"Kant, Kantianism and Idealism" presents an overview of German Idealism, the major movement in philosophy from the late 18th to the middle of the 19th Century. The period was dominated by Kant, Fichte, Schelling and Hegel, whose work influenced not just philosophy, but also art, theology and politics. The volume covers not only these major figures but also their main followers and interpreters. These include Kant's younger contemporary Herder, his early critics such as Jacobi, Reinhold, and Maimon, (...) and his readers Schiller and Schlegel - who shaped much of the subsequent reception of Kant in art, literature and aesthetics - as well as Schopenhauer, whose unique appropriation and criticism of theories of cognition later had a decisive influence on Nietzsche. The "Young Hegelians" - such as Bruno Bauer, Ludwig Feuerbach, and David Friedrich Strauss, whose writings would influence Engels and Marx - are also discussed. The influence of Kant and German Idealism also extended into France, shaping the thought of such figures as Saint-Simon, Fourier, and Proudhon, whose work would prove decisive for subsequent philosophical, political, and economic thinking in Europe in the second half of the 19th century. (shrink)

On the Suffering of the World is a collection of the later aphoristic writings of Arthur Schopenhauer, known for their incisive, aphoristic style and dark, pessimistic view of human existence. Edited and with an introduction by Eugene Thacker, On the Suffering of the World comprises a core selection of Schopenhauer's later writings, gathered together for the first time in print. These texts, produced during the last decades of Schopenhauer's long life, reveal a unique kind of philosophy, expressed in (...) a singular style. Eschewing the tradition of dry, totalizing, academic philosophy prevalent during the time, Schopenhauer's later writings mark a shift towards a philosophy of aphorisms, fragments, anecdotes and observations, written in a literary style that is by turns antagonistic, resigned, confessional, and filled with all the fragile contours of an intellectual memoir. Here Schopenhauer allows himself to pose challenging questions regarding the fate of the human species, the role of suffering in the world, and the rift between self and world that increasingly has come to define human existence, to this day. It is these writings of Schopenhauer that later generations of artists, poets, musicians, and philosophers would identify as exemplifying the pessimism of their era, and perhaps of our own as well. On the Suffering of the World is presented with an introduction that places Schopenhauer's thought in its intellectual context, while also connecting it to contemporary concerns over climate change, the anthropocene, and the spectre of human extinction. The book also includes a bibliography and chronology of Schopenhauer's life. (shrink)

The story of eternity is not as simple as a secularization narrative implies. Instead it follows something like the trajectory of reversal in Kant’s practical proof for the existence of god. In that proof, god emerges not as an object of theoretical investigation, but as a postulate required by our practical engagement with the world; so, similarly, the eternal is not just secularized out of existence, but becomes understood as an entailment of, and somehow imbricated in, the conditions of our (...) practical existence. -/- The sections that follow discuss some of those central figures in modern European philosophy whose views prominently feature some consideration of eternity. I start with Kant in section I. Kant’s critique of speculative theology is well-known, and this hostility would appear to make it unlikely that the eternal, with all its theological baggage, would feature prominently in Kant’s critical philosophy. But in fact Kant’s transcendental idealism endorses no fewer than three different concepts of the eternal, including what turns out to be the most historically influential idea: that practical reason involves a kind of eternal, non-temporal action. Kant shifts this notion of a non-temporal act from its original theological context of god’s actus purus to a practical context, setting the stage for Schelling’s and Kierkegaard’s later development of this theme. Before detailing this trajectory however, section II is devoted to Hegel, the philosopher whose radical historicism is perhaps more than any other thinker responsible for making “the nineteenth century preeminently the historical century.”4 Hegel is not fertile soil for the concept of the eternal, but his historicism does turn out, at a crucial moment in the philosophy of nature, to presuppose a certain conception of eternity as an eternal present. Perhaps more importantly for the further development of eternity in nineteenth century thought however is that both Schelling and Kierkegaard situate their views of the eternal in the context of a collective rejection of Hegel. Section III discusses Schelling, who returns to Kant’s conception of non-temporal choice, seeing human capacities for free eternal self-creation as rivaling god’s. Such powers are required, Schelling argues, to resist the sublimation of the individual human person into the blankness of the Absolute. Section IV briefly consider Schopenhauer’s view that the in-itself of everything is an endlessly striving will. Section V concerns Kierkegaard who is strongly committed to the eternal, and indeed criticizes Hegel for compromising his conception of the eternal by thinking it temporally; but he is obsessed by the paradoxical question of our practical “access” to the eternal within a particular temporal moment: the decisive moment, imbued with significance that can turn life around and create a new person, pushing Schelling’s concerns even further. The remaining, shorter sections, present briefer accounts of more recent figures who make important use of some conception of the eternal: Nietzsche’s eternal return (section VI), Agamben’s (1942-) theory of sovereignty (section VII) and finally Alain Badiou’s unapologetic attempt to resuscitate eternity as the condition of revolutionary political change (Section VIII). I end with a concluding meditation (Section IX). (shrink)

Persuasive and humane, this classic of philosophy offers Schopenhauer's fullest examination of ethical themes, articulating a descriptive form of ethics that contradicts the rationally based prescriptive theories. Starting with his polemic against Kant's ethics of duty, Schopenhauer argues that compassion forms the basis of morality, and he outlines a perspective on ethics in which passion and desire correspond to different moral characters, behaviors, and worldviews. He further defines his metaphysics of morals, employing Kant’s transcendental idealism to illustrate both (...) the interconnectiveness of being and the affinity of his ethics to Eastern thought. (shrink)

This paper focuses on Kant’s and Schopenhauer’s models of self-consciousness and their specific relation to time. It aims to show that genuine philosophical theories can explain the idiosyncratic relation between ourselves and the world without relying on pure metaphysical speculations or strictly empirical and phenomenally oriented conceptions, as many contemporary proponents of analytic philosophy entail. The first groundbreaking doctrine in this regard is Kant’s transcendental theory of apperception, which unfolds a new theoretical dimension of thinking, grounding the logical unity of (...) thought in the pure, originally synthetic unity of the subject itself. In order to constitute a structural order within the appearing phenomenal world, Kant conceptualizes a theory of self-affection in the second edition of the Critique of pure reason, positing a dynamic relation between the spontaneously acting intellect and the purely receptive inner sense of time as a result of productive transcendental imagination. The problematic relation between self-reliance and empirical consciousness that Kant did not resolve completely led to various subsequent transformations of Kant’s transcendental principles, one of which boasts Schopenhauer as a prominent but rarely considered representative. Schopenhauer’s systematic approach consists in a modified version of Kant’s transcendental idealism, which ties the Kantian subject of logical and transcendental unity to an intuitive corporeal individual that can only conceptualize itself as an original, willing subject. The Schopenhauerian subject unfolds its empirical character in accordance with its own inner impulses and motivations, which manifest themselves in time but can only be interpreted as a phenomenal representation of a higher, metaphysical unity, which Schopenhauer calls the will as a thing in itself. Schopenhauer reaches his final metaphysical conclusion via a problematic analogy, positing another perspective on the corporeal nature of the individual which, by means of abstraction, can be extended to the whole phenomenal world. Therefore, Schopenhauer interprets the underlying character of the subject and the phenomenal world as a whole as a timeless, omnipresent will to live which can be temporally experienced within the nature of our own subjectivity. (shrink)

German Idealism began with Leibniz and lasted until Schopenhauer, with a few central European after-shocks in the work of Husserl and his followers. That great epoch in German philosophy coincided with a great epoch in German music. It is scarcely surprising, therefore, that Idealist philosophers should have paid special attention to this art form. Looking back on it, is there anything of this prolonged encounter between music and philosophy that we can consider to be a real (...) advance, and one that we should draw on? Many have thought so, not least because Idealism, as it matured in the post-Kantian period, inherited the adulation for art in general, and music in particular, that we find in the writings of the German Romantics, notably in Schiller, Tieck and Wackenroder. The post-Kantian Idealists connected aesthetic experience with their claims to reveal the secret meaning of things, in the infinite, the absolute, the transcendental, the ineffable or some other such object of a quasi-religious devotion. Such we find in the writings of Schelling, Fichte, Hegel and Schopenhauer, the last of whom made music not only an object of philosophy, but a prime example of it. Music, Schopenhauer wrote, is not unconscious arithmetic, as Leibniz had claimed, but unconscious philosophy, since in music the inner essence of the world, which is will, is made directly present to the intellect. (shrink)

In these words from the Introduction, Thomas O’Meara, currently associate professor of theology at the University of Notre Dame, makes clear that his basic interest in this book is in early nineteenth-century Roman Catholic thought and not in Schelling as such. All the individuals treated in the book, to be sure, were related to Schelling either as colleagues, disciples or critics. But it is the entire movement of thought within German Catholicism of that period that is O’Meara’s principal (...) concern, not the particular contribution made by any single individual, even by Schelling himself as its chief inspiration. Accordingly, even though one might in various places yearn for a fuller development of this or that topic, more coverage for this or that individual, one has to bear in mind that this is an account of a movement of thought which embraced three generations of philosophers and theologians. Hence a detailed treatment of any single individual, even of Schelling himself in the various stages of his intellectual career, has to be sacrificed in order to keep one’s focus on the broader picture. (shrink)

I explore the roots of ontological thinking in the late thought of Georg Lukács via the development of the nature of praxis in German Idealism and the thought of Marx. I contend that the thesis of spontaneous, self-creation as well as social relatedness are both core themes in German Idealism that achieve definitive form in Marx’s thought. In effect, I argue that the human capacities for relatedness and the formation of relations with others paired with the (...) teleological structure of human practical agency constitute a crucial ontological ground for critical theory. It is this that Lukács focuses on in his later ontological writings and which can be used to re-orient contemporary critical theory and critical philosophy which has been dominated by post-metaphysical and neo-Idealist currents in recent decades. (shrink)

The volume comprises selections from the major work of Kant, Schopenhauer, and Hegel, as well as from Fichte and Schelling, some of whose writings are translated here for the first time. The volume comprises selections from the major work of Kant, Schopenhauer, and Hegel, as well as from Fichte and Schelling, some of whose writings are translated here for the first time. It thus provides a much fuller context for the German Idealist movement than has been hitherto available in (...) any comparable form in English. The texts reveal aesthetic philosophy and literary criticism not as abstract of peripheral disciplines but as absolutely central topics in the mainstream of German Idealist thought. Dr Simpson's introduction places the writers and their work in an appropriate intellectual context, and his extensive annotation seeks to clarify and render more accessible their complex and often elusive ideas. (shrink)

Isaiah Berlin viewed value conflict as tragic, as it requires the sacrifice of some values for others. It is a mark of maturity, he thought, to accept this tragic truth. This view raises certain conceptual problems that can be attributed to Berlin’s subtle departures from the German authors (Kant, Schelling, and Hegel) who originated the doctrine of tragic maturity—figures who had, in turn, transformed the earlier idea that enlightenment is a natural and morally neutral process of maturation. Kant moralized (...) the notion of enlightened maturation by portraying it as contingent on our courage to bring it about, such that we are responsible if we remain immature. This theory of maturity rested on the idea, which would have been uncongenial to Berlin, that we are intelligible creatures inhabiting the noumenal realm, duty bound to exercise moral freedom, even though this duty surpasses our ability to carry it out, as we also inhabit the phenomenal realm, where our natural inclinations tend to make us resist laboring to fulfill our duties. However, according to Kant, the metaphysical limitations we face as individuals can be transcended to an extent, allowing us to make moral progress as a species—so long as we do not lazily persist in our immaturity. Schelling built upon Kant’s notion of freedom to bring out the tragic and heroic dimension of individual moral life, where the tragedy is our doomed but noble struggle to exert moral freedom in a world of natural necessity. Hegel turned these metaphysical notions in a more recognizably Berlinian direction by extending Schelling’s account of tragic conflict to conflicts of values. But he identified the ultimate tragic hero as an ethical totality that enacts eternal justice by reconciling such conflicts, while Berlin attempted to repudiate both the notion of a historical totality and the possibility of reconciliation on empirical grounds, even though these are metaphysical claims. Thus, Berlin asserted the absolute, trans-historical necessity of tragic value conflict, while the evidence for this assertion was merely his personal conviction that in his particular time and place, specific values were, as a matter of empirical fact, tragically irreconcilable. In this manner he illicitly portrayed Cold War value pluralists (such as himself) as courageously accepting the tragic inevitability of value conflict, while Marxists, the legatees of Hegel and thus German Idealism, immaturely shrank from this reality by embracing the fantasy of total reconciliation. (shrink)

By way of a thought experiment, make the following pessimistic assumptions about the near and far future. Assume that within the next century we will gradually lose the struggle to sustain the environment and that moderately scarce natural resources will become extremely scarce, due both to increased levels of expectations by the privileged and to increased population. Assume that within the next fifty years the world’s population will double but begin to level off. The best scientific assessment of (...) our prospects for saving the environment in a way that will sustain even a quarter of that population over time (say, several centuries) turns out to be that it cannot be done. The damage to the environment by industry and other sources of pollution will have taken us past the threshold of possible recovery on the most optimistic projections of voluntary population control. The decline will be slow, but it is clear to everyone that the course is irreversible. Assume also that we will gradually lose the battle with disease and that it will be clear to everyone that medical research cannot compete with the deteriorating conditions of scarcity and the mutation rates among the viral and bacterial sources of disease. Gradually, what cannot be accomplished through voluntary population control can and will be accomplished through disease, regardless of the best scientific efforts to prevent it. Scientists reliably tell us that the earth will slowly begin to recover at a rate that will sustain the remaining population, and that in the far distant future there will in all likelihood be centuries with patterns of human flourishing and suffering that resemble our past. Finally, it becomes clear that hopes of finding other intelligent life in the universe and other habitable environments are futile. Scientists confirm that the speed of light and the distance between here and other possible sources of life preempt any rational hope in extra-terrestrial solutions. What we can be sure of is that after a number cycles of human flourishing and suffering, there will be a cataclysmic end to the earth and all its history.. (shrink)

There can be little doubt that without Spinoza, German Idealism would have been just as impossible as it would have been without Kant. Yet the precise nature of Spinoza's influence on the German Idealists has hardly been studied in detail. This volume of essays by leading scholars sheds light on how the appropriation of Spinoza by Fichte, Schelling and Hegel grew out of the reception of his philosophy by, among others, Lessing, Mendelssohn, Jacobi, Herder, Goethe, Schleiermacher, Maimon (...) and, of course, Kant. The volume thus not only illuminates the history of Spinoza's thought, but also initiates a genuine philosophical dialogue between the ideas of Spinoza and those of the German Idealists. The issues at stake - the value of humanity; the possibility and importance of self-negation; the nature and value of reason and imagination; human freedom; teleology; intuitive knowledge; the nature of God - remain of the highest philosophical importance today. (shrink)

The place of Schopenhauer’s philosophy in the history of contemporary thought and in that of the problematic of nihilism has been relatively unexplored, despite its well-known relation to Nietzsche and Wittgenstein, two of the dominant figures of contemporary philosophy and culture. “The Metaphysics of Nullity”, after an introductory section on the connection of German idealism and nihilism, examines Schopenhauer’s philosophy, and particularly its principle of “self-negation of the will”, as a nihilistic metaphysics that is an outgrowth of traditional (...) conceptions of desire and consciousness which becomes involved in the classical difficulties of self-reflection and self-manifestation. The incoherencies that beset Schopenhauer’s thought are fully examined and their implications are discussed. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

The first interpretations of Kant’s unfinished work, the so-called Opus postumum, occur almost exclusively within German Neo-Kantianism . The central point of discussion focuses on the relationship between transcendental idealism and empirical realism in Kant’s late thought. Some Neokantians regard the final development of Kant’s philosophy as a radical form of idealism, either a fictionalism or a scientific idealism . Several interpreters attribute the theory of the so-called “double affection” to the Kant of the Opus (...) postumum. Krause tries instead to match transcendental idealism and empirical realism. The aim of this paper is to present and discuss this debate. (shrink)

The course of German Idealism, which lasted from Kant to Schelling, is one of the most important and influential periods in the history of philosophy. _The Routledge Handbook of German Idealism_ is a superb resource for all students and scholars of the movement. Its twelve specially commissioned thematic chapters, all written by experts in the area, cover the essential aspects of German idealism, including Knowledge, nature, freedom and morality, law, history, religion, art and the European (...) legacy of German idealism. In addition to providing essential background to the thought of the period’s most important philosophers, Kant, Hegel, Fichte and Schelling, it also covers philosophers such as Herder, Holderlin, and Schleiermacher. Clearly written, it is accessible to any student of philosophy as well as those in other disciplines with an interest in German idealism, nineteenth century philosophy and continental philosophy. (shrink)

Friedrich Schiller (1759-1805) is now regarded by many readers and scholars not simply as a poet, historian, or playwright, but as a genuine philosopher in his own right. -/- The following research articles in French and English are devoted to understanding the relationship between Schiller’s philosophy and German idealism, especially some of the chief figures associated with the inception and extended development of this movement: Kant, Reinhold, Fichte, Schelling, Hegel, and Lotze. -/- In the last twenty years in (...) particular, ground-breaking edited collections have appeared on the content and legacy of Schiller’s thought. The present volume of articles, however, is one of the first to attempt a broader investigation of Schiller’s connection to German idealism, in which the contributions have above all been written by scholars of German idealism itself. -/- The aim of this volume is to furnish foundational material for better answering the question: To what extent should Friedrich Schiller be considered a German idealist? Naturally, the response to this question depends on one’s conception of German idealism, a point discussed below. This introduction provides a brief overview of earlier scholarship on this topic and summarizes the findings of our contributors. (shrink)

As is well known, the renowned Hegel scholar, Franz Rosenzweig, had a dramatic break with Hegel in particular and German Idealism more broadly, as strikingly evidenced in his magnum opus, The Star of Redemption. In the third or 1815 draft of Die Weltalter, Schelling writes that while “all thinking must begin the dialectic, it cannot end in the dialectic.” Schelling continued his turn toward what he called “positive philosophy,” which emerges “toto caelo” differently than from the “universality” and (...) “indeterminacy” of negative thought. What is this new mode of thought, born—both for Schelling and for his unexpected admirer Rosenzweig—from the limitations of negative thought? How does one characterize this rupture within Idealism itself? (shrink)

Gadamer's philosophical hermeneutics cannot fully be understood without the contour his project receives from his relation to Kant's third Critique of Judgmentand Hegel's absolute idealism. Although Gadamer's deepest ties are to Heidegger, his thought also remains shaped greatly by the Greeks, especially Plato and Aristotle, as well as figures and themes in the classical age of German philosophy from Kant to Hegel. This chapter discusses two crucial points of Gadamer's approach to German idealism. The first is (...) the debt he owes to Kant's third Critique for his own elucidation of the hermeneutical experience of truth, and, second is the debt that he owes to aspects of Hegel's absolute idealism for his own notion of hermeneutical self‐knowledge. The chapter shows that Gadamer, in his approach to both Kant's third Critique and Hegel's absolute idealism, focuses on themes that allow him to emphasize the forms of finitude he believes guide hermeneutical experience. (shrink)

In January 1867 T.H. Green gave a series of Four Lectures on the English Commonwealth to the Edinburgh Philosophical Institute, which were then published, on the testimony of 'competent judges', in the third volume of his Collected Works edited by R.L. Nettleship. Green's family background ensured that he had strong interests in the history of Puritanism and the figure of Oliver Cromwell, and he was thoroughly immersed in many of the political and religious controversies of the later quarter of the (...) nineteenth century. Nevertheless, his assessment of the English Commonwealth as a fruit of the Reformation, rather than as a discrete transformation in political culture, has received relatively little attention in the massive literature devoted to Green's political philosophy. This essay assesses these lectures in order to show their importance for understanding in particular his analysis of freedom. It argues that without an understanding of his account of the origins of modern legal freedom born out of the English Revolution, analyses of Green's theory of freedom remain partial and incomplete. It does so by illustrating in detail the content of the lectures, the intellectual and historical debates in English philosophy and German theology that buttressed his arguments, by locating Green's Lectures within wider accounts of the character of English exceptionalism, and by attempting to examine the political context that helped to structure Green's analysis. (shrink)

Arthur Schopenhauer (1788-1860) was a system philosopher in the grand tradition of classical German idealism. Broadly an adherent of Kant’s transcendental idealism, he is now most noted for his belief that Kant’s thing in itself can best be described as ‘will’, something he argued in his 1819 work The World as Will and Representation (WWRI 124/H 2:119). Schopenhauer’s term ‘will’ does not refer primarily to human willing, that is, conscious striving towards a goal. Following Kant he argues (...) that willing remains conditioned by the forms of representation and therefore cannot be identified with the thing-in-itself. To reach the thing-in-itself, all forms of representation must be removed to arrive at a conception of will as striving without a goal. This conception is at the root of Schopenhauer’s pessimism: willing is experienced by conscious beings as suffering; and the world, including each of us, is in-itself endless willing without the possibility of satisfaction. Only two things hold out the prospect of any relief: the disinterested contemplation of works of art provides temporary respite from the striving will for the many; and a very few saintly beings may be able to still or quiet the will completely and achieve a state that Schopenhauer identifies as nirvana. These concerns—with suffering, meaning, asceticism and renunciation—are already problems in moral philosophy in a wide sense. But Schopenhauer also has a moral philosophy in the ‘narrower’ sense (WWRII 589/H 3:676; Cartwright 1999) that addresses questions such as freedom of the will, moral responsibility, the proper criterion for right action, moral motivation, and the virtues and vices. Indeed Schopenhauer makes a distinctive and quite contemporary contribution to virtue theory, advocating compassion (Mitleid) as the source of all human virtues. (shrink)

This book examines Heidegger's controversial relation to politics as it grows out of his understanding of his predecessors in German Idealism, most notably, Hegel. This way of developing a dialogue between Heidegger and Hegel on the issue of politics provides an important context for questioning the former's link with National Socialism. Yet the book does not simply condemn Heidegger for his Nazi involvement nor claim that his thinking is free from dangerous political implications. On the contrary, a second (...) level of questioning asks whether Heidegger's philosophy can be appropriated in alternative contexts which permit the affirmation of democratic principles. Thus the book concludes by examining the import which Heidegger's thought has on cultivating such democratic motifs as freedom of speech and civil disobedience. The book is especially of interest to advanced undergraduates, graduate students, and scholars in the areas of German idealism, phenomenology, social and political philosophy, and the history of philosophy. (shrink)

The article discusses the significance of Hegel’s and especially Schelling’s concepts for the formation of Heidegger’s conceptions of Being and ecstatic time. It is argued that the authors of German Idealism began to think about the Absolute in temporal and historical terms, and that this set the stage for Heidegger’s historical and temporal understanding of Being. Crucially, negativity is included in the structure of Being. The ecstatic structure of Being and time itself is shaped by Schelling’s thought on (...) the dialectic of ground and existence. (shrink)

This outstanding collection of specially commissioned chapters examines German idealism from several angles and assesses the renewed interest in the subject from a wide range of fields. Including discussions of the key representatives of German idealism such as Kant, Fichte and Hegel, it is structured in clear sections dealing with: metaphysics the legacy of Hegel’s philosophy Brandom and Hegel recognition and agency autonomy and nature the philosophy of German romanticism. Amongst other important topics, _German (...) class='Hi'>Idealism: Historical and Philosophical Perspectives_ addresses the debates surrounding the metaphysical and epistemological legacy of German idealism; its importance for understanding recent debates in moral and political thought; its appropriation in recent theories of language and the relationship between mind and world; and how German idealism affected subsequent movements such as romanticism, pragmatism, and critical theory. _Contributors:_ Espen Hammer, Stephen Houlgate, Sebastian Gardner, Paul Redding, Andrew Bowie, Richard Eldridge, Jay Bernstein, Frederick Beiser, Paul Franks, Robert Pippin, Fred Rush, Manfred Frank, Terry Pinkard, Robert Stern. (shrink)

Receptive Spirit develops the thesis that the notion of self-induced mental activity at the heart of German idealism necessitated a radical rethinking of humans’ dependence on culturally transmitted models of thought, evaluation, and creativity. The chapters of the book examine paradigmatic attempts undertaken by German idealist thinkers to reconcile spontaneous mental activity with receptivity to culturally transmitted models. The book maps the ramifications of this problematic in Kant’s theory of aesthetic experience, Fichte’s and Hegel’s views on the (...) historical character of philosophy, the Fichtean model of philosophical communication, and Friedrich Schlegel’s theory and practice of literary communication and criticism. Drawing on Gadamer and McDowell, I argue that the conceptual framework established by the Idealists remains indispensable for orientation in the contemporary intellectual landscape. (See the PDF file below for a synopsis). (shrink)

Arthur Schopenhauer’s Mirror: the Will, the Suffering, the Compassion as Philosophical Challenges. In philosophy, the celebration of Arthur Schopenhauer has already ended. Only the last year was anniversary (of his birth and of the publication of the first volume of The World as Will and Representation), but the importance of this non-conformist creator is never superfluous to highlight. In this article, there is, certainly, a very limited/selective focus on the thinking of Schopenhauer, and no biographical approach: the goal is only (...) to stress two aspects of his philosophy in their logic. Schopenhauer was an enthusiastic Kantian: first of all, by taking over his maestro’s seminal paradigm, the constructivism (that does not pertain only to the theory of knowledge, but marks the entire existence analysed at different philosophical levels). Secondly, by the ethical focus and accent, continuing Kant’s exceptional emphasis of the ultimate reason of the tableau of the world, the human reason and its power to treat the others in a moral manner. And certainly, Schopenhauer was not an epigone, but a creator, using and at the same time giving other content to the Kantian form of ethical revolution. Schopenhauer had, obviously, contradictory ideas – as that between his constructivism and his metaphysical treatment of the will, i. e. as the only principle explaining the world – and also with disputable significance, including for the actual life and thinking. But he had a bad publicity from the dominant philosophy – namely, some of his ideas (as that of the moral of compassion) were, and still are, absolutely ignored, while other ones were simplified or transformed in the conception of Schopenhauer, reducing this one to some ideas out of context – and even nowadays this tradition is dominant. And it’s pity, because Schopenhauer’s philosophy was and represented a dramatic moment in the history of the 19th century thinking and culture: as it is a strange mirror for the present much graver situation. In order to critique the present it’s not necessary to do it from Schopenhauer’s perspective. However, just his contradictory ideas and pathetic accent on compassion show better than ever that neither philosophy – as theoretical position – nor the urging for moral activism are more than vox clamantis in deserto: if the historical facts, which include this urging and the spring of thinking but are not confined to them, are missing. (shrink)