Arthur Schopenhauer

Philosophy ◽  
2014 ◽  
Author(s):  
Dale Jacquette
Keyword(s):  
Philosophy Of Art ◽  
Arthur Schopenhauer ◽  
Flower Opening ◽  
Mathematical Properties ◽  
The Arts ◽  
The World ◽  
Thing In Itself ◽  
Specific Object ◽  
And Mathematics ◽  
Single Idea

Arthur Schopenhauer (b. 1788–d. 1860) was a private scholar and philosopher. Although Schopenhauer was largely ignored by the professional academic philosophical community during his lifetime, he exerted increasing influence on German and international philosophy, literature, and the arts later in life and more profoundly after his death. Schopenhauer’s philosophy can be explained as a distinctly original synthesis of Kant, Plato, and Eastern thought, especially Hinduism and Buddhism. Schopenhauer understands his philosophy as the true heir of Kant’s critical idealism, on some parts of which Schopenhauer develops his own brand of post-Kantian transcendental idealism. The world for Schopenhauer has two aspects: the phenomenal world we experience in sensation and perception, and a transcendental world of Kantian Thing-in-itself, which Schopenhauer identifies with Will. The world as Will is pure willing, for Schopenhauer, in the sense that it is uncaused, undirected, unmotivated blind urging. The Will is willing without willing anything in particular, or for any particular reason, and even without any cause, while lacking all logical and mathematical properties. The world as Will, lacking any specific object, is inevitably objectified in the world as representation in conflict, strife, competition, opposition, and suffering. The world in reality, identified by Schopenhauer as Will, because it must be objectified in conflict, is seen by Schopenhauer philosophically, for this reason, from a technically pessimistic perspective. The Kantian distinction between the mind’s experiential world (Vorstellung) and Thing-in-itself, the world as it is in itself and independently of thought (Ding an sich), interpreted by Schopenhauer not as Kantian noumenon but knowable intuitively and supported by metaphysical reasoning as pure willing (der Wille), links together all the several parts of Schopenhauer’s philosophical system, like spokes from a wheel’s hub. Beginning with his epistemology and metaphysics, and proceeding systematically to his philosophy of science, logic and mathematics; philosophy of religion; philosophy of art; ethics, moral, and political philosophy, Schopenhauer encourages the image of a flower opening when he describes developing the several related parts of his philosophy as the progressive unfolding of a single idea.

scholarly journals La intuición en la filosofía de Arthur Schopenhauer

2021 ◽  
Vol 137 (137) ◽  
pp. 6-29
Author(s):  
Clara Zimmermann
Keyword(s):  
Buenos Aires ◽  
Arthur Schopenhauer ◽  
Short Introduction ◽  
The Unconscious ◽  
Cambridge University ◽  
Oxford University ◽  
The Arts ◽  
Indian Thought ◽  
Palabras Clave ◽  
The World

En el presente trabajo analizaremos el concepto de intuición, principalmente en relación con las tesis epistemológicas y metafísicas de la teoría schopenhaueriana. En la primera sección, plantearemos los ejes centrales del sistema metafísico de Schopenhauer, sobre todo en lo que concierne al concepto de voluntad  (Wille ) y la relación que este guarda con su teoría del conocimiento. Luego, examinaremos la diferencia que el filósofo alemán establece entre el conocimiento representativo —o mediado— de la razón y el conocimiento directo —o inmediato— de la intuición. Asimismo, trazaremos, en un primer momento, las tesis y los problemas fundamentales del dualismo propios de la representación y la voluntad, para establecer —en un segundo momento— el problema de la intuición del cuerpo propio. Por último, consideraremos los alcances y los límites de la intuición, así como también sus distintas variantes: principalmente la intuición estética y su culminación en la intuición mística. Palabras clave Schopenhauer, intuición, conocimiento inmediato, representación, estética Referencias Bergson, H. (2013). El pensamiento y lo moviente. Buenos Aires, Argentina: Cactus.Cross, T. (2013). Schopenhauer’s encounter with Indian thought. Representation and will,and their Indian parallels. Honolulu, Estados Unidos: University of Hawaii Press.Ferrari, J. (2011). L’art dans le monde comme volonté et comme représentation d’ArthurSchopenhauer. Mayenne, Francia: Presses Universitaires de France.François, A. (2004). La volonté chez Bergson et Schopenhauer. Methodos, (4), https://doi.org/10.4000/methodos.135.Foster, C. (1999). Ideas and imagination. Schopenhauer on the proper foundationof art. En C. Janaway (Ed.), The Cambridge Companion to Schopenhauer(pp. 213-251). Nueva York, Estados Unidos: Cambridge University Press.Gardner, S. (1999). Schopenhauer, will and the unconscious. En C. Janaway(ed.), The Cambridge Companion to Schopenhauer (pp. 375-421). Nueva York,Estados Unidos: Cambridge University Press.Glock, H. J. (1999). Schopenhauer and Wittgenstein: representation as languageand will. En C. Janaway (Ed.), The Cambridge Companion to Schopenhauer(pp. 422-458). Nueva York, Estados Unidos: Cambridge University Press.González Ríos, J. (2017). Schopenhauer. Buenos Aires, Argentina: Galerna.Guyer, P. (2007). Pleasure and knowledge in Schopenhauer’s aesthetics. En D.Jacquette (Ed.), Schopenhauer, Philosophy and the Arts (pp. 109-132). NuevaYork, Estados Unidos: Cambridge University Press.Hannan, B. (2009). The riddle of the world. A reconsideration of Schopenhauer’s philosophy.Nueva York, Estados Unidos: Oxford University Press.Hume, D. (2002). Investigación sobre el conocimiento humano. Madrid, España: BibliotecaNueva.Janaway, C. (1989). Self and world in Schopenhauer’s philosophy. Nueva York, EstadosUnidos: Oxford University Press.Janaway, C. (1999a). Schopenhauer’s pessimism. En C. Janaway (Ed.), The CambridgeCompanion to Schopenhauer (pp. 318-343). Nueva York, Estados Unidos:Cambridge University Press.Janaway, C. (1999b). Introduction. En C. Janaway (Ed.), The Cambridge Companion toSchopenhauer (pp. 1-17). Nueva York, Estados Unidos: Cambridge University Press.Janaway, C. (2002). Schopenhauer. A very short introduction. Nueva York, EstadosUnidos: Oxford University Press.Kant, I. (2014). Crítica de la razón pura. Buenos Aires, Argentina: Colihue.Magee, B. (1983). The philosophy of Schopenhauer. Nueva York, Estados Unidos:Oxford University Press.Mann, T. (2018). Schopenhauer. París, Francia: Libella.                                                                                                  

scholarly journals STEAM education: An opportunity to transcend gender and disciplinary norms in early childhood?

2021 ◽  
pp. 146394912110514
Author(s):  
Sofie Areljung ◽  
Anna Günther-Hanssen
Keyword(s):  
Early Childhood ◽  
Mathematics Education ◽  
Educational System ◽  
Early Years ◽  
Childhood Education ◽  
Science Technology ◽  
The Arts ◽  
Steam Education ◽  
The World ◽  
And Mathematics

STEAM (science, technology, engineering, arts and mathematics) education is currently gaining ground in many parts of the world, particularly in higher stages of the educational system. Foreseeing a development of STEAM policy and research also in the early years, this colloquium seeks to bring questions of gendering processes to the table. The authors aspire to prevent the development of a gender-blind STEAM discourse for early childhood education. Instead, they encourage practitioners and researchers to make use of STEAM education to recognise and transcend gendered norms connected to children’s being and learning in the arts, STEM and STEAM.

Reflections of an Existential Crisis in Søren Kierkegaard’s Aesthetic Conception

2019 ◽  
Vol 29 (2) ◽  
pp. 29-41
Author(s):  
Antanas Andrijauskas ◽  
Keyword(s):  
Human Life ◽  
Philosophy Of Art ◽  
Arthur Schopenhauer ◽  
Abstract Thinking ◽  
Philosophical Thinking ◽  
Existential Crisis ◽  
Radical Critique ◽  
The World ◽  
Inner World ◽  
Individual Human

This article considers the principles of philosophical thinking in Søren Kierkegaard’s nonclassical aesthetics. Special attention is given to his radical critique of “false” and “impersonal” rationalism. This does not only mean the rejection of the traditional principles of classical metaphysics which claims “universality” and “universal meaning.” Kierkegaard also bases his philosophy on individual human life, or, in other words, personal existence with its unique inner world. His critique is more profound than that by Arthur Schopenhauer. Kierkegaard develops his own philosophy of “existential crisis,” opposing subjective will and internal changes to abstract thinking and external influences. Kierkegaard’s works initiate the critical or nonclassical stage in Western aesthetics. The main place in it is occupied by the idea of the disharmony of the world: its subjective reflection is “split” consciousness that has lost contact with the traditional concepts of harmony, humanism, goodness, beauty and philosophy of art.

A Mathematical Magic Show

1990 ◽  
Vol 83 (7) ◽  
pp. 515-523
Author(s):  
Harriet Stone Dehan
Keyword(s):  
Everyday Life ◽  
Western Culture ◽  
The Arts ◽  
The World ◽  
Young Students ◽  
And Mathematics

What inspires people to become artists, athletes, scientists, and possibly even mathematicians? What ignites the spark of curiosity that drives young minds to explore science and mathematics so that they can try to unravel the mysteries of the world around them? How many of us have been profoundly affected by a passage in a book, the colors in a pain or an encounter with the elegant beauty and astounding power of mathematics? These questions suggest an approach that might be helpful to young students, many of whom are simply not motivated by the applications of mathematics to everyday life. An overview of mathematics, presented in a dynamic, compelling way, can give students new reasons to persevere in their studies. Although most people are aware of the utility of mathematics and its use in the sciences, relatively few know of its role in the development of Western culture, its influence on philosophy and the arts, and that it is a continually expanding field in which new and exciting things are being done.

Schopenhauer's Proof that Thing-in-ltself is Will

2007 ◽  
Vol 12 (2) ◽  
pp. 76-108 ◽  
Author(s):  
Dale Jacquette
Keyword(s):  
Arthur Schopenhauer ◽  
The World ◽  
Thing In Itself ◽  
Analogical Argument

In a bold series of pronouncements, Arthur Schopenhauer maintains that the Kantian thing-in-itself is Will. The division between the world as Will and representation, with its impressive array of implications, is Schopenhauer's most important and distinctive contribution to metaphysics. To understand what Schopenhauer means by ‘Will’ (der Wille) as opposed to the empirical ‘will’, and his reasons for identifying thing-in-itself with Will, we must look in detail at two related arguments by which Schopenhauer proposes to link these concepts. The arguments appear in the first and second editions of Schopenhauer's masterwork, The World as Will and Representation. The differences between the two versions appear to represent a change in his thinking about the most persuasive way to demonstrate the nature of thing-in-itself. The arguments are reconstructed for the sake of comparison, and critically evaluated in light of a variety of objections. While Schopenhauer's first, analogical, argument is inconclusive, his second argument offers a highly defensible inference identifying thing-in-itself as Will.

scholarly journals A ARTE COMO BÁLSAMO: PINTURA E MÚSICA EM SCHOPENHAUER

2016 ◽  
Vol 6 (11) ◽  
pp. 43-53
Author(s):  
João Elton Jesus
Keyword(s):  
Arthur Schopenhauer ◽  
The World ◽  
Thing In Itself ◽  
The Will ◽  
The Aesthetic

Na obra O mundo como vontade e representação, Arthur Schopenhauer apresenta as manifestações artísticas como forma de objetivação da vontade, que para ele, está associada ao Bem platônico e a Coisa-Em-Si propugnada por Kant. Este trabalho tem o objetivo de apresentar a estética construída pelo Cavaleiro Solitário, onde a contemplação da arte, destacando a pintura e, especialmente a música, apresenta-se como bálsamo para o ser humano superar o pessimismo causado pelo mundo passageiro dos fenômenos e assim alcançar, ainda que provisoriamente, a tão sonhada ataraxia.Abstract: In the book The World as Will and Representation, Arthur Schopenhauer shows the artistic manifestation as objectivation of the will, which is associated to Platos’s idea of the Good and the Thing In Itself proposed by Kant. The aim of this article is to present the aesthetic built by the Solitary Knight, where the contemplation of arts, especially painting and music as well, reveals as a balm to human been overcome the pessimism caused by the transitory world of phenomenon  achieving, provisionally though, the dream of the ataraxia. Keywords: Aesthetic, Music, Painting, Will, Representation.

Book Review

2016 ◽  
Vol 6 (2) ◽  
pp. 386-389
Author(s):  
Eduardo Oliveira
Keyword(s):  
Urban Planning ◽  
Urban Design ◽  
Olympic Games ◽  
City Image ◽  
European Capital Of Culture ◽  
The Arts ◽  
The World ◽  
The City ◽  
The Olympic Games

Evinç Doğan (2016). Image of Istanbul, Impact of ECoC 2010 on The City Image. London: Transnational Press London. [222 pp, RRP: £18.75, ISBN: 978-1-910781-22-7]The idea of discovering or creating a form of uniqueness to differentiate a place from others is clearly attractive. In this regard, and in line with Ashworth (2009), three urban planning instruments are widely used throughout the world as a means of boosting a city’s image: (i) personality association - where places associate themselves with a named individual from history, literature, the arts, politics, entertainment, sport or even mythology; (ii) the visual qualities of buildings and urban design, which include flagship building, signature urban design and even signature districts and (iii) event hallmarking - where places organize events, usually cultural (e.g., European Capital of Culture, henceforth referred to as ECoC) or sporting (e.g., the Olympic Games), in order to obtain worldwide recognition. 

Editorial

2017 ◽  
pp. 2-3
Author(s):  
Peter Hoar
Keyword(s):  
New Zealand ◽  
New Technologies ◽  
Editorial Team ◽  
Local Market ◽  
Design History ◽  
Recorded Sound ◽  
The Arts ◽  
The World ◽  
1960S And 1970S ◽  
New Zealanders

Kia ora and welcome to the second issue of BackStory. The members of the Backstory Editorial Team were gratified by the encouraging response to the first issue of the journal. We hope that our currentreaders enjoy our new issue and that it will bring others to share our interest in and enjoyment of the surprisingly varied backstories of New Zealand’s art, media, and design history. This issue takes in a wide variety of topics. Imogen Van Pierce explores the controversy around the Hundertwasser Art Centre and Wairau Māori Art Gallery to be developed in Whangarei. This project has generated debate about the role of the arts and civic architecture at both the local and national levels. This is about how much New Zealanders are prepared to invest in the arts. The value of the artist in New Zealand is also examined by Mark Stocker in his article about the sculptor Margaret Butler and the local reception of her work during the late 1930s. The cultural cringe has a long genealogy. New Zealand has been photographed since the 1840s. Alan Cocker analyses the many roles that photography played in the development of local tourism during the nineteenth century. These images challenged notions of the ‘real’ and the ‘artificial’ and how new technologies mediated the world of lived experience. Recorded sound was another such technology that changed how humans experienced the world. The rise of recorded sound from the 1890s affected lives in many ways and Lewis Tennant’s contribution captures a significant tipping point in this medium’s history in New Zealand as the transition from analogue to digital sound transformed social, commercial and acoustic worlds. The New Zealand Woman’s Weekly celebrates its 85th anniversary this year but when it was launched in 1932 it seemed tohave very little chance of success. Its rival, the Mirror, had dominated the local market since its launch in 1922. Gavin Ellis investigates the Depression-era context of the Woman’s Weekly and how its founders identified a gap in the market that the Mirror was failing to fill. The work of the photographer Marti Friedlander (1908-2016) is familiar to most New Zealanders. Friedlander’s 50 year career and huge range of subjects defy easy summary. She captured New Zealanders, their lives, and their surroundings across all social and cultural borders. In the journal’s profile commentary Linda Yang celebrates Freidlander’s remarkable life and work. Linda also discusses some recent images by Friedlander and connects these with themes present in the photographer’s work from the 1960s and 1970s. The Backstory editors hope that our readers enjoy this stimulating and varied collection of work that illuminate some not so well known aspects of New Zealand’s art, media, and design history. There are many such stories yet to be told and we look forward to bringing them to you.

The Music Therapist: Creative Arts Therapist and Contemporary Shaman

2016 ◽  
Vol 2 ◽  
Author(s):  
Joseph Moreno
Keyword(s):  
Native American ◽  
Creative Arts ◽  
Indian Culture ◽  
Music Therapist ◽  
Psychotherapy Practice ◽  
The Arts ◽  
Contemporary Psychotherapy ◽  
The World ◽  
Traditional Healing Practices

While much of contemporary psychotherapy practice often focuses primarily on verbal exchange between therapists and clients, it is important to recognize that verbal expression is just one mode of expression, and not necessarily the deepest or most profound. Many clients in therapy may be more comfortable in expressing themselves in other ways through the modes of music, art, dance and psychodrama. The sources of the arts in healing extend back for many thousands of years and their modern expression through the creative arts therapies are now widely utilized in the mainstream of modern psychotherapy. Traditional healing practices are still widely practiced in many indigenous cultures around the world today and an appreciation of these practices can deeply enrich our understanding of the essential role of the arts in human expression. The aim of this paper is to consider the roots of the arts therapies and really all of psychotherapy, going as far back as pre-historic evidence, followed by an overview of living indigenous healing practices in such settings as Bushman culture in Namibia, Native American Indian culture, as well as in Kenya, Bali, Malaysia, Mongolia and more.

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