Coleridge's Contemplative Philosophy

2020 ◽  
Author(s):  
Peter Cheyne
Keyword(s):  
Aesthetic Experience ◽  
Formal Logic ◽  
History Of Philosophy ◽  
Sense Data ◽  
Critical Engagement ◽  
Theory Of Ideas ◽  
History Of

‘PHILOSOPHY, or the doctrine and discipline of ideas’ as S. T. Coleridge understood it, is the theme of this book. It considers the most vital and mature vein of Coleridge’s prose writings to be ‘the contemplation of ideas objectively, as existing powers’. A theory of ideas emerges in critical engagement with thinkers including Plato, Plotinus, Böhme, Kant, and Schelling. A commitment to the transcendence of reason, central to what Coleridge calls ‘the spiritual platonic old England’, distinguishes him from his German contemporaries. This book pursues a theory of contemplation that draws from Coleridge’s theories of imagination and the ‘Ideas of Reason’ in his published texts and extensively from his thoughts as they developed throughout published works, fragments, letters, and notebooks. He posited a hierarchy of cognition from basic sense intuition to the apprehension of scientific, ethical, and theological ideas. The structure of the book follows this thesis, beginning with sense data, moving upwards into aesthetic experience, imagination, and reason, with final chapters on formal logic and poetry that constellate the contemplation of ideas. Coleridge’s Contemplative Philosophy is not just a work of history of philosophy; it addresses a figure whose thinking is of continuing interest, arguing that contemplation of ideas and values has consequences for everyday morality and aesthetics, as well as metaphysics. The book also illuminates Coleridge’s prose by analysis of his poetry, notably the ‘Limbo’ sequence. The volume will be of interest to philosophers, intellectual historians, scholars of religion, and of literature.

Asmus, Valentin Ferdinandovich (1894–1975)

2018 ◽  
Author(s):  
David Bakhurst
Keyword(s):  
Formal Logic ◽  
History Of Philosophy ◽  
Soviet Philosophy ◽  
Russian Philosophy ◽  
History Of ◽  
High Standards ◽  
The 1960S ◽  
Marxist Tradition

One of the most accomplished thinkers in the Soviet Marxist tradition, Asmus wrote extensively in many areas of philosophy, and was widely regarded as the Soviet Union’s principal Kant scholar. Early in his career, he became associated with the influential school of ‘dialecticians’ led by A.M. Deborin and produced a number of significant writings in the history of philosophy. When Deborin and his followers were condemned as ‘Menshevizing idealists’ in 1931, Asmus shifted the principal focus of his work to aesthetics and logic. His 1947 textbook of formal logic subsequently became the principal text for logic instruction in the USSR. Throughout his long career, Asmus experienced a number of political difficulties. Nevertheless, he avoided imprisonment and published consistently, though he was never permitted to go abroad. His importance in Russian philosophy derives not so much from the significance of his theories, but from his role in preserving philosophical culture in Russia through the Stalin period. He aspired to high standards of scholarship and worked hard to foster the study of logic and the history of philosophy. The breadth of his interests and his excellence as a teacher made him an inspirational figure to the young scholars striving to revive Soviet philosophy in the 1960s.

Hegel's Aesthetics

2019 ◽  
Author(s):  
Lydia L. Moland
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Aesthetic Experience ◽  
History Of Philosophy ◽  
Philosophy Of Art ◽  
New Approach ◽  
History Of ◽  
End Of Art

Hegel’s Aesthetics: The Art of Idealism is the first comprehensive interpretation of Hegel’s philosophy of art in English in thirty years. In a new analysis of Hegel’s notorious “end of art” thesis, it argues for a variety of ways art ends, including historical, conceptual, and prosaic endings. It shows the indispensability of Hegel’s aesthetics for understanding his philosophical idealism and introduces a new claim about his account of aesthetic experience. In contrast to previous interpretations, it argues for considering Hegel’s discussion of individual arts—architecture, sculpture, painting, music, and poetry—on their own terms, unlocking new insights about his theories of perception, feeling, selfhood, and freedom. This new approach allows Hegel’s philosophy to engage with modern aesthetic theories and opens new possibilities for applying Hegel’s aesthetics to contemporary art. Hegel’s Aesthetics also clarifies why Hegel is known as the “father of art history” by elucidating his controversial analysis of symbolic, classical, and romantic art and by clarifying his examples of each. By incorporating newly available sources from Hegel’s lectures on art, it expands our understanding of the particular artworks Hegel discusses as well as the theories he rejects. Hegel’s Aesthetics situates his arguments in the intense philosophizing about art among his contemporaries, including Kant, Lessing, Herder, Schelling, and the Schlegel brothers. It gives us a rich vision of the foundation of his ideas about art and the range of their application, confirming Hegel as one of the most important theorists of art in the history of philosophy.

Locke on Personal Identity

2017 ◽  
Author(s):  
Galen Strawson ◽  
Galen Strawson
Keyword(s):  
Personal Identity ◽  
History Of Philosophy ◽  
Human Being ◽  
Contemporary Philosophy ◽  
Fundamental Point ◽  
Legal Term ◽  
Word Consciousness ◽  
History Of

John Locke's theory of personal identity underlies all modern discussion of the nature of persons and selves—yet it is widely thought to be wrong. This book argues that in fact it is Locke's critics who are wrong, and that the famous objections to his theory are invalid. Indeed, far from refuting Locke, they illustrate his fundamental point. The book argues that the root error is to take Locke's use of the word “person” as merely a term for a standard persisting thing, like “human being.” In actuality, Locke uses “person” primarily as a forensic or legal term geared specifically to questions about praise and blame, punishment and reward. This point is familiar to some philosophers, but its full consequences have not been worked out, partly because of a further error about what Locke means by the word “consciousness.” When Locke claims that your personal identity is a matter of the actions that you are conscious of, he means the actions that you experience as your own in some fundamental and immediate manner. Clearly and vigorously argued, this is an important contribution both to the history of philosophy and to the contemporary philosophy of personal identity.

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.

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