Felix O'Murchadha presents Heidegger as a thinker of revolution. Understanding revolution as an occurrence whereby the previously unforeseeable comes to appear as inevitable, the temporal character of such an event is explored through Heidegger's discussion of temporality and historicity. Beginning with his magnum opus, Being and Time, Heidegger is shown to have undertaken a radical rethinking of time in terms of human action, understood as involving both doing and making and as implicated in an interplay of the opportune moment kairos and temporal continuity chronos.
Developing this theme through his key writings of the early s, the book shows how Heidegger's analyses of truth and freedom led to an increasingly dialectical account of time and action culminating in his phenomenology of the - artistic and political - 'work'. A context is thus given for Heidegger's political engagement in While diagnosing the moral failure of this engagement, O'Murchadha defends Heidegger's account of the time of human action and shows it to foreshadow his later thought of a 'new beginning'.
The Kantian Aesthetic explains the kind of perceptual knowledge involved in aesthetic judgments. It does so by linking Kant's aesthetics to a critically upgraded account of his theory of knowledge. This upgraded theory emphasizes those conceptual and imaginative structures which Kant terms, respectively, 'categories' and 'schemata'. By describing examples of aesthetic judgment, it is shown that these judgments must involve categories and fundamental schemata even though Kant himself, and most commentators after him, have not fully appreciated the fact.
It is argued, in turn, that this shows the aesthetic to be not just one kind of pleasurable experience amongst others, but one based on factors necessary to objective knowledge and personal identity, and which, indeed, itself plays a role in how these capacities develop. In order to explain how individual aesthetic judgments are justified, and the aesthetic basis of art, however, the Kantian position just outlined has to be developed further.
This is done by exploring some of his other ideas concerning how critical comparisons inform our cultivation of taste, and art's relation to genius. By linking the points made earlier to a more developed account of this horizon of critical comparisons, a Kantian approach can be shown to be both a satisfying and comprehensive explanation of the cognitive basis of aesthetic experiences.
It is shown also that the approach can even cover some of the kinds of avant-garde works which were thought previously to limit its relevance. Why are the visual arts so important and what is it that makes their forms significant? Countering recent interpretations of meaning that understand visual artworks on the model of literary texts, Crowther formulates a theory of the visual arts based on what their creation achieves both cognitively and aesthetically.
He develops a phenomenology that emphasizes how visual art gives unique aesthetic expression to factors that are basic to perception. At the same time, he shows how various artistic media embody these factors in distinctive ways. Attentive to both the creation and reception of all major visual art forms picturing, sculpture, architecture, and photography , Phenomenology of the Visual Arts also addresses complex idioms, including abstract, conceptual, and digital art. Few philosophers are as widely read or as widely misunderstood as Nietzsche.
In this book, Tsarina Doyle sets out to show that a specifically Kantian-informed methodology lies at the heart of Nietzsche's approach to epistemology and metaphysics.
What is art; why should we value it; and what allows us to say that one work is better than another? Traditional answers have emphasized aesthetic form; but this has been challenged by Institutional definitions of art and postmodern critique. The idea of distinctively artistic value based on aesthetic criteria is at best doubted, and at worst, rejected. This book champions such notions. These factors converge on an expanded notion of the artistic image a notion which can even encompass music, abstract art, and some Conceptual idioms.
The Kantian Sublime: From Morality to Art (Oxford Philosophical Monographs)
The image's style serves to interpret its subject-matter. If this style is original in comparative historical terms it can manifest that special kind of aesthetic unity which we call art. Appreciation of this involves a heightened interaction of capacities such as imagination and understanding , which are basic to knowledge and personal identity.
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By negotiating these factors, it is possible to define art and its canonic dimensions objectively, and to show that aforementioned sceptical alternatives are incomplete and self-contradictory. Deprivation and Freedom investigates the key issues of social deprivation and human freedom.
This comprehensive yet refreshingly simple book is vitally important and philosophically interesting, providing rigorous examination of a number of central themes and distinctions in ethical and political theory. Violence is a central issue of contemporary society at all levels, affecting human relationships from the most intimate to the most impersonal. But what is violence? Is violence justifiable? What relevance does the fate of the victim of violence have to such questions? To address these and similar questions, this volume brings together thinkers from a wide range of philosophical backgrounds who employ a rich variety of methods, ranging from the strictly analytic to the postmodern.
They explore issues such as responsibility, provocation, violation, cruelty, self-determination and deception in attempting to understand violence in relation both to the suffering of its victims and the justifications offered by its perpetrators and their supporters.
In exploring these issues the essays collected in this volume explore terrorism, rape, genocide and state-sponsored violence.http://leondumoulin.nl/language/classic/guardians-of-the-galaxy.php
The Kantian sublime : from morality to art
Thoemmes Continuum. This biographical dictionary of Irish philosophers is a by-product of a series of larger biographical dictionaries of British philosophers published in recent years by Thoemmes Press. The first of these larger dictionaries was the Dictionary of Eighteenth-Century British Philosophers , followed in subsequent years by equivalent works on seventeenth and nineteenth-century British philosophers. Each of these dictionaries included Irish-born philosophers who were considered British not only because of the political links that had been forged historically between Britain and Ireland but also because of the dual or hybrid nationality of those who belonged to the Anglo-Irish ascendancy.
It was partly because of the problems that surrounded the inclusion of Irish entries in the existing 'British' dictionaries that the need for a special dictionary dedicated to Irish philosophers was recognized. This dictionary will include many of those who have already appeared in the 'British' dictionaries, but also many who have been left out of the existing dictionaries, either because they were too early to be included in the seventeenth-century dictionary, or too late to be included in the nineteenth-century dictionary, or simply because their obscurity was such that they had not come to the attention of the editors of the other published dictionaries.
This book formulates a new approach to philosophy which, instead of simply rejecting postmodern thought, tries to assimilate some of its main features. Paul Crowther identifies conceptual links between value, knowledge, personal identity and civilization, understood as a process of cumulative advance.
Why are visual artworks experienced as having intrinsic significance or normative depth? Why are some works of art better able to manifest this significance than others? In his latest book Paul Crowther argues that we can answer these questions only if we have a full analytic definition of visual art. Crowther's approach focuses on the pictorial image, broadly construed to include abstract work and recent conceptually-based idioms. The significance of art depends, however, essentially on the transhistorical nature of the pictorial image, the way in which its illuminative power is extended through historical transformation of the relevant artistic medium.
Crowther argues against fashionable forms of cultural relativism, while at the same time showing why it is important that an appreciation of the history of art is integral to aesthetic judgment. The first complete introduction to the subject ever published, A History of Irish Thought presents an inclusive survey of Irish thought and the history of Irish ideas against the backdrop of current political and social change in Ireland.
Clearly written and engaging, the survey introduces an array of philosophers, polemicists, ideologists, satirists, scientists, poets and political and social reformers, from the anonymous seventh-century monk, the Irish Augustine, and John Scottus Eriugena, to the twentieth century and W. Yeats and Iris Murdoch.
Thomas Duddy rediscovers the liveliest and most contested issues in the Irish past, and brings the history of Irish thought up to date. This volume will be of great value to anyone interested in Irish culture and its intellectual history. Irish philosophy is nowadays the subject of increasing attention by scholars and students, and Thomas Duddy, author of A History of Irish Thought , has collaborated with Thoemmes Press to produce a collection of important Irish texts in epistemology and metaphysics from the nineteenth century.
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Further sets, on Irish philosophical responses to Darwin and on Irish moral and political philosophy, are in preparation. In this first collection, seven writers address such perennial philosophical issues as the problem of perception and the question of what, if anything, exists beyond the perceived world. The group of writers featured in the set includes Thomas Kingsmill Abbott and W. Monck, both of whom responded critically to Berkeley's theory of vision.
It also includes Thomas Maguire, an idealist in the Platonic tradition, Henry MacCormac who applied empiricist principles to social and political problems, William Graham who attempted a metaphysical critique of science and also argued for pantheism, and George Gabriel Stokes who explored the borderland between science and theology while at the same time attempting to reconcile the religious and scientific world-pictures.
These books are extremely uncommon in libraries and virtually unobtainable in the antiquarian book market. Presented here in their earliest editions, with Thomas Duddy's authoritative introduction, many scholars will now have access to them for the first time. As an ardent feminist Simone de Beauvoir was in the vanguard of French intellectual life for more than forty years. Raised in a strict and highly traditional Catholic family, De Beauvoir rejected the religious and social values of her family early on and advanced a radical political and philosophical debate that was in direct opposition to the Catholic Church.
This provocative, carefully argued book reveals that the woman whose most important and famous work—The Second Sex—was banned by the Catholic Church, had a tenacious grasp of the rudiments and refinements of Catholicism.
Indeed, this was one of the foundations on which she built her philosophy. Examining her memoirs, philosophical monographs, and short stories, Mahon reveals a vocabulary that remains richly Catholic. This book offers a major contribution to feminist philosophy, ethical theory, philosophy of religion, and cultural studies.
Recent theory has tended to understand the meaning of art primarily as a function of original contexts of production and reception or in its relation to fashionable notions of gender, multiculturalism, and "scopic regimes. In this important book, Paul Crowther provides a radical reinterpretation of key phases and figures in twentieth-century art, focusing on the way artists and critics negotiate philosophically significant ideas.
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Crowther begins by discussing how and why form is significant. He then argues that while such relations are necessarily involved in any pictorial work, they are especially manifest in aesthetically valuable representation, and even more so in those twentieth-century works that radically transform or abandon conventional modes of representation. The involvement of key reciprocal relations gives such works a transhistorical and transcultural significance.
To show this, Crowther investigates the theory and practice of important artists such as Malevich, Pollock, Mondrian, and Newman, and major tendencies such as Futurism, Surrealism, and Conceptual Art. By linking them to reciprocal relations, he is able to illuminate a language of twentieth-century art that cuts across those boundaries set out by such conventional notions as modern, avant-garde, and postmodern.
The Kantian Sublime : From Morality to Art
London: Macmillan ; New York: St. Martin's Press. Simone De Beauvoir made her own distinctive contribution to existentialism in the form of an ethics which diverged sharply from that of Jean-Paul Sartre. In her novels and philosophical essays of the s she produced not just a recognizable existentialist ethics, but also a character ethics and an ethics for violence.
This book defends her existentialist feminism against the many reproaches which have been levelled against it over several decades. His arguments center on the links which Kant makes between morality and anesthetics, and seek ultimately to modify Kant's approach so as to establish the sublime as a viable aesthetic concept with a broader cultural significance. Convert currency. Add to Basket. Book Description Oxford University Press. Condition: New.
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Paul Crowther. Publisher: Oxford University Press , This specific ISBN edition is currently not available. View all copies of this ISBN edition:. Synopsis About this title With this, the first volume in the Oxford Philosophical Monographs series, Paul Crowther breaks new ground by providing what is probably the first study in any language to be devoted exclusively to Kant's theory of the sublime.