In Plato’s Apology (29a-b), Socrates agues that he does not fear death; indeed, to fear death is a sign of ignorance. It is to claim to know what one in fact does not know (Ap. 29 a-b). Perhaps, Socrates suggests, death is not a great evil after all, but “the greatest of all goods.” At the end of the dialogue, after the judges have voted on the final verdict and Socrates has received the death penalty, the philosopher considers two common (...) views of death: that death is a long dreamless sleep and that death is a journey to another place - Hades. According to Socrates, either of these views of death would be acceptable to him; the one, because he would receive a wonderful rest with no dreams to disturb him; the other, because he would be able to talk philosophy with those who had gone before with impunity. In this paper, I will examine Socrates’ view of death, and I will argue that, according to Socrates, there could be a third perspective on death that will not only make him truly immortal in a certain way, but will also immortalize the practice of Socratic philosophy. Hence, Socrates embraces his sentence because dying at the right time and dying in the right way provides him the possibility of a good death. <br><br>. (shrink)

The ancients, Friedrich Nietzsche notes, held Homer's objective art and Archilochus's subjective art in equally high esteem. However, if a work of art must be "objective," how are we to understand the subjective artist, who, like Archilochus, produces art from his own subjective experience? Guided by a clue from Schiller's May 18, 1796 letter to Goethe, Nietzsche employs Schopenhauer's theory of music in his consideration of the subjective artist. Turning to Paul Ricoeur's distinction between image as copy and image as (...) fiction, I argue, will assist us in understanding how Nietzsche resolves the problem of the subjective artist. (shrink)

An exposition of Karl Marx’s argument in the Grundrisse for the logical development of money, this essay is divided into three parts. Since Marx is concerned to distinguish himself and his method from that of the seventeenth century political economists, I begin my paper with a brief reflection on “the scientifically correct method” or the “theoretical method” (Grundrisse 101 and 102). The second part of this paper considers how Marx justifies beginning his reflection with the concept of production in general. (...) To understand the importance that Marx attributes to production, one must also appreciate the way in which distribution, exchange, and consumption belong to the sphere of production. In the remaining pages of this section of my paper, then, I attempt to reconstruct Marx’s argument for the way in which these concepts (distribution, exchange, and consumption) are to be understood in relation to the sphere of production. (shrink)

Intro -- Title -- Contents -- Publisher's Acknowledgment -- Introduction -- Madhyamaka's Promise as Philosophy -- 1. Trying to Be Fair -- 2. How Far Can a Mādhyamika Reform Customary Truth? Dismal Relativism, Fictionalism, Easy-Easy Truth, and the Alternatives -- Logic and Semantics -- 3. How Do Mādhyamikas Think? Notes on Jay Garfield, Graham Priest, and Paraconsistency -- 4. "How Do Mādhyamikas Think?" Revisited -- 5. Prasaṅga and Proof by Contradiction in Bhāviveka, Candrakīrti, and Dharmakīrti -- 6. Apoha Semantics: What (...) Did Bhāviveka Have to Do with It? -- 7. What Happened to the Third and Fourth Lemmas in the Tibetan Madhyamaka? -- Ethics and the Spiritual Path -- 8. Madhyamaka Buddhist Ethics -- 9. Reason, Irrationality, and Akrasia (Weakness of the Will) in Buddhism: Reflections upon Śāntideva's Arguments with Himself -- 10. Yogic Perception, Meditation, and Enlightenment: The Epistemological Issues in a Key Debate between Madhyamaka and Chan -- Madhyamaka in Contemporary Debates -- 11. On Minds, Dharmakīrti, and Madhyamaka -- 12. Serious, Lightweight, or Neither: Should Madhyamaka Go to Canberra? -- Notes on the Articles -- Abbreviations -- Bibliography -- Index -- About the Author -- Studies in Indian and Tibetan Buddhism Titles Previously Published -- About Wisdom Publications -- Copyright. (shrink)

Avez-vous remarqué que dans le monde tout ce qui compte va par quatre? La musique : timbre, harmonie, rythme et mélodie. Le repérage : altitude, latitude, longitude et datation. Les quatre aspects de la cause: pour quoi, avec quoi, par quoi et selon quoi? Les forces de la nature : interactions faible, forte, électromagnétique et gravitationnelle... Les vingt-quatre particules élémentaires qui constituent la matière une famille de six leptons associée à trois familles de quarks. Et aussi la logique d'un discours (...) nuancé : oui, non, oui et non, ni oui ni non. Pourquoi quatre est-il partout? La notion de quaternité apporte une réponse à la fois simple et surprenante à cette question. A partir d'exemples tirés de l'expérience humaine, les auteurs en dégagent les aspects structurels et s'en servent pour approfondir le sens des mathématiques et de divers autres domaines liés à la genèse de la connaissance. Il s'agit d'une nouvelle épistémologie, fondée sur un modèle logique qui complète celui d'Aristote. (shrink)

Draws on examples ranging from prehistoric cave art to modern pop music to discuss the nature and purpose of art and its use by powerful social and cultural forces.

This collection of essays is the definitive version of a widely discussed debate over the origins of the New Theory of Reference. In new articles, written especially for this volume, Quentin Smith and Scott Soames, the original participants in the debate, elaborate their positions on who was responsible for the ideas that Saul Kripke presented in his Naming and Necessity. They are joined by John Burgess, who weighs in on the side of Soames, while Smith adds a further dimension in (...) discussing the contributions of philosophers such as Follesdal, Geach, Hintikka, and Plantinga. Also included are lengthy excerpts from Follesdal's 1961 Harvard dissertation and a careful examination by Sten Lindstrom of the respective contributions of Kripke and Stig Kanger to the development of modal semantics. The collection will be essential reading for anyone acquainted with these influential ideas. (shrink)

Ook al staan de beelden van Confucius, Lao Zi en Boeddha in sommige Chinese tempels weer broederlijk bijeen op het altaar, hun verschillende wegen tot zelfcultivering worden zelden in onderlinge samenhang beschreven. Dit boek benadert confucianisme, daoïsme en het Chinese boeddhisme in zijn vroege ontwikkeling vanuit hun visie op de praktijk van de zelfcultivering. Hoewel ze een volstrekt ander doel hebben dan de westerse zelfverwerkelijking, mogen de Chinese wegen zich in onze contreien toch in een grote populariteit verheugen. Omdat de (...) zelfcultivering in China primair gericht is op de emoties, vormt de emotiecultivering de rode draad in dit boek. Het begrip Qi, levenskracht, speelt een grote rol in alle cultiveringspraktijken en staat centraal in het klassieke Chinese denken. Het eerste hoofdstuk biedt een inleiding in dit begrip, waardoor de lezer een overzicht krijgt van een aantal Chinese kernconcepten en theorieën en daarmee ook van de context van de emotiecultivering. Naast de beschrijving daarvan in confucianisme, daoïsme en boeddhisme biedt het boek verder een beschouwing van de Chinese landschapsschilderkunst als "filosoferen met het penseel". Het slothoofdstuk vat de verschillende cultiveringspraktijken samen en presenteert ze onder de noemer van Wegen naar het Midden. (shrink)