This volume of translations unites three shorter works by Arthur Schopenhauer that expand on themes from his book The World as Will and Representation. In On the Fourfold Root he takes the principle of sufficient reason, which states that nothing is without a reason why it is, and shows how it covers different forms of explanation or ground that previous philosophers have tended to confuse. Schopenhauer regarded this study, which he first wrote as his doctoral dissertation, as an essential preliminary (...) to The World as Will. On Will in Nature examines contemporary scientific findings in search of corroboration of his thesis that processes in nature are all a species of striving towards ends; and On Vision and Colours defends an anti-Newtonian account of colour perception influenced by Goethe's famous colour theory. This is the first English edition to provide extensive editorial notes on the different published versions of these works. (shrink)

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)

With the publication of the Parerga and Paralipomena in 1851, there finally came some measure of the fame that Schopenhauer thought was his due. Described by Schopenhauer himself as 'incomparably more popular than everything up till now', the Parerga is a miscellany of essays addressing themes that complement his work The World as Will and Representation, along with more divergent, speculative pieces. It includes his 'Aphorisms on the Wisdom of Life', reflections on fate and clairvoyance, trenchant views on the philosophers (...) and universities of his day, and an enlightening survey of the history of philosophy. The present volume offers a new translation, a substantial introduction explaining the context of the essays, and extensive editorial notes on the different published versions of the work. This readable and scholarly edition will be an essential reference for those studying Schopenhauer, the history of philosophy, and nineteenth-century German philosophy. (shrink)

Excerpt from Schopenhauer-Brevier Werbe, hamit ber alte 8rrthum feinen breiten'. Blaß uochmalß ungeftört einnehme. daß ift bie Etaft ber 28ahrheit, beren (c)ieg fchwer unb müh= fam, aber hafur, wenn einmal errungen, ihr nicht mehr an entreißen ift. (mes am.) About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format (...) whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Grief and its Transcendence: Memory, Identity, Creativity is a landmark contribution that provides fresh insights into the experience and process of mourning. It includes fourteen original essays by pre-eminent psychoanalysts, historians, classicists, theologians, architects, art-historians and artists, that take on the subject of normal, rather than pathological mourning. In particular, it considers the diversity of the mourning process; the bereavement of ordinary vs. extraordinary loss; the contribution of mourning to personal and creative growth; and individual, social, and cultural means of (...) transcending grief. The book is divided into three parts, each including two to four essays followed by one or two critical discussions. Co-editor _Adele Tutter’s_ Prologue outlines the salient themes and tensions that emerge from the volume. Part I juxtaposes the consideration of grief in antiquity with an examination of the contemporary use of memorials to facilitate communal remembrance. Part II offers intimate first-person accounts of mourning from four renowned psychoanalysts that challenge long-held psychoanalytic formulations of mourning. Part III contains deeply personal essays that explore the use of sculpture, photography, and music to withstand, mourn, and transcend loss on individual, cultural and political levels. Drawing on the humanistic wisdom that underlies psychoanalytic thought, co-editor _Léon Wurmser’s_ Epilogue closes the volume. Grief and its Transcendence will be a must for psychoanalysts, psychotherapists, psychiatrists, and scholars within other disciplines who are interested in the topics of grief, bereavement and creativity. (shrink)

Illustrated lining-papers."Thomas Mann has selected the essence of Schopenhauer's thought from The world as will and idea.""Translation of the introductory essay by Mrs. H. T. Lowe-Porter. The selections are from the translation by R. B. Haldane and J. Kemp.""First edition." "The works of Arthur Schopenhauer": p. [32].

Provides an account of how necessary subjective syntactic investments on the part of speakers affect the semantic contents of their words and the possibilities for their thought-contents.

We contrast reactive and endogenously active perspectives on brain activity. Both have been pursued continuously in neurophysiology laboratories since the early 20thcentury, but the endogenous perspective has received relatively little attention until recently. One of the many successes of the reactive perspective was the identification, in the second half of the 20th century, of the distinctive contributions of different brain regions involved in visual processing. The recent prominence of the endogenous perspective is due to new findings of ongoing oscillatory activity (...) in the brain at a wide range of time scales, exploiting such techniques as single-cell recording, EEG, and fMRI. We recount some of the evidence pointing to ways in which this endogenous activity is relevant to cognition and behavior. Our major objective is to consider certain implications of the contrast between the reactive and endogenous perspectives. In particular, we relate these perspectives to two different characterizations of explanation in the new mechanistic philosophy of science. In a basic mechanistic explanation, the operations of a mechanism are characterized qualitatively and as functioning sequentially until a terminating condition is realized. In contrast, a dynamic mechanistic explanation allows for non-sequential organization and emphasizes quantitative modeling of the mechanisms's behavior. For example, with appropriate parameter values a set of differential equations can be used to demonstrate ongoing oscillations in a system organized with feedback loops. We conclude that the basic conception of mechanistic explanation is adequate for reactive accounts of brain activity, but dynamical accounts are required to explain sustained, endogenous activity. (shrink)

Cognitive science is, more than anything else, a pursuit of cognitive mechanisms. To make headway towards a mechanistic account of any particular cognitive phenomenon, a researcher must choose among the many architectures available to guide and constrain the account. It is thus fitting that this volume on contemporary debates in cognitive science includes two issues of architecture, each articulated in the 1980s but still unresolved: " • Just how modular is the mind? – a debate initially pitting encapsulated mechanisms against (...) highly interactive ones. • Does the mind process language-like representations according to formal rules? – a debate initially pitting symbolic architectures against less language-like architectures. " Our project here is to consider the second issue within the broader context of where cognitive science has been and where it is headed. The notion that cognition in general—not just language processing—involves rules operating on language-like representations actually predates cognitive science. In traditional philosophy of mind, mental life is construed as involving propositional attitudes—that is, such attitudes towards propositions as believing, fearing, and desiring that they be true—and logical inferences from them. On this view, if a person desires that a proposition be true and believes that if she performs a certain action it will become true, she will make the inference and perform the action. (shrink)

This volume of translations unites three shorter works by Arthur Schopenhauer that expand on themes from his book The World as Will and Representation. In On the Fourfold Root he takes the principle of sufficient reason, which states that nothing is without a reason why it is, and shows how it covers different forms of explanation or ground that previous philosophers have tended to confuse. Schopenhauer regarded this study, which he first wrote as his doctoral dissertation, as an essential preliminary (...) to The World as Will. On Will in Nature examines contemporary scientific findings in search of corroboration of his thesis that processes in nature are all a species of striving towards ends; and On Vision and Colours defends an anti-Newtonian account of colour perception influenced by Goethe's famous colour theory. This is the first English edition to provide extensive editorial notes on the different published versions of these works. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In two experiments, participants had to choose between a sure and a risky option. The sure option was presented either in a gain or a loss frame. Need was defined as a minimum score the participants had to reach. Moreover, choices were made under two different time constraints and with three different levels of induced need to be reached within a fixed number of trials. The two experiments differed with respect to the specific amounts to win and the need levels. (...) The $$2 \times 2 \times 3$$2×2×3 design was a within-subject design. Data were evaluated on an overall and on a group level, the latter based on participants’ stated risk preference and on revealed preferences using cluster analysis across subjects. Overall, the results showed riskier behavior when the choice options were presented as losses as compared to gains and when the induced need was highest. Time limits enhanced the framing effect. (shrink)

A new theoretical approach to language has emerged in the past 10–15 years that allows linguistic observations about form–meaning pairings, known as ‘construc- tions’, to be stated directly. Constructionist approaches aim to account for the full range of facts about language, without assuming that a particular subset of the data is part of a privileged ‘core’. Researchers in this field argue that unusual constructions shed light on more general issues, and can illuminate what is required for a complete account of (...) language. (shrink)

The wisdom of life.--Counsels and maxims.--Religion and other essays.--The art of literature.--Studies in pessimism.

I.-II. bd. Die welt als wille und vorstellung.--III. bd. Der satz vom grunde. Über den willen in der natur. Die beiden grundprobleme der ethik.--IV.-V. bd. Parerga und Paralipomena kleine philosophische schriften.--VI. bd. Über das sehn und die farben. Theoria colorum physiologica. Balthazar gracians hand-drakel. Über das interessante. Eristische dialektik. Über die verhunzung der deutschen sprache.

Gênese e processo histórico do complexo da arte no cotidiano do ser social na Estética de Lukács Resumo: Esse artigo tem como objetivo apresentar o entendimento onto-histórico sobre o trabalho e a origem tardia do complexo da arte no cotidiano dos seres sociais. Trata-se de uma pesquisa teórico-bibliográfica e fundamenta-se, especialmente, na obra “Estética: la peculiaridad de lo estético”, de Georg Lukács. É pela via do trabalho que a significação de utilidade se transpõe a uma dimensão estética. O complexo da (...) arte se estrutura a partir do tempo livre (ócio), do desenvolvimento da técnica e, ademais, pela experiência do agradável e pela consciência do estético. Considera-se, com efeito, que muito mais do que se acercar dos fatos históricos a respeito da arte, é imprescindível reconhecê-los ontologicamente, compreendendo as necessidades assentes ao cotidiano dos indivíduos enquanto partícipes do gênero humano. Palavras-chave: Origem da arte; Trabalho; Formação estética. Genesis and historical process of art complex in the quotidian of social being at Lukács’s Aesthetics Abstract: This article aims to present the onto-historic understanding about labor and the late origin of the art complex at the social beings’ quotidian. It is a theoretical-bibliographic research which is based, specially, at the work “Estética: la peculiaridad de lo estético”, written by Georg Lukács. It is through labor that the significance of utility is transposed to an aesthetical dimension. The art complex develops itself from the free time (idleness), from the developing of technics and, also, from the experience of agreeable and from the consciousness of the aesthetic. It is considered, undeniably, that much more than approaching by the historical facts about art, it is essential to ontologically recognize them, understanding the needs which are part of the individual’s quotidian as partakers of the human gender. Keywords: Origin of art; Labor; Aesthetics formation. Génesis y proceso histórico del complejo del arte en el cotidiano del ser social en la Estética de Lukács Resumen: Este artículo pretende presentar la comprensión ontohistórica sobre el trabajo y el origen tardío del complejo del arte en la vida cotidiana de los seres sociales. Una investigación teórica y bibliográfica que se basa, especialmente, en la obra “Estética: la peculiaridad de lo estético”, de Georg Lukács. Es a través del trabajo que el significado de la utilidad se traslada a una dimensión estética. El complejo del arte se estructura desde el tiempo libre (ocio), desde el desarrollo de la técnica y, además, por la experiencia de lo agradable y por la conciencia de lo estético. Se considera, de hecho, que mucho más que acercarse a los hechos históricos del arte, es imprescindible reconocerlos ontológicamente, entendiendo las necesidades basadas en la vida cotidiana de los individuos como partícipes del género humano. Palabras clave: Origen del arte ; Trabajo ; Formación estética. Data de registro: 01/07/2021 Data de aceite: 19/01/2022. (shrink)

Prolongement d’une séquence de cours donnée au sein du lycée suisse, cet article explore les liens entre philosophie et cinéma dans le cadre de l’enseignement d’une pratique de la philosophie. Confrontés à deux approches différenciées d’un même thème, celui du féminisme, les élèves sont encouragés à les mettre à l’épreuve d’un objet culturel, ici le film. En confrontant des extraits de Trouble dans le genre de Judith Butler et d’ Une voix différente de Carol Gilligan à des scènes tirées de (...) The Hours (Stephen Daldry, 2001), il apparaît que faire de la philosophie ne se réduit pas, pour les élèves, à répéter les idées développées par d’autres. Pas plus qu’enseigner la philosophie ne se réduit, pour les enseignants, à expliquer des textes sélectionnés par d’autres. La pratique de la philosophie s’apparente plutôt à une réappropriation du geste philosophique d’un auteur, de sa manière de faire, afin de l’utiliser face à d’autres textes, d’autres contextes culturels. (shrink)

The philosophical debate presented in these pages is extracted from a 13th-century Coptic Arabic summa ecclesiastica . The venue is alleged to have taken place in Alexandria under the aegis of its proper founder. In a gathering of five philosophers or sages coming from India to the Maghreb, passing of course through Greece, amongst whom was present the great Aristotle, Alexander's preceptor and the undisputed authority that summed up the debate and put an end to it. The disputation turns on (...) the existence or not of a supreme creator and organizer, reminding the public sessions convened by the Sassanid and Muslim Rulers. However, the mise en scène here is linked without contest to the famous encounter of 325 b.C. between the Macedonian Conqueror and the Brahmans or Indian gymnosophites. We know how this episode was glossed in different ways in the Greek literature until it was “recovered” in an apologetic monotheistic view by the new Christian imperial order from the 4th century a.C. onward. Although our Coptic writer from the Middle Ages intends to prove with the text he offers to us the rightness of the “miaphysite” teaching of his Church, he, or his source, stands fully in line with that tradition, despite the fact that we could not trace a specific source from the rich variety of linguistic traditions on the matter. All the same, the ideological and linguistic analysis of the text brings us to suggest a Greek original that goes back to Late Antiquity. Résumé Tiré d'une somme ecclésiastique copto-arabe du XIII e siècle, le débat philosophique que nous présentons ici , est prétendu avoir eu lieu à Alexandrie, sous l'égide de son propre fondateur. S'y trouvent réunis cinq sages ou philosophes , venus depuis l'Inde jusqu'au Maghreb, passant bien sûr par la Grèce, dont la délégation ne manque pas d'inclure le grand Aristote, le précepteur d'Alexandre le Grand et l'autorité incontestée qui récapitule et clôt le débat. La ‘dispute’ porte sur l'existence ou non d'un créateur-ordonnateur suprême, rappelant les sessions publiques convoquées par les souverains sassanides ou musulmans. Mais la mise en scène ici se rattache incontestablement à la célèbre rencontre du Conquérant macédonien avec les brahmanes ou gymnosophistes indiens en 325 av. J.-C. On sait comment cet épisode a été glosé de différentes manières dans la littérature grecque, jusqu'à sa cristallisation dans le Roman d'Alexandre , avant d'être “récupéré”, dans une perspective monothéiste apologétique, par la nouvelle donne impériale chrétienne depuis le IV e siècle ap. J.-C. Si notre auteur copte du Moyen Âge arabe veut voir dans le texte qu'il nous livre une confirmation de la doctrine “miaphysite” de son Église, il se situe néanmoins, lui ou sa source, dans cette ligne-là, sans qu'on ait pu, pour autant, en retracer la source dans les différentes traditions linguistiques existantes. Ceci dit, l'analyse idéologique et linguistique du texte du débat nous mène à suggérer, comme source immédiate, un original grec de la Basse Antiquité. (shrink)