The Hermit’s Hut offers an original insight into the profound relationship between architecture and asceticism. Although architecture continually responds to ascetic compulsions, as in its frequent encounter with the question of excess and less, it is typically considered separate from asceticism. In contrast, this innovative book explores the rich and mutual ways in which asceticism and architecture are played out in each other’s practices. The question of asceticism is also considered—as neither a religious discourse nor a (...) specific cultural tradition but as a perennial issue in the practice of culture. The work convincingly traces the influences from early Indian asceticism to Zen Buddhism to the Japanese teahouse—the latter opening the door to modern minimalism. As the book’s title suggests, the protagonist of the narrative is the nondescript hermit’s hut. Relying primarily on Buddhist materials, the author provides a complex narrative that stems from this simple structure, showing how the significance of the hut resonates widely and how the question of dwelling is central to ascetic imagination. In exploring the conjunctions of architecture and asceticism, he breaks new ground by presenting ascetic practice as fundamentally an architectural project, namely the fabrication of a “last” hut. Through the conception of the last hut, he looks at the ascetic challenge of arriving at the edge of civilization and its echoes in the architectural quest for minimalism. The most vivid example comes from a well-known Buddhist text where the Buddha describes the ultimate ascetic moment, or nirvana, in cataclysmic terms using architectural metaphors: “The roof-rafters will be shattered,” the Buddha declares, and the architect will “no longer build the house again.” As the book compellingly shows, the physiological and spiritual transformation of the body is deeply intertwined with the art of building. The Hermit’s Hut weaves together the fields of architecture, anthropology, religion, and philosophy to offer multidisciplinary and historical insights. Written in an engaging and accessible manner, it will appeal to readers with diverse interests and in a variety of disciplines—whether one is interested in the history of ascetic architecture in India, the concept of “home” in ancient India, or the theme of the body as building. (shrink)

The scholarly contributions gathered together in this volume discuss themes related to the cultural, social and ethical dimension of St Gregory Palamas’ works. They relate his mystical philosophy and theology to contemporary debates in metaphysics, philosophy of language, ethics, philosophy of culture, political philosophy, epistemology, and philosophy of religion and theology, among others. The book considers a variety of topics of special interest to Christian theologians, philosophers and art historians including church and state relations, similarities and differences between Palamas, contemporary (...) phenomenologists and philosophers of language, and hesychast influences on late Byzantine iconography. (shrink)

Publicly-enacted blood extractions (principally blood donation events and petitions or paintings in blood) in mass Indian political contexts (for instance, protest or political memorial events and election rallies) are a noteworthy present-day form of political enunciation in India, for such extractions – made to speak as and on behalf of political subject positions – are intensely communicative. Somewhat akin to the transformative fasts undertaken by Gandhi, such blood extractions seek to persuade from the moral high ground of political asceticism. (...) This essay seeks to shed light on how and why these extractions have become such a means, with a particular focus on blood-based portraiture. What makes such portraits – chiefly of politicians and ‘freedom fighter’ martyrs – interesting from a Strathernian point of view is their immanent persuasive relationality. The insights of Strathern can help us to explicate these objects’ dynamic relational features, while reciprocally, the portraits may help us to illuminate and clarify the very particular and interesting nature of the way Strathern treats (and creates) images. (shrink)

Nichtsprachliche Darstellungsformen in der Kunst finden als Medien der Vergegenwärtigung und Vermittlung philosophischer Fragestellungen gesteigerte Aufmerksamkeit. Dieser Band widmet sich aus erkenntnistheoretischer Perspektive der Frage nach den Möglichkeiten und Grenzen künstlerischer Darstellungen philosophischen Denkens.0Experten der Disziplinen Kunsttheorie und Philosophie wie Elke Bippus, Horst Bredekamp, Dieter Mersch, Klaus Sachs-Hombach u. a. setzen dabei einen Fokus auf Bilder, Filme, Ausstellungspraktiken und Architektur. Die einzelnen Texte sind auch durch Graphic Recordings des Zeichners Sebastian Lörscher festgehalten, wodurch die Forschungsbeiträge selbst im Dialog mit einer (...) künstlerischen Darstellungsform stehen. (shrink)

In this bold interdisciplinary work, Geoffrey Galt Harpham argues that asceticism has played a major role in shaping Western ideas of the body, writing, ethics, ...

In his best-selling book _You Must Change Your Life_, Peter Sloterdijk argued exercise and practice were crucial to the human condition. In The Art of Philosophy, he extends this critique to academic science and scholarship, casting the training processes of academic study as key to the production of sophisticated thought. Infused with humor and provocative insight, The Art of Philosophy further integrates philosophy and human existence, richly detailing the foundations of this relationship and its transformative role in making the postmodern (...) self. Sloterdijk begins with Plato's description of Socrates, whose internal monologues were so absorbing they often rooted the philosopher in place. The original academy, Sloterdijk argues, taught scholars to lose themselves in thought, and today's universities continue this tradition by offering scope for Plato's "accommodations for absences." By training scholars to practice thinking as an occupation transcending daily time and space, universities create the environment in which thought makes wisdom possible. Traversing the history of asceticism, the concept of suspended animation, and the theory of the neutral observer, Sloterdijk traces the evolution of philosophical practice from ancient times to today, showing how scholars can remain true to the tradition of "the examined life" even when the temporal dimension no longer corresponds to the eternal. Building on the work of Husserl, Heidegger, Nietzsche, Arendt, and other practitioners of the life of theory, Sloterdijk launches a posthumanist defense of philosophical inquiry and its everyday, therapeutic value. (shrink)

Stephen Mulhall traces the development of an ideal of asceticism through Western culture. He shows how influential this self-denying attitude to life has been not just in religion and morality but in aesthetics, science, and philosophy. And he illuminates the role of the ascetic ideal in the thought of Nietzsche, who introduced the concept.

Este artigo busca expor as críticas de Bernardo de Claraval às superfluidades humanas no texto da Apologia, especialmente aquelas referentes à arte arquitetural. Em segundo lugar, procura analisar as implicações estéticas do ascetismo cisterciense e bernardiano. As críticas de Bernardo exercem uma influência decisiva na ornamentação e fazem nascer uma nova arquitetura. This paper is to expose the criticism of human superfluities at Bernard of Clairvaux in the text of the Apology, especially those related to architectural art. Secondly, analyzes the (...) aesthetic implications of cistercian and bernardian asceticism. Criticism of Bernard exercise a decisive influence on ornamentation and give birth to a new architecture. (shrink)

Both Theodor Adorno and Walter Benjamin borrow from Freudian theory in their analyses of fetishism’s relation to the contemporary reception of cultural products. I will argue that both authors have confused the Marxian and Freudian theories of fetishism, resulting in mistaken conclusions about artistic reception. By disentangling the Marxian and Freudian elements in both authors’ positions, I want to show that 1) Adorno’s characterization of regressive listening implies, contrary to his intentions, that the current reception of artwork is in fact (...) antagonistic to fetishism, and that 2) his criticism of Benjamin’s optimism toward “reception in distraction” is nevertheless justified. If I am correct, it may be necessary to reassess Adorno’s demand for asceticism in advanced art. The current danger may not be “fetishism” at all, but rather the troublesome consequences of fetishism’s decline. (shrink)

Modern anxiety about human formation has been articulated around crucial questions for exercises, behaviors, routines, habits that are triggered to give children a certain shape, modeling the future of infans through repeated and regulated activities, at the same time in which the autoplastic forces that interact in the configuration of all life are tame. Not coincidentally, Peter Sloterdijk apprehends modernity as a form of secularization and collectivization of the life of the exercise, displacing the asceses transmitted from Antiquity from its (...) respective spiritual contexts and dissolving them in the foamy fluid of the present biopolitical communities dedicated to the training and the industralism of the subjectivity. Based on his asceticism, it is possible to see how childhood education is at the center of a long historical chain of training through an art driven by immunological procedures and selective antropotechnique turned to the production of innumerable childhood farewells that aim to wrest the subject from their communities insuflated, hardening them and manufacturing them as "state athletes" or "domestic enterprises". In this direction, this essay intends to explore from the spherological drama described by Sloterdijk, which means to think of childhood when one has to pay the price for the absence of protective layers, that is, when the magic circles explode, the bubbles of soap blown by the eyes the child. (shrink)

This essay asks what the terms mokṣa and dharma mean in the anomalous and apparently Mahābhārata-coined compound mokṣadharma, which provides the title for the Śāntiparvan’s third and most philosophical anthology; and it further asks what that title itself means. Its route to answering those questions is to look at the last four units of the Mokṣadharmaparvan and their three topics—the story of Śuka, the Nārāyaṇīya, and a gleaner’s subtale—as marking an “artful curvature” that shapes the outcome of King Yudhiṣṭhira’s philosophical (...) inquiries of Bhīṣma into a ”return” to this world to take up the topic of the fourth anthology, a King’s generous giving, in the Anuśāsanaparvan’sDānadharmaparvan. Usages of the term mokṣa in the narratives in these units are considered in the light of The Laws of Manu’s usage of mokṣa to define the “renunciatory asceticism of a wandering mendicant” after the fulfillment of one’s debts. Usages of mokṣadharma are discussed in conjunction with its overlapping term nivṛittidharma. With the term dharma itself, it is a matter of finding the best contextual translation. A pitch is made that these four units, and particularly the Nārāyaṇīya, should no longer be thought of as “late” additions. (shrink)

The first eulogies (Qaṣāīd) about the Prophet Muḥammad (pbuh) appeared when he was still alive. Ḥassān ibn Thābit (d. 60/680 [?]), ʿAbd Allāh b. Rawāḥa (d. 8/629) and Kaʿb b. Mālik (d. 50/670), important Muslim poets of the period, praised the Prophet and inspired future generations of poets. Depending on the developments in the following centuries, there had been a great increase in the number of poems sung to express enthusiastic feelings towards the Prophet and to defend him and his (...) Prophethood. Andalusia is one of the places where this genre increased the most. The first examples of the praise of the Prophet appeared in Andalusia during the Mulūk al-Ṭawāʾif period (1031-1090). The praises of the Prophet, which were processed in the poems of asceticism, dirge and elegy until the end of the 5th/11th century, became an independent genre called al-Madāʾiḥ al-Nabawiyyah/Nabawiyyāt thanks to the ever-increasing Ṣūfī thoughts penetrating literary circles. The turning point of the praise of the Prophet in Andalusia, as in the East, is the period of the The Almohads (1147-1238), which coincides with the 7th/13th century. The mawlid celebrations, which were first initiated by the Fāṭimids in the 4th/10th century to give legitimacy to their rule, and held every year in North Africa on the twelfth of the month of Rabi'ulawwal, moved to Andalusia at the end of the The Almohad period and gradually became one of the largest official and religious holidays in Andalusia. Giving awards to high-quality poems read on the mawlid festival and celebrations made all over Andalusia has greatly contributed to the literary richness in this field. In praise of the Prophet, talented poets such as Abū Zayd al-Fāzāzī (d. 627/ 1230), Ibn al-Jannān al-Anṣārī (d. 650/1252), Ibn Jābir (d. 780/1378) and Ibn Zumruk (d. 797/1395) emerged. Abū Zayd al-Fāzāzī, one of the most distinguished Prophetic ode poets of the Almohad period is said to have first pioneered the spread of Prophetic praises in Andalusia before the Iraqi poet Yaḥyā al-Ṣarṣarī (d. 656/1258) and the Egyptian poet Būṣīrī (d. 695/1296). He has a dīvān called al-Wasā’il al-mutaqabbalah, which he wrote in alphabetical order and dedicated to the praise of the Prophet. The fame of the odes he uttered about the Prophet spread as far as North Africa, and it has become a tradition to read his odes on special days. Because of the abundance and quality of Prophetic odes, Ibn al-Jannān, who witnessed the glorious days and the collapse of the The Almohad state, also commemorated the poet Ḥassān ibn Thābit, The Prophet’s Odic Poet. Ibn Jābir al-Andalusī, on the other hand, wrote the second ode in this field after Ṣafī al-Dīn al-Ḥilli (d. 749/1348), the inventor of the axiomatic odes, and became the pioneer of axiomatic odes in Andalusia. The effect of political instability on Prophetic odes in Andalusia, which entered its collapse with the end of the Almohad state, is obvious. According to many poets, salvation from this plight of Muslims in Andalusia is possible by once again adhering to the Sunnah of the Prophet. Probably as a reflection of this idea, many poets from 7th/13th centuries onwards devoted their odes to narrating the Prophet and his Sunnah. Poets who describe the Prophet elaborately in their poems hope to be saved from the troubles they have fallen into and to reach the highest rank in heaven. Poets who touched upon the physical characteristics of the Prophet often likened his smiling face to a bright sun and a full moon. In terms of oratory, they stated that he had a fluent language and never uttered bad words. Andalusian poets, who praised the Prophet with moral virtues such as tolerance, justice and courage, stated that there was nobody more merciful and generous than him due to the abundance of his blessings resembling torrential rain. Andalusian Prophetic ode poets adhered to the traditional forms of Arabic poetry in terms of the structure of eulogy. In the introductory parts of odes, they generally express longing for the Prophet and the holy places. The main theme is mostly the Prophet and his outstanding virtues, and they usually end their eulogies with salutation to the Prophet. Save a few Sufi poets, it can be said that they used simple and understandable language in their poems. The sources of inspiration for their poems are the Qur'an and hadiths. Andalusian poets used non-material axiomatic arts in their poems without disturbing the structure of eulogy. In addition to the art of pun, they provided musicality in the poem with the ‘tent-frame’ meter and rhyme scheme, sometimes supporting it through repetition. It is possible to see all kinds of repetitions in, Ibn al-Jannān's odes. In this study, the place of the Prophet in Andalusia and odes, which are reflections of the love for him, will be examined. In addition, the concept of the Prophet in Andalusia will be explained within the political, social and cultural framework of the period. (shrink)

This paper examines the current interest in ‘art activism’, and the relationship between artistic expression and civil disobedience. Boris Groys has argued that the lack of political dissidence within contemporary art is not down to the ineffectiveness of the aesthetic, but the far more effective intrusion of the aesthetic by the political. As such, the political question of civil disobedience is necessarily an aesthetic one. At the same time, this raises problems for how politically effective artistic dissidence can be. As (...) Grindon argues, if art activism often only mimics ‘real’ social activism, it remains within the boundaries of the gallery system with no real consequences. Most art activism fails to be effective civil disobedience, in this sense, as it already operates within the confines of pre-established curatorial spaces. As such, the use of art for the purposes of civil disobedience cannot be, then, mere aestheticism, but rather must act as ‘an insight into the transformed mechanisms of conquest’ : a conflict over the topology of disobedience which exposes the interrelation of aesthetics and politics through medium, space and archive. This paper critically assesses attempts in contemporary art to re-appropriate the symbolic dimension of dissidence as an aesthetic; in particular the use of militancy, asceticism and dissidence as an attempt to move beyond mere counter-political protest and towards a reclaiming of aesthetics from the intrusions of politics. It uses as a specific case example Militant Training Camp, a social experimental performance camp held at Arcadia Missa Gallery in London, March 2012. This weeklong performance piece was designed to explore the activity and mind-set of militant groups and the idea of non-pacifist activity within wider social movements. Engaging with not only the tradition of anarchist activism, but also more recent artistic engagements with civil disobedience, the camp involved a residential ascetic ‘training programme’ followed by a series of violent performances open to the public, often disturbing other sites of protest such as Anarchist theatres and Occupy sites in the process. The paper uses first-hand documentary evidence and critical reflection on the event in order to argue that, as both an act of civil disobedience, and an exploration of the limits of its aesthetic treatment, the event raises two specific issues surrounding the notion of disobedience and its conceptual possibilities. The first issue is the representation of rage within the context of art activism. Here, the performance is discussed with particular reference to Sloterdijk’s arguments that argues that militancy and revolt operate under a ‘thymotic economy’. However, Sloterdijk’s re-appropriation of the thymotic – a conceptualising of ‘rage’ which is not absorbed within the sublimination of psychology or Habermasian symbolism – is not as simple as offering an alternative, ‘non-symbolic’ rage. Given that modern militancy is always subject to containment, the second issue raised is the formative role of ‘curating’ acts of disobedience. Using the work of Groys on aesthetics and power, the paper assesses how ‘events’ of civil disobedience such as Militant Training Camp are located, represented, circulated and even stored, and the ways in which they might resist their reduction to or supplementing of a further economy which conceals the formative ‘rage’ of disobedience. (shrink)

More than two hundred years after the publication of his seminal The World as Will and Representation, Arthur Schopenhauer's influence is still felt in philosophy and beyond. As one of the most readable and central philosophers of the 19th century, his work inspired the most influential thinkers and artists of his time, including Nietzsche, Freud, and Wagner. Though known primarily as a herald of philosophical pessimism, the full range of his contributions is displayed here in a collection of thirty-one essays (...) on the forefront of Schopenhauer scholarship. Essays written by contemporary Schopenhauer scholars explore his central notions, including the will, empirical knowledge, and the sublime, and widens to the interplay of ethics and religion with Schopenhauer's philosophy. Authors confront difficult aspects of Schopenhauer's work and legacy--for example, the extent to which Schopenhauer adopted ideas from his predecessors compared to how much was original and visionary in his central claim that reality is a blind, senseless "will," the effectiveness of his philosophy in the field of scientific explanation and extrasensory phenomena, and the role of beauty and sublimity in his outlook. Essays also challenge prevailing assumptions about Schopenhauer by exploring the fundamental role of compassion in his moral theory, the Hindu, Christian, and Buddhist aspects of his philosophy, and the importance of asceticism in his views on the meaning of life. The collection is an internationally constituted work that reflects upon Schopenhauer's philosophy with authors presently working across the globe. It demonstrates fully the richness of Schopenhauer's work and his lasting impact on philosophy and psychoanalysis, as well as upon music, the visual arts, and literature. (shrink)

Both Kuhn and Cavell acknowledge their indebtedness to each other in their respective books of the 60s. Cavell in (Must We Mean What We Say (1969)) and Kuhn in (The Structure of Scientific Revolutions 1962). They were together at Berkeley where they had both moved in 1956 as assistant professors after their first encounter at the Society of Fellows at Harvard (Kuhn 2000d, p. 197). In Berkeley, Cavell and Kuhn discovered a mutual understanding and an intellectual affinity. They had regular (...) conversations which Cavell describes as "extremely important" (Conant 1989, p. 40; cf. Cavell 1979, p. xix). Cavell says that he felt he wanted to assure Kuhn that "philosophy did not have standing answers to the questions [Kuhn] .. (shrink)

It is a philosophical commonplace to juxtapose logic and imagination, reason and sensibility, the concept and intuition, philosophy itself and art. Frequently these pairs are thought of as opposites, one mediated through abstract reflection, the other a more intimate participant in the given of concrete existence. Philosophy does not always come off uncriticized in this opposition. Its reflective, analytical impulse is often thought to abstract us, remove us from the concretely real. Art, by contrast, it is said, serves to keep (...) us closer to the particularities and richness of the concrete, and so to be justified in the greater immediacy of its appeal. (shrink)

In this groundbreaking book David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution.

In marketing, the use of visual-art-based designs on products or packaging crucially impacts consumers’ decision-making when purchasing. While visual art in product packaging should be designed to induce consumer’s favorable evaluations, it should not evoke excessive affective arousal, because this may lead to the depletion of consumer’s cognitive resources. Thus, consumers may use heuristic decision-making and commit an inadvertent mistake while purchasing. Most existing studies on visual arts in marketing have focused on preference using subjective evaluations. To address this, we (...) applied a neuroscientific measure, electroencephalogram to increase experimental validity. Two successive tasks were designed to examine the effects of affective arousal and affective valence, evoked by visual artwork, on the consecutive cognitive decision-making. In task 1, to evaluate the effect of visual art, EEG of two independent groups of people was measured when they viewed abstract artwork. The abstract art of neoplasticism group was showing Mondrian’s artwork, while the abstract art of expressionism group viewed Kandinsky’s artwork. The neoplasticism movement strove to eliminate emotion in art and expressionism to express the feelings of the artist. Building on Gallese’s embodied simulation theory, AbNP and AbEX artworks were expected to induce lower and higher affect, respectively. In task 2, we investigated how the induced affect differentially influenced a succeeding cognitive Stroop task. We anticipated that the AbEX group would deplete more cognitive resources than AbNP group, based on capacity limitation theory. Significantly stronger affect was induced in the AbEX group in task 1 than in the AbNP group, especially in affective arousal. In task 2, the AbEX group showed a faster reaction time and higher error rate in the Stroop task. According to our hypotheses, the higher affective arousal state of the AbEX group might deplete more cognitive resources during task 1 and result in poorer performance in task 2 because affect impacted their cognitive resources. This is the first study using neuroscientific measures to prove that high affective arousal induced by visual arts on packaging may induce heuristic decision-making in consumers, thereby advancing our understanding of neuromarketing. (shrink)

In the article, the subject of the study is art. Some problematic points in the conceptualization of this phenomenon in modern science are considered, the available empirical research is evaluated, as well as the interdisciplinary perspective of the study of the phenomenon of art. The problem discussed in the article is the objectification of art as an independent phenomenon, and not only as a "form of social consciousness". The possibilities of such objectification can bring scientists closer to understanding the importance (...) of art for self-expression, human improvement, and survival in a modern post-industrial society. To solve this problem, some results of the well-known monitoring of changes in value structures are used – the World Values Survey, which contains data on value transformations in cross-country comparison. This study has been conducted for about 30 years and provides a broad understanding of the relevant changes. The research methodology is based on interdisciplinary, axiological and systemic approaches, the concept of "centralization" of values is used as a new perspective of the study. The scientific novelty of the study in general and its main provisions in particular boils down to the following: (1) the need to understand art from the point of view of not a form of public consciousness, but as a value included in various value systems is shown the structure of human existence; (2) based on the materials of the World Values Survey, the position of the value of art in the system of values of self-expression and values of self-survival is analyzed (according to R. Inglehart); (3) from the point of view of value transformations or changes occurring in the hierarchies of values, the "position" of art has been revealed, consisting in balancing (harmonizing) "intellectual values", which include art. The main result is as follows: art as a value is not subject to transformation and crisis, according to the results of the World Values Survey. (shrink)

This article has three objectives: First, it revises the history of the reception of Ludwik Fleck’s monograph Entstehung und Entwicklung einer wissenschaftlichen Tatsache (1935, Genesis and Development of a Scientific Fact). Contrary to the established picture, Fleck’s book was largely discussed in the years before the outbreak of World War II. What becomes clear when reading these early reviews and especially Fleck’s comments to those written by representatives of Nazi Germany is, second, the political dimension of his epistemology. In this (...) respect, Fleck’s emphasis on the genuinely democratic character of science will be discussed in some detail. And third, Fleck’s notion of “ Denkstil ”—thought-style—shall be examined more closely since, as we will claim, it can be understood as a notion indicating where the democratic dimension of science encounters its limits. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 64-73 [Access article in PDF] Postmodern Approach to Art Appreciation for Integrated Study in Japan This essay aims to clarify the issues of art appreciation education in Japan, and to examine a viewpoint for considering the issues in relation to a "Period for Integrated Study" established in 2002. Though ideas of art educationhave expanded in recent years, we are facing the difficulty (...) of approximately |a 20% cut in the number of art classes offered in Japanese compulsory education. In addition to this, involvement of art with Integrated Study, a new attempt to transcend the conventional learning of subjects, has presented urgent issues in art education along with current educational reforms.Based on analyses of the developmental characteristics of Japanese students' aesthetic sensitivity, we consider the issues of art appreciation education, and present a vision for involvement of art appreciation with Integrated Study. For example, Japanese students show a keen interest in formal elements with an inclination for expressiveness as a legacy received from the study of modernism in art education. On the other hand, students also show weakness in skills in finding artistic contexts. This should be considered as the most important issue of art appreciation education in Japan. It is necessary to enhance students' viewing in relation to social and cultural contexts in order to address this issue. We propose that this can be achieved through Integrated Study. Art appreciation in Integrated Study should take a postmodern approach to Japanese art education, which now has a strong inclination toward modernism. Educational Reform and Integrated Study With a rapid decline in the number of children, a rapidly aging society, and the advent of computerization and globalization, we now face problems which cannot be solved by conventional systems presently in place in Japanese society. In order to address these problems, drastic reforms that also include educational reform must be undertaken. Specific reform in education [End Page 64] can be seen in changes in the Course of Study. The most notable feature in the latest revision of the Course of Study is the establishment of the Period for Integrated Study. Integrated Study was established as a new project for the most highly prioritized issue of how students can acquire the so-called "Zest for Living." 1 Integrated Study is a required subject, with 105 to 110 class hours/year in third grade and above in elementary school, and 70 to 130 class hours/year in junior high school. The Course of Study does not prescribe the contents in detail but the periods are organized and implemented by each school according to regions and schools. However, it is suggested that schools proceed with the study of international understanding, conversation in foreign languages, information, the environment, social welfare, and health in a comprehensive and interdisciplinary way. IntegratedStudy puts an emphasis on students' initiative in identifying issues forthemselves, and on the cultivation of their talent and ability to solve those issues. Based on students' own interests, great importance is placed on problem-solving, open-ended activities, and the cultivation of independent and creative attitudes. Unlike the conventional unilateral teaching of knowledge for subjects, Integrated Study's purpose is to shift the direction of education so students can learn and think for themselves. In addition, Integrated Study focuses on authentic way and develops the skills of collecting, investigating, and connecting information, and reporting, announcing, and discussing. 2On the other hand, in curricula for elementary and junior high schools, the hours of art classes were reduced so that Japanese art education was put in a more difficult situation compared to previous curricula. Respectivesubjects are designed for students to learn basic abilities for the development of Integrated Study. Therefore, while educational reform is underway in Japan, art education faces the problem of maintaining basic learning at the same level as previously, relating art to Integrated Study.Relations between Integrated Study and art education have been discussed in various ways. 3 Two general problems can be pointed out. One isour concern that the originality of art as... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Willing and Nothingness: Schopenhauer as Nietzsche's EducatorDaniel SchumanChristopher Janaway, Editor. Willing and Nothingness: Schopenhauer as Nietzsche's Educator. New York: Oxford University Press, 1999. Pp. 293. Cloth, $65.00.Considering how many English language studies of Nietzsche's thought exist, it is quite remarkable that more has not been written on the question of the influence that Arthur Schopenhauer, his self-described "educator," had on his philosophy. The essays in this important volume (...) go a long way toward filling this vacancy in Nietzsche (and Schopenhauer) scholarship. Christopher Janaway has assembled an impressive group of articles that, taken together, effectively reveal the complexity and depth of Nietzsche's Schopenhauerian inheritance. This collection is both focused and comprehensive. These essays deal with almost all of the major points of agreement and contention between these two philosophers without exaggerating the influence of Schopenhauer on Nietzsche.In his introduction and contributing essay, Janaway highlights some of the general ways in which Schopenhauer exerted an influence on Nietzsche throughout his philosophical development. Janaway argues that despite Nietzsche's steadfast rejection of Schopenhauer's metaphysics there are important ways in which he remained indebted to his mentor even in his later works. For instance, though Schopenhauer embraces the mystical ideal of freeing the intellect from the will, it is his view that in the phenomenal realm the intellect is essentially an instrument of the will. According to Janaway, this claim that the intellect must be "rooted in a living, striving entity" had a profound [End Page 133] influence on Nietzsche's later thought, especially on his 'perspectivism' (35). The second essay in this volume, contributed by Maudemarie Clark, makes the similar claim that Nietzsche's ideas regarding truth and knowledge are grounded in the naturalistic conception of intellect he inherited from Schopenhauer. Clark claims Schopenhauer's philosophy, once divested of its more extreme metaphysical aspects, can be understood as a form of empiricism in which all knowing is "rooted in affect" (74). This is an idea that Clark also takes to be at the heart of Nietzsche's perspectivism.Other essays deal with two issues that were of primary importance to both Schopenhauer and Nietzsche: aesthetics and morality. Ivan Soll compares their respective aesthetic theories and argues that their views regarding the significance of art are not as dissimilar as Nietzsche himself claimed. They both see art "through the lens of life" and as a way of responding to the suffering that characterizes human existence. However, whereas Schopenhauer sees art as a means of denying the will to life, Nietzsche sees it as means of affirming life in the face of suffering. Like Soll, David Cartwright argues that Nietzsche embraces Schopenhauer's stance on the pervasiveness of suffering in human life. From this standpoint he examines both Nietzsche's criticisms and appropriation of certain elements of Schopenhauer's moral philosophy. Cartwright cleverly argues that Nietzsche's scathing critique of Schopenhauer's asceticism and morality of Mitleid actuallyrelies upon Schopenhauer's methodology and incorporates elements of his pessimism.Pessimism is dealt with in more detail in the essays by Kathleen Higgins and David Berman. Higgins claims that Schopenhauer's and Nietzsche's basic conceptions of will are actually quite similar. Both philosophers understand and interpret life in fundamentally voluntaristic terms. However, the two philosophers part ways when it comes to how will is characterized. Schopenhauer's pessimism and Nietzsche's relative optimism, Higgins claims, spring more from a difference in the temperament of the two thinkers, rather than a difference in their conceptions of will. In his essay, David Berman reinforces Higgins' view that Schopenhauer and Nietzsche share the same basic understanding of will even though their evaluations of it differ. However, Berman claims that Nietzsche came to see Schopenhauer as a closet epistemological optimist whose purported pessimism was "being used to protect and insulate him from the world's pain" (190). It is Berman's view that Nietzsche's self-proclaimed recognition of Schopenhauer's pessimism as a kind of "self-deceived" optimism actually cleared the way for Nietzsche to develop his philosophy of power and life affirmation. Whereas Schopenhauer retreats into the false comfort of resignation and denial, Nietzsche's... (shrink)

Information: 2d ed. Includes bibliographies.

William Bartram would accompany his botanizing father, John, into the wilderness and he would famously memorialize his own explorations with an account that mixed romantic conventions with natural history and Quaker theology. William’s interior life corresponds to the spirit of Virgil’s Eclogues with its promise of the resto­ration of a Golden Age, replete with bucolic scenes of shepherds tending their flocks and singing nature’s praises. This paper addresses some of the political interpretations that Bartram’s work has received and argues that (...) William was focused on a distant past which he was introduced to through the classical curriculum at the newly founded Academy of Philadelphia. William’s curriculum guaranteed an introduction to the conventions of the sublime and the picturesque, since Addison’s Spectator was also required reading and he was well-versed in Linnaean nomenclature, but wherever William botanized his observations of the natural world were framed by classical literature. His tour of ancient Indian ruins where he imagined an Areopagus and a space free of strife and bloodshed is a dramatic example of William’s habit of importing a place defined by classical literature into his natural history. (shrink)

This is a multicultural philosophy of art applied to common American and European experience and discussed in relation to Taoist, Buddhist, Hindu, Native American, and African traditions.

This dissertation develops and applies, through criticism, a theory of rhetoric which addresses the Modernist achievement in literary expression within the context of the current attacks on communication. A modest conclusion about the limits of communicative efficacy in addressing personal experience is proposed and tested. This "modest proposal" represents an alternative to extreme universalist presumptions on the one hand, and radically skeptical solipsism on the other, thus contributing to current discussions emphasizing hopeful directions for communication theory. ;The study examines the (...) limits of rhetoric in approaching human experience by examining the relationship between expression and personal reference in the Modernist epiphany. Particular attention is paid to how this earlier tradition informs the postmodern loss of faith in communication. ;The study applies a dialectical method which involves locating a closely related text and theory, testing the theory against the criterion of the text, using the dialectical imbalance created out of this comparison to move to a higher synthesis of theory and practice. The study moves through three dialectical phases corresponding to the movement of the expression of epiphanel experience form literature, to film, to artistic expression generally. (shrink)

Philosophical practice, an art of living rooted in ancient traditions, is enriched by modern techniques such as individual counseling, Socratic group dialogues, and organizational consulting. Philosophical counseling, a key aspect of this practice, employs traditional philosophical frameworks and rational reasoning to address clients' concerns, distinguishing itself from psychotherapy while respecting individual autonomy. The growing Western interest in Asian philosophies also underscores a shared pursuit of wisdom, spirituality, and meaning. This paper examines the development, key features, and leading proponents of philosophical (...) practice, its relationship with academic philosophy, and the tensions between their differing aims and methods. The outlook for philosophical counseling is promising, offering an alternative to medical approaches for existential issues and expanding its scope to personal guidance, conflict resolution, and life‐skill development. Its future trajectory hinges on societal trends toward secularization, the de‐medicalization of mental health, and the increasing recognition of philosophy's intrinsic practical value. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

The article examines Tischner’s views on the meaning of ethics in human life. Tischner opposes positions that treat ethics as a set of recommendations. He believes that such an approach amounts to a kind of training in which the final effect is most important and, what is more, imposed. According to Tischner, a man’s attitude towards his activity is what is important. Therefore, first we should ask who the person is and what his good is. Tischner does not give precise (...) answers to these questions. He notes that self-awareness is not given to man from the beginning but is shaped throughout his life. Its course is influenced by his upbringing, education and life circumstances. Tischner points out that the most important of those are interpersonal relations. In an encounter one man helps another to discover what is good. Ethics is precisely the art of accurate revelations of the good. It is also the art of planning and undertaking activities that ensure that the good is preserved. Ethics is also an art because every encounter is different and, therefore, unique. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.1 (2001) 158-159 [Access article in PDF] Christopher Janaway, editor. The Cambridge Companion to Schopenhauer. New York: Cambridge University Press, 1999. Pp. 592. Cloth, $59.95. Schopenhauer's import as a original thinker has often been downplayed or underestimated by contemporary commentators and his philosophy is often examined only in light of his influence upon Nietzsche. This collection of thirteen essays assembled by Christopher Janaway (...) does much to overcome scholarly neglect of Schopenhauer by illustrating the original aspects of his thought as well as the widespread influence his philosophy has had. One gains from this book not only a solid introduction to Schopenhauer's major ideas but an appreciation of the significant contributions he made to the philosophical milieu of the nineteenth and twentieth centuries.In the first essay, Gunter Zöller examines how Schopenhauer's unique notion of selfhood fits into his overall "dual aspect" theory of the world as both will and representation. He also discusses Schopenhauer's conception of the self within the context of his claims regarding the negation of the will. The following article, by David Hamlyn, is also broad in scope and provides a comprehensive examination of Schopenhauer's epistemology in The World as Will and Representation. He looks at the various notions of knowledge that are employed in Schopenhauer's system and how they are determined by the different classes of objects of knowledge that Schopenhauer distinguishes. In the third essay F. C. White turns to Schopenhauer's earlier work, On the Fourfold Root of the Principle ofSufficient Reason. White runs through Schopenhauer's arguments regarding each of the four classes of objects which comprise the world as representation in the Fourfold Root. He reinforces the point made by Schopenhauer himself, that this is a text that can not be overlooked if one is to gain a sufficient understanding of his primary work. The Fourfold Root, like the rest of Schopenhauer's philosophy, is deeply engaged with the philosophy of Kant. This is the topic of the next article by Paul Guyer. Guyer gives a detailed summary and evaluation of Schopenhauer's appropriation and critique of Kant's theoretical philosophy. According to Guyer, Schopenhauer and Kant employ quite different methodologies, Kant's being thoroughly transcendental and Schopenhauer's more phenomenological. Also, Schopenhauer's phenomenological approach to epistemological questions often skews his interpretation and evaluation of Kant's transcendental arguments. [End Page 158]Christopher Janaway, in the first of his two contributions, turns the focus to Schopenhauer's famous metaphysical doctrine of the will. He provides a particularly illuminating discussion of Schopenhauer's conception of will as the "thing-in-itself." The thing-in-itself is also the subject of the next article by Noira Nichols. Despite his reputation for not significantly altering his major positions, Nichols argues that there is a distinct difference between Schopenhauer's earlier, more Kantian, conception of the thing-in-itself with his later, more mystical, conception. She attributes these conceptual shifts to the increasing influence of Eastern philosophy upon Schopenhauer's thinking. Schopenhauer's broad analysis of the concept of will includes complex aesthetic and moral theories which are addressed in the contributions by Cheryl Foster and David Cartwright. In her contribution, Cheryl Foster examines Schopenhauer's aesthetics by focusing on his views regarding the relationship of art and science, art and the limitations of the intellect, and the nature of artistic genius. Turning to Schopenhauer's moral theory, David Cartwright explicates Schopenhauer's "narrower" sense of morality as discussed in his often overlooked On the Basis of Morality, rather than focusing on the "higher metaphysical-ethical standpoint" exemplifed in the World as Will and Representation. Cartwright also attempts to demonstrate "... how Schopenhauer has contributed and could contribute to contemporary moral thought" (253).The next group of articles address the issue of Schopenhauer's pessimism. Dale Jacquette looks at Schopenhauer's understanding of the meaning of death in light of his pessimistic metaphysic. Included in Jacquette's study is an explanation of Schopenhauer's views on suicide and asceticism. Covering similar territory, Christopher Janaway... (shrink)

The twentieth century has been called the age of science. Indeed, one of its most salient features is a continuous and accelerating advance in our knowledge of nature, accompanied by progress in technology and engineering. The middle of the century witnessed a new revolution in science and technology which brought about radical changes in economic production and everyday life, which brought nature under further control on our planet and ventured into outer space. These advances in science and technology in an (...) age of automation and electronic "brains," of nuclear energy and artificial satellites, exercise a growing influence on all aspects of social life, including the way in which art develops. (shrink)

Paper published on author's website available at http://www.garybanham.net/PAPERS_files/Art%20and%20Symbol%20in%20Nietzsche%27s%20Aesthetics.pdf.

"The Traffic in Culture takes us along exciting new avenues in the investigation of art and society, global encounter, and the marketing of culture. These essays will become required reading to scholars in fields as diverse as art history, anthropology, sociology, and cultural studies."--Suzanne Preston Blier, Harvard University "These essays break new ground in charting out a critical ethnography of art. They address the complexities of cultural difference while ceasing to respect the boundary between 'Western' and 'non-Western' art which has (...) defined the scope of the anthropology of art for too long. This is contemporary critical anthropology at its best."--Nicholas Thomas, Australian National University. (shrink)

In the late Qing dynasty (1644–1911), local gazetteer maps helped to disseminate the innovations of longitude and latitude used in Western cartography. The use of longitude and latitude lines alongside the traditional Chinese cartographic method of “grid scales” suggests that mapmakers chose an ingenious compromise to accommodate new knowledge alongside traditional practices.

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Is education being disingenuous about arts education? When arts education is evaluated, the value of arts education is disputed. Arts education is judged to be of poor educational proof value. I believe a very different conclusion about arts education can be drawn. Pertinent to a good education in general is arts education. Why the arts are educationally troubling and how arts education can improve education is examined here. A brief account of arts education is given in an attempt to explain (...) why the arts in education are not a luxury but, instead, a genuine need. (shrink)

Description: The book is, so to say, a bouquet in two respects. It is, first, a presentation of academic tributes, in the form of a festschrift, to a well-known Indian philosopher Professor Margaret Chatterjee; and, second, a hand-picked collection of original essays of multifaceted reflection for serious students of philosophy. Areas of study covered are various-metaphilosophy, philosophy or religion, metaphysics, aesthetics, existentialism, and Indian and comparative philosophies; and so are the lands of the philosophers who have contributed to the making (...) of this volume: India, England, Greece, America, Canada, and Japan. The work is a signal product of international cooperation and philosophy-a cause which Professor Chatterjee has been actively pursuing for long and with great success. (shrink)

This article analyses the recent controversy over single and lesbian women’s right to access reproductive technology. It focuses on the McBain case in relation to the Sex Discrimination Act. As well, it attempts to bring voices that have been ignored into the debate, and reflect on the values that they express.

The article explores the way in which new objects of study, such as dance performance and art–practice, emerge in algorithmic aesthetics. The advent of digital communicative practices shapes new means of formalization of dance performance scripts, which nowadays have various technological solutions, including algorithmic ones. Classical aesthetics is unable to describe the technological modernization of artistic expression. The author offers a general framework of algorithmic aesthetics to study of dance performance and art practice.

The Art of Randomness teaches readers to harness the power of randomness (and Python code) to solve real-world problems in programming, science, and art through hands-on experiments-from simulating evolution to encrypting messages to making machine-learning algorithms. Each chapter describes how randomness plays into the given topic area, then proceeds to demonstrate its problem-solving role with hands-on experiments to work through using Python code.

The post-Holocaust suicide of a concentration camp survivor is particularly unsettling. One thinks, for instance, of Cliff Stern's devastated response to Professor Louis Levy's death in Woody Allen's movie Crimes and Misdemeanors. Loosely based on Primo Levi, Allen's professor provides in short documentary clips an astute analysis of the contradictions of a loving God in the Old Testament and stoically counsels embracing life despite the indifference and occasional cruelty of the universe. Having experienced, understood, and accepted the absurdity and injustice (...) of life, Levy, one might think, would rage to the bitter end against the dying of the light. But for no apparent reason, he kills himself. Cliff's response... (shrink)