This is a thorough and balanced guide to modern French philosophical thought, providing lucid, authoritative accounts of famous philosophers whilst also highlighting lesser-known figures. Author Robert Wicks introduces the major works of each philosopher, explaining their impact on their peers and on the wider world. Covering such major movements as Existentialism, Surrealism, Structuralism and Postmodernism, this handbook is a useful resource for Francophiles, students of philosophy and all those interested in the intellectual landscape of 20th- and 21st-century France. (...) The book includes detailed coverage of such philosophers as Henri Bergson, Beauvoir, Sarte, Camus, Barthes, Derrida, Foucault, Deleuze and Levi-Strauss, among others. (shrink)

This chapter contains section titled: I universal subjectivity II the world as will III the Two‐Tiered objectication of the will: Platonic ideas and Spatio‐Temporalindividuals Notes Further Reading.

This chapter contains section titled: I universal subjectivity II the world as will III the Two‐Tiered objectication of the will: Platonic ideas and spatio‐temporalindividuals Notes Further Reading.

This chapter contains section titled: I a universal will without purpose II the purposelessness of schopenhauer's Thing‐in‐Itself III life as embittering: Schopenhauer and buddhism Notes Further Reading.

This chapter contains section titled: Works by Schopenhauer Selected Books About Schopenhauer's Philosophy Other Related Works.

This chapter contains section titled: I the world's essence: Rational or irrational? II labor, imprisonment, and christianity III the world as will and representation and“Self‐Consciousness” in hegel's phenomenology Notes Further reading.

This chapter contains section titled: I the Rejection of a Mind‐Independent reality II kant's theory of perception III kant's use of the term“object” IV the logic of manifestation Notes Further Reading.

This chapter contains section titled: I the question of life's value II funereal imagery and nietzsche's theory of tragedy III schopenhauer's moral awareness and eternal recurrence IV the eternalistic illusion of supreme health V nietzsche's madness and eternalistic consciousness Notes Further Reading.

This chapter contains section titled: I the quest for absolute value II what the philosophical investigations cannot say Notes Further Reading.

This chapter contains section titled: I the possibility of the denial‐of‐the‐will II christian quietism, yogic ecstasy, and buddhist enlightenment III asceticism and spiritual purication Notes Further Reading.

This chapter contains section titled: I empathy as the foundation of moral awareness II intelligible, empirical, and acquired character III humanity's sublime anguish Notes Further Reading.

This chapter contains section titled: I platonic ideas and aesthetic experience II artistic genius and the communication theory of art III the hierarchy of the visual and verbal arts IV tragedy and sublimity V music and metaphysical experience Notes Further Reading.

This chapter contains section titled: I the Unsettled Years: 1788–1831 II the Stable Years: 1833–1860 Further Reading.

This chapter contains section titled: I the Root of All Explanation II the Four Basic Forms of Explanation Notes Further Reading.

This innovative volume presents an insightful philosophical portrait of the life and work of Arthur Schopenhauer. Focuses on the concept of the sublime as it clarifies Schopenhauer’s aesthetic theory, moral theory and asceticism Explores the substantial relationships between Schopenhauer’s philosophy and Buddhism, Hinduism, and Christianity Defends Schopenhauer’s position that absolute truth can be known and described as a blindly striving, all-permeating, universal “Will” Examines the influence of Asian philosophy on Schopenhauer Describes the relationships between Schopenhauer’s thought and that of Hegel, (...) Nietzsche, and Wittgenstein. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 450-451 [Access article in PDF] Simon May. Nietzsche's Ethics and His War on 'Morality.' New York: Oxford University, The Clarendon Press, 1999. Pp. xi + 212. Cloth, $45.00. When Friedrich Nietzsche reviewed his career during his final year of intellectual activity, he wrote in Ecce Homo (1888) that his "campaign against morality" began with the publication of Daybreak (1880) eight years (...) earlier. With this autobiographical remark in mind, Simon May appropriately develops his study of Nietzsche's ethics, Nietzsche's Ethics and His War on "Morality," by attending to Nietzsche's writings of the 1880's, using the relatively late On the Genealogy of Morals (1887) as his textual keystone.For the sake of his English-speaking readers' convenience, May reiterates Walter Kaufmann's familiar translations of Nietzsche's works in all of his book's citations, and keeps a relatively tight leash on his references to Nietzsche's pre-1880 works and unpublished notebooks. Historical guideposts to authors within Nietzsche's surrounding cultural context are also limited, and the book unfolds around May's reflections on Nietzsche's publications, supplemented by contemporary references to the works of Bernard Williams in matters concerning ethics, and by references to a substantial number of English-speaking Nietzsche scholars in matters concerning Nietzsche's valuation of truth. Such are the book's methodological contours, which are defensible, but which will probably disappoint those who have philosophical sensibilities that are more philologically and historically pronounced.May divides his book in half, the first segment of which reviews a series of familiar Nietzschean thematics, Nietzsche's conception of values, his distinction between master and slave moralities, his analysis of guilt and bad conscience, his conception of life enhancement, and his conception of the ascetic ideal, all with the prospect of suggesting that Nietzsche's ethical ideal is best encapsulated by the phrase, "become what one is." This ideal, as May understands it, is to develop oneself maximally in a life-enhancing way, given the parameters of one's natural capacities. Although one would expect May to associate this prescription with Nietzsche's conception of the "superhuman" (Übermensch), he thought-provokingly sets the ideal of "becoming what one is" directly against Nietzsche's Übermensch, arguing that the latter is, in fact, "unattainable and undesirable." According to May, Nietzsche's discussion of the superhuman type is distractingly unrealistic, chiefly because a perfectly sovereign individual, unlike us, would be an infallible "man-god" (117) and would have nothing left to overcome.The second half of May's study concentrates on Nietzsche's crucial revaluation of the value of truth. May argues that although Nietzsche rejects an unconditional value for truth and its associated ascetic ideal, it is nonetheless consistent to "passionately" value truth and remain a Nietzschean life-enhancer. May respects Nietzsche's perspectivism, but his interpretation clearly runs against the grain of the more extremely relativistic, "anti-truth," readings of Nietzsche.May's short volume contains plenty of food for disagreement. To cite one notable example, May maintains that "with Nietzsche there is not even an attempt to produce a systematic safety net against cruelty... and, to this extent, his philosophy licenses the atrocities of a Hitler" (132). May's fundamental reason is that since unfettered cruelty is consistent with what he understands to be Nietzsche's radically individualist [End Page 450] principle of life-enhancement, the Nietzschean conception of life-enhancement is ethically deficient. Some of Nietzsche's remarks do provoke May's criticism, but common knowledge also tells us that unfettered cruelty often backfires into either physical or spiritual self-destruction. So a wise Nietzschean would not "license" brutality. Neither, however, would such a Nietzschean seek to erect an absolute barrier against unfettered brutality, but would more discriminatingly consider what wisdom dictates in each circumstance, given the interests of life.May's study intends to exclude from the philosophically best interpretation of Nietzsche, what are recognized by most people as ethically undesirable qualities. His study also renders Nietzsche's key ideas workable, accessible, and palatable... (shrink)

Schopenhauer's The World as Will and Representation is widely considered to be one fo the most important and influential texts in nineteenth-century German philosophy. The text provides an avenue through which to introduce and explore a rich assortment of philosophical themes and questions, and represents Schopenhauer's widely discussed attempt to find personal meaning amidst a violent, frustrating and seemingly godless world. Since it was published in 1818, the text has influenced generations of musicians, artists, writers and historians, as well as (...) philosophers. (shrink)

More than two hundred years after the publication of his seminal The World as Will and Representation, Arthur Schopenhauer's influence is still felt in philosophy and beyond. As one of the most readable and central philosophers of the 19th century, his work inspired the most influential thinkers and artists of his time, including Nietzsche, Freud, and Wagner. Though known primarily as a herald of philosophical pessimism, the full range of his contributions is displayed here in a collection of thirty-one essays (...) on the forefront of Schopenhauer scholarship. Essays written by contemporary Schopenhauer scholars explore his central notions, including the will, empirical knowledge, and the sublime, and widens to the interplay of ethics and religion with Schopenhauer's philosophy. Authors confront difficult aspects of Schopenhauer's work and legacy--for example, the extent to which Schopenhauer adopted ideas from his predecessors compared to how much was original and visionary in his central claim that reality is a blind, senseless "will," the effectiveness of his philosophy in the field of scientific explanation and extrasensory phenomena, and the role of beauty and sublimity in his outlook. Essays also challenge prevailing assumptions about Schopenhauer by exploring the fundamental role of compassion in his moral theory, the Hindu, Christian, and Buddhist aspects of his philosophy, and the importance of asceticism in his views on the meaning of life. The collection is an internationally constituted work that reflects upon Schopenhauer's philosophy with authors presently working across the globe. It demonstrates fully the richness of Schopenhauer's work and his lasting impact on philosophy and psychoanalysis, as well as upon music, the visual arts, and literature. (shrink)

This essay critically examines the view recently set forth by Paul Guyer that Kant's theories of artistic beauty and artistic creativity exclusively coincide with this theory of natural beauty. I note that very great works of art, although they may indeed be beautiful, also tend to be sublime. To acknowledge the sense of awe which attends those great works of art which are also beautiful, I argue that Kant's theory of sublimity must also be included within an accurate interpretation of (...) Kant's account of artistic beauty, and maintain that Guyer's exclusive reference to Kant's theory of natural beauty will not suffice. (shrink)

Kant’s _Critique of Judgment_ is one of the most important texts in the history of modern aesthetics. This _GuideBook _discusses the _Third Critique_ section by section, and introduces and assesses: Kant's life and the background of the _Critique of Judgment_ the ideas and text of the _Critique of Judgment_, including a critical explanation of Kant’s theories of natural beauty the continuing relevance of Kant’s work to contemporary philosophy and aesthetics. This _GuideBook_ is an accessible introduction to a notoriously difficult work (...) and will be essential reading for students of Kant and aesthetics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Idealization of Contingency in Traditional Japanese AestheticsRobert Wicks (bio)In many popular writings that date from the initial decades of the twentieth century, and also in recent scholarly studies, "Japanese aesthetics"—insofar as we can speak sweepingly of a complicated, multidimensional, and dynamic historical phenomenon—is characterized with a set of adjectives whose present linguistic entrenchment is clearly evident. Specifically we read that traditional Japanese aesthetics is an aesthetics of (...) imperfection, insufficiency, incompleteness, asymmetry, and irregularity, not to mention perishability, suggestiveness, and simplicity.1 Given this collection of qualities, we are presented with a matching set of paradigmatic Japanese aesthetic experiences and objects, both as illustrations and as legitimations of this close-to-standard portrait. Examples include the suggestive moon covered by drifting clouds, the irregularly formed ceramics of ceremonial teacups, the simple and asymmetrical arrangement of unpolished rocks in the dry landscape garden, the bold and dashing monochromatic strokes typical of Zen calligraphy, transient cherry blossoms, serene and cloud-capped mountain summits, lonely thatched huts, sunsets in the foggy twilight, the call of a crane that breaks through the silence, and the light autumn rain that drizzles upon a secluded pond.Upon further reflection, it becomes noticeable that some familiar Japanese aesthetic objects do not easily conform to this standard picture, and this raises doubts about the typical characterization of Japanese aesthetics. The quintessentially Japanese shōji screens and tatami mats, for instance, are uniformly rectangular rather than irregular in form. They are, moreover, neither asymmetrical, nor imperfect, nor incomplete, nor insufficient. How then, can these perfectly regular screens and mats—items crucial to the aesthetics of Japanese domestic architecture—fit neatly into the usually encountered portrait of traditional Japanese aesthetics, if it is said to be fundamentally "the worship of imperfection"?2 Or similarly if "imperfection" is [End Page 88] the keynote of this aesthetics, how does one explain the meticulously raked surfaces of the dry landscape garden or the impeccably perfected movements requisite for performing the Japanese tea ceremony?3Since such examples do not obviously fit into an "aesthetics of imperfection and insufficiency," some reconsideration of the prevailing characterization of Japanese aesthetics is needed to accommodate these, along with other examples of "perfected" items and arrangements. In short, the main difficulty is that the concept of "perfection" has been underthematized.4 To develop a revaluation of the presently submerged status of "perfection" in most scholarly discussions of Japanese aesthetics, I will highlight the familiar principle of aesthetic complementarity but contextualize the experiential foundations of this principle in a specifically Japanese-philosophic manner, namely, in reference to a fundamental feature of time-consciousness, as described by Dōgen (1200-53). This historical grounding will align the principle of complementarity with some of the acknowledged Zen Buddhist sources of traditional Japanese aesthetics.5 The upshot will be that the above-cited collection of adjectives typically used to describe the prevailing atmosphere of Japanese aesthetics—imperfection, asymmetry, incompleteness, suggestibility, etc.—presents only half of the aesthetic and philosophic story and, moreover, tends to pass over what can be appreciated as a more consequential underlying concept, namely, the idea of "contingency."In what follows, basic reflections on the phenomenology of time-consciousness will lead to the claim that, in many paradigmatic instances of traditional Japanese aesthetics, we have before us a situation that is aptly describable as "the idealization of contingency." This involves the assertion of a philosophic proposition through an aesthetic presentation (i.e., the proposition is expressed using metaphor, symbolism, or analogy). In the case of traditional Japanese aesthetics, the main proposition is the Buddhist-associated one that the foundation of things is contingent, conditional, and nonabsolute (i.e., there are no absolute foundations). The aesthetic presentation of this proposition will, as we shall see, make ample room for "perfection" in understanding Japanese aesthetics: By means of juxtaposing contingent, perishable individuals (which usually have an "imperfect" appearance) against a perfected, polished, and idealized background, the contingency of the individuals is thereby aesthetically highlighted and made more readily appreciable.The resulting criticism of the standard characterization is thus a simple one: The typical group of concepts used to describe traditional Japanese aesthetics has neglected to give due... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 80-97 [Access article in PDF] Literary Truth as Dreamlike Expression in Foucault's and Borges's "Chinese Encyclopedia" Robert Wicks ALTHOUGH THE TOPIC REMAINS MOSTLY unexplored, Michel Foucault had an aesthetic and intellectual attraction towards writers and artists in the Spanish-speaking tradition. For example, at the conclusion of his Histoire de la folie (Madness and Civilization, 1961)—a book which brought him extensive intellectual recognition (...) in France—Foucault drew his readers' attention to José de Goya y Lucientes's (1746-1828) well-known etching, El Sueño de la Razón Produce Monstruos (The Sleep of Reason Brings Forth Monsters, Plate 43 of Los Caprichos, 1797). In Foucault's estimation, by revealing a "night which is doubtless that of classical unreason," Goya's work represented a socially removed condition within which people encounter "what is most solitary" and experience what is "deepest" within themselves. With his reference to Goya's imagery, Foucault illustrated a major theme of his history of madness, namely, how people referred to as "mentally ill" experienced a gradual, physical exclusion from participation in public society, and how they were eventually isolated in a more frightening way: within their physical confinement, they were subject to techniques of psychological and spiritual alienation that reduced them to a condition of utter solitude.In a comparable, if not more central manner, Foucault used as thematic motifs for the preface, first and second chapters of a book for which he is widely known, Les Mots et les choses (The Order of Things, 1966), the work of three major writers and artists from the Spanish-speaking world: Jorges Luis Borges (1899-1986), Diego Velázquez (1599-1660), and Miguel de Cervantes (1547-1616). Among these references, the most popular is probably Foucault's discussion of [End Page 80] Velázquez's Las Meninas—a painting which captured Foucault's interest as a perfect exemplar of its time period—and which inspired him to devote the entire first chapter of his book to decoding the mechanics of its perspectival arrangement. And within the community of those who read, write and discuss the interrelationship between Foucault's thought, literary theory and the contemporary emphasis upon the multivocal quality of textual meaning, Foucault's citation of an excerpt from a short story by Borges—the subject of this essay—is also familiar. Foucault introduced his 1966 book, The Order of Things, with the following words: This book first arose out of a passage in Borges, out of the laughter that shattered, as I read the passage, all the familiar landmarks of my thought—our thought, the thought that bears the stamp of our age and our geography—breaking up all the ordered surfaces and all the planes with which we are accustomed to tame the wild profusion of existing things, and continuing long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other. This passage quotes a "certain Chinese encyclopedia" in which it is written that "animals are divided into: (a) belonging to the Emperor, (b) embalmed, (c) tame, (d) suckling pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (l) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies." In the wonderment of this taxonomy, the thing we apprehend in one great leap, the thing that, by means of the fable, is demonstrated as the exotic charm of another system of thought, is the limitation of our own, the stark impossibility of thinking that. 1The short story from which Foucault extracted the above, quasi-cubistic, excerpt was published in Borges's 1952 collection, Otras Inquisiciones (Other Inquisitions), and is entitled, "The Analytical Language of John Wilkins." Although this story's entirety is rarely surveyed in discussions of Foucault, appreciating its broader contents helps illuminate why Foucault began The Order of Things with this entertaining and bizarre segment. Borges's original... (shrink)

Kant: A Complete Introduction covers the key areas that students are expected to be confident in, outlining the basics in clear English, and then providing added-value features like summaries of key books, and even lists of questions you might be asked in your seminar or exam. In doing so, Professor Wicks introduces you to all of Kant's key works, including The Critique of Pure Reason"--Page 4 of cover.

This chapter contains sections titled: Non‐Scientific Confirmations of Schopenhauer's Metaphysics in “The Wisdom Deposited in Language,” Zhu Xi's Neo‐Confucianism, Animal Magnetism and Magic Scientific Confirmations of Schopenhauer's Metaphysics in Plant and Animal Physiology, Comparative Anatomy and Physical Astronomy The Independence of Will from Intellect The Will as Kant's “Thing‐in‐Itself” Schopenhauer's Paradoxical References to the Brain Some Nietzsche‐Related Parerga in On the Will in Nature Notes References Further Reading.

This chapter contains sections titled: Natural Beauty as a False Glitter Natural Beauty and the Emergence of Suffering in Artistic Expression The Sublimation of Beauty's Peacefulness Natural Beauty and the Expression of Wisdom Beauty, Tragedy and Ascetically‐Acquired Wisdom References.