Doxographical, Philosophical, and Historical Forms of the History of Philosophy

2021 ◽  
pp. 172-188
Author(s):  
Charles Brittain
Keyword(s):  
History Of Philosophy ◽  
Historical Study ◽  
Philosophical Study ◽  
Philosophical Position ◽  
The Past ◽  
History Of ◽  
The One ◽  
Modern Form ◽  
Philosophical Importance ◽  
Contemporary Context

This chapter examines the doxographical, philosophical, and historical forms of the history of philosophy. The aim of doxography is to reconstruct and present philosophical views or positions that have been proposed in the past and to do so in a way that makes clear the interest they may retain for contemporary philosophical discussions. However, the inadequacy of ancient doxographical writers seems so great that the term ‘doxography’ itself has acquired a pejorative connotation. The criticism is twofold: first, one has the feeling that the ancient doxographers did not have historical awareness or a sensitivity to history; second, one tends to associate doxography with a kind of philosophical failure. People then abandoned the assumption that the positions of the past retain their philosophical importance in the contemporary context. In its place, they began to suppose that the views of the past were only of interest as stages, even if necessary ones, of the evolution of thought. This sort of history represents the philosophical study of the history of philosophy. It is precisely this philosophical position which, towards the middle of the nineteenth century, provokes a reaction. But this reaction takes two very different forms. On the one hand, it gives rise to the historical study of the history of philosophy and, on the other, to a modern form of doxography.

WHY STUDYING THE HISTORY OF PHILOSOPHY MATTERS

Think ◽  
2021 ◽  
Vol 21 (60) ◽  
pp. 5-20
Author(s):  
Anna Marmodoro
Keyword(s):  
Ancient Philosophy ◽  
History Of Philosophy ◽  
Special Focus ◽  
The Past ◽  
History Of ◽  
The One

The debate over whether and how philosophers of today may usefully engage with philosophers of the past is nearly as old as the history of philosophy itself. Does the study of the history of philosophy train or corrupt the budding philosopher's mind? Why study the history of philosophy? And, how to study the history of philosophy? I discuss some mainstream approaches to the study of the history of philosophy (with special focus on ancient philosophy), before explicating the one I adopt and commend.

The Natural History of Philosophy in Canada

Dialogue ◽  
1986 ◽  
Vol 25 (1) ◽  
pp. 53-66
Author(s):  
Thomas Mathien
Keyword(s):  
Natural History ◽  
Biological Species ◽  
History Of Philosophy ◽  
The Past ◽  
Evolutionary Study ◽  
Major Study ◽  
History Of ◽  
The Subject ◽  
The One ◽  
Intellectual Discipline

Some writers about the history of philosophy in Canada have wondered why it should be studied. That is a worthy question, but it is not the one I want to discuss here. I am going to assume there are good reasons for doing so because I want to consider some general features of the subject of such studies and to determine what has to be done to establish certain descriptive claims about it. I will also point out some concerns I have about the proper explanation of certain interesting features of Canadian philosophic activity, and I will present a brief evaluation of one major study. I will do this with the aid of a contention that the study of the history of an intellectual discipline is a little like an evolutionary study of a biological species, but I will close by pointing out one reason for doing history which goes beyond description, and even explanation, of the past.

scholarly journals Progress and Historical Reflection in Philosophy

2018 ◽  
pp. 51-68
Author(s):  
Thomas Grundmann
Keyword(s):  
History Of Philosophy ◽  
The Other ◽  
The Past ◽  
Systematic Philosophy ◽  
History Of ◽  
Different Dimensions ◽  
The One ◽  
Historical Reflection ◽  
A Minor ◽  
Over Time

What is the epistemic significance of reflecting on a discipline’s past for making progress in that discipline? The author assumes that the answer to this question negatively correlates with that discipline’s degree of progress over time. If and only if a science is progressive, then what people have thought and argued in the past in that discipline ceases to be up to date. This chapter distinguishes different dimensions of disciplinary progress and subsequently argue that veritic progress, that is, collective convergence to truth, is the most important dimension for disciplines with scientific ambitions. It then argues that, on the one hand, veritic progress in philosophy is more significant than many current philosophers believe, but that, on the other hand, it also has severe limitations. The author offers an explanation of these limitations that suggests that the history of philosophy should play some role, though only a minor one, in systematic philosophy.

scholarly journals Teorías analíticas de las emociones: el debate actual y sus precedentes históricos

2008 ◽  
Vol 14 ◽  
Author(s):  
Íngrid Vendrell Ferran
Keyword(s):  
History Of Philosophy ◽  
The Other ◽  
Current Debate ◽  
Analytical Philosophy ◽  
The Past ◽  
History Of ◽  
The One ◽  
Historical Developments

RESUMENDurante los últimos años, la filosofía analítica ha centrado su interés en la temática de las emociones y se han elaborado las más diversas teorías. En este artículo me propongo, por un lado, exponer las principales líneas de investigación actuales sobre las emociones y desarrollar los argumentos en favor y en contra cada una de ellas con el fin de perfilar mi propia posición; por otro lado, voy a presentar los desarrollos históricos precedentes a las teorías analíticas mostrando que la historia de la filosofía no ha relegado las emociones al olvido.PALABRAS CLAVEEMOCIÓN, FILOSOFÍA ANALÍTICA, TEORÍAS DEL SENTIR, TEORÍAS COGNITIVISTAS.ABSTRACTEmotions are one of the topics that have caught the attention of analytical philosophy during the past years, and philosophers have developed different theories in this field. In this article, I shall present the main lines of investigation in the current debate on emotions and explain the arguments in favour and against each of them in order to build up my own position on the one hand, and, present the historical developments previous to the analytical theories, showing that the history of philosophy has always had an interest in emotions as a topic on the other hand.KEY WORDSEMOTION, ANALYTICAL PHILOSOPHY, FEELING THEORIES, COGNITIVISTIC THEORIES

The History of Philosophy as a Discipline

2021 ◽  
pp. 164-171
Author(s):  
Michael Frede
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
History Of Philosophy ◽  
Philosophical Position ◽  
The Past ◽  
History Of

This chapter discusses the history of philosophy as a discipline. Part of the confusion not only as to what historians of philosophy try to do but also as to how they ought to go about doing it, seems to be due to a misleading ambiguity in the term ‘history of philosophy’. Historically, it has been used in two rather different ways, each of which corresponds to a very different tradition of treating the history of philosophy, both of which persist to the present day, but which tend to get conflated. From roughly the middle of the seventeenth century onwards, we find treatises with the title ‘History of Philosophy’. These treatises show themselves to stand in a much older tradition that goes back to antiquity; namely, the doxographical tradition. But towards the end of the eighteenth century, a very different tradition emerges. As opposed to their doxographical predecessors, histories which adopt a chronological disposition are written out of the conviction that the philosophical positions of the past are no longer worth considering philosophically, that they are out of date. If they are still worth considering at all, it is because they constitute the steps through which we historically arrived at our present philosophical position.

Acta Fluens – Generatives Handeln und Improvisation im Jazz

2014 ◽  
Vol 59 (1) ◽  
pp. 49-60
Author(s):  
Davide Sparti
Keyword(s):  
Walter Benjamin ◽  
History Of Philosophy ◽  
Human Existence ◽  
The Unconscious ◽  
The Past ◽  
The Future ◽  
History Of

Obwohl jede menschliche Handlung mit einem gewissen Grad an Improvisation erfolgt, gibt es kulturelle Praktiken, bei denen Improvisation eine überwiegende Rolle spielt. Um das Risiko zu vermeiden, einen zu breiten Begriff von Improvisation zu übernehmen, konzentriere ich mich im vorliegenden Beitrag auf den Jazz. Meine zentrale Frage lautet, wie Improvisation verstanden werden muss. Mein Vorgehen ist folgendes: Ich beginne mit einem Vergleich von Improvisation und Komposition, damit die Spezifizität der Improvisation erklärt werden kann. Danach wende ich mich dem Thema der Originalität als Merkmal der Improvisation zu. Zum Schluss führe ich den Begriff affordance ein, um die kollektive und zirkuläre Logik eines Solos zu analysieren. Paradigmatisch wird der Jazzmusiker mit dem Engel der Geschichte verglichen, der nur auf das Vergangene blickt, während er der Zukunft den Rücken zugekehrt hat, und lediglich ihr zugetrieben wird. Weder kann der Improvisierende das Material der Vergangenheit vernachlässigen noch seine genuine Tätigkeit, das Improvisieren in der Gegenwart und für die Zukunft, aufgeben: Er visiert die Zukunft trotz ihrer Unvorhersehbarkeit über die Vermittlung der Vergangenheit an.<br><br>While improvised behavior is so much a part of human existence as to be one of its fundamental realities, in order to avoid the risk of defining the act of improvising too broadly, my focus here will be upon one of the activities most explicitly centered around improvisation – that is, upon jazz. My contribution, as Wittgenstein would say, has a »grammatical« design to it: it proposes to clarify the significance of the term »improvisation.« The task of clarifying the cases in which one may legitimately speak of improvisation consists first of all in reflecting upon the conditions that make the practice possible. This does not consist of calling forth mysterious, esoteric processes that take place in the unconscious, or in the minds of musicians, but rather in paying attention to the criteria that are satisfied when one ascribes to an act the concept of improvisation. In the second part of my contribution, I reflect upon the logic that governs the construction of an improvised performance. As I argue, in playing upon that which has already emerged in the music, in discovering the future as they go on (as a consequence of what they do), jazz players call to mind the angel in the famous painting by Klee that Walter Benjamin analyzed in his Theses on the History of Philosophy: while pulled towards the future, its eyes are turned back towards the past.

The Invention of Papal History

2019 ◽  
Author(s):  
Stefan Bauer
Keyword(s):  
Catholic Reformation ◽  
History Writing ◽  
Historical Texts ◽  
The Past ◽  
History Of ◽  
Cultural Standards ◽  
Commissioned Works ◽  
The One ◽  
Late Renaissance ◽  
The Church

How was the history of post-classical Rome and of the Church written in the Catholic Reformation? Historical texts composed in Rome at this time have been considered secondary to the city’s significance for the history of art. The Invention of Papal History corrects this distorting emphasis and shows how history-writing became part of a comprehensive formation of the image and self-perception of the papacy. By presenting and fully contextualizing the path-breaking works of the Augustinian historian Onofrio Panvinio (1530–68), this book shows what type of historical research was possible in the late Renaissance and the Catholic Reformation. Historiography in this period by no means consisted entirely of commissioned works written for patrons; rather, a creative interplay existed between, on the one hand, the endeavours of authors to explore the past and, on the other hand, the constraints of patronage and ideology placed on them. This book sheds new light on the changing priorities, mentalities, and cultural standards that flourished in the transition from the Renaissance to the Catholic Reformation.

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

Spiritual Crisis of the Beginning of the 20th Century: From Philosophical to Religious Interpretations

2021 ◽  
pp. 79-88
Author(s):  
Alexander V. Koltsov ◽  
Keyword(s):  
20Th Century ◽  
History Of Philosophy ◽  
The Other ◽  
German Philosophy ◽  
Religious Consciousness ◽  
Religious Context ◽  
Spiritual Crisis ◽  
History Of ◽  
History Of Culture ◽  
The One

The paper is an attempt to narrow down the notion of spiritual crisis which is now widely applied in research on history of culture of the 19th–20th centuries, with respect to history of German philosophy and observation of modern reli­giosity. The shift from the history of philosophy to the religious context is ful­filled through analysis of texts of two religious thinkers, A. Reinach and S. Frank, whose thought clearly demonstrates strong interconnection between the both fields. Analysis of contemporary studies on history of phenomenological philos­ophy (C. Möckel and W. Gleixner) lets firstly observe ways of application of Koselleck’s notion of crisis to investigations in the history of philosophy. Sec­ondly it discovers two possibilities of philosophical contextualization of the con­cept of spiritual crisis – on the one hand, as a constituent rhetorical element of the philosophical statement (Möckel), on the other hand, as a term which de­scribes the uniqueness of an intellectual situation of the beginning of the 20thcentury (Gleixner). Then these aspects of the rhetoric of crisis are applied to reli­gious philosophy of Reinach and Frank, what leads to interpretation of their works as a particular statement discovering the divine (or the holy) as a new cat­egory of religious consciousness.

“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)

2021 ◽  
Vol 1 (15) ◽  
pp. 67-107
Author(s):  
Ines R. Artola
Keyword(s):  
Strict Sense ◽  
Sonata Form ◽  
Historical Sources ◽  
Avant Garde ◽  
20Th Century Music ◽  
The Third ◽  
Word Analysis ◽  
The Past ◽  
History Of ◽  
The One

The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).

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