Hegel's Encyclopaedia Logic constitutes the foundation of the system of philosophy presented in his Encyclopaedia of the Philosophical Sciences. Together with his Science of Logic, it contains the most explicit formulation of his enduringly influential dialectical method and of the categorical system underlying his thought. It offers a more compact presentation of his dialectical method than is found elsewhere, and also incorporates changes that he would have made to the second edition of the Science of Logic if he had lived (...) to do so. This volume presents it in a new translation with a helpful introduction and notes. It will be a valuable reference work for scholars and students of Hegel and German idealism, as well as for those who are interested in the post-Hegelian character of contemporary philosophy. (shrink)

This new translation of The Science of Logic (also known as 'Greater Logic') includes the revised Book I (1832), Book II (1813), and Book III (1816). Recent research has given us a detailed picture of the process that led Hegel to his final conception of the System and of the place of the Logic within it. We now understand how and why Hegel distanced himself from Schelling, how radical this break with his early mentor was, and to what extent it (...) entailed a return (but with a difference) to Fichte and Kant. In the introduction to the volume, George di Giovanni presents in synoptic form the results of recent scholarship on the subject, and, while recognizing the fault lines in Hegel's System that allow opposite interpretations, argues that the Logic marks the end of classical metaphysics. The translation is accompanied by a full apparatus of historical and explanatory notes. (shrink)

This translation of The Science of Logic (also known as 'Greater Logic') includes the revised Book I (1832), Book II (1813) and Book III (1816). Recent research has given us a detailed picture of the process that led Hegel to his final conception of the System and of the place of the Logic within it. We now understand how and why Hegel distanced himself from Schelling, how radical this break with his early mentor was, and to what extent it entailed (...) a return (but with a difference) to Fichte and Kant. In the introduction to the volume, George Di Giovanni presents in synoptic form the results of recent scholarship on the subject, and, while recognizing the fault lines in Hegel's System that allow opposite interpretations, argues that the Logic marks the end of classical metaphysics. The translation is accompanied by a full apparatus of historical and explanatory notes. (shrink)

In arguing that slavery is not a relic of the past, but a relational dynamic undergirded by an ontology of anti-Blackness that prevents Blacks from ever being considered human beings, the self-described Afropessimist, Frank Wilderson III, argues that Black people occupy the position of social death in the present. Due to this anti-Black condition, Wilderson concludes that no form of redress is possible to assuage, liberate, and redeem Black people from this anti-Black condition other than the “End of the World.” (...) Drawing upon Fredrich Nietzsche’s understanding of the problem of nihilism and its existential consequences, I argue that while Afropessimism is useful for articulating the problem of anti-Blackness, it makes a nihilistic turn through Wilderson’s “End of the World” since there is no world where Blackness is experienced as anything other than social death. As a response to Wilderson, I conclude that the philosopher Jacqueline Scott’s life-affirming Nietzschean philosophy and her anti-racist activism in “Racial Nihilism as Racial Courage” is one adequate response to the nihilistic threat to Black America if Black people are condemned to a life of social death because of the enduring nature of anti-Black racism. (shrink)

Helen Macfarlane, revolutionary social critic, feminist and Hegelian philosopher was the first English translator of Karl Marx and Fredrich Engel's theCommunist Manifesto. Her original translation is included in this edition. Marx publicly admired her as a rare and original thinker and journalist. This book recreates her intellectual and political world at a key turning point in European history.

Arthur Schopenhauer (1788-1860) is now recognised as a figure of canonical importance to the history of philosophy. Schopenhauer founded his system on a highly original interpretation of Kant's philosophy, developing an entirely novel and controversial worldview guided centrally by his striking conception of the human will and of art and beauty. His influence extends to figures as diverse as Fredrich Nietzsche, Ludwig Wittgenstein and Iris Murdoch within philosophy, and Richard Wagner, Thomas Hardy, Sigmund Freud, Thomas Mann, Samuel Beckett and (...) Jorge Luis Borges outside it. The Schopenhauerian Mind is an outstanding, wide-ranging collection that explores the rich nature of Schopenhauer's ideas, texts, influences, and legacy. Comprising 38 original chapters by an international team of contributors, the volume is organised into five clear parts: Knowledge and Reality Aesthetics and the Arts Ethics, Politics, and Salvation Before Schopenhauer After Schopenhauer. The Schopenhauerian Mind covers all the key areas and concepts of Schopenhauer's philosophy, including fields omitted in previous studies. It is essential reading for students of nineteenth-century philosophy, Continental philosophy and philosophy of art and aesthetics, and also of interest to those in related disciplines such as literature and religion. (shrink)

The socialist calculation debate is a debate about whether rational economic decisions can be made without markets, or without markets in production goods. Though this debate has been simmering in economics for over 65 years, most philosophers have ignored it. This may be because they are unaware of the debate, or perhaps it is because they have absorbed the conventional view that one side decisively won. This is the side represented by economists such as Oskar Lange and Fred Taylor who, (...) in opposition to free-market economists like Fredrich Hayek, allegedly showed that their version of market socialism is, in principle, as efficient as capitalism. (shrink)

To understand death, you need to compare mortality with immortality. I am here to help. In addition to my personal testimony, I present highlights from a survey of immortal species and a survey of infinitistic varieties of mortality. These field studies rebut Fredrich Nietzsche’s thesis that immortality is inevitably repetitious, Bernard Williams’ allegation that immortality is inevitably boring, and Epicurus’ thesis that death cannot be bad for you. On the positive side, the study shows that the main difference between (...) immortality and mortality are quantitative. Attention is also given to some striking qualitative differences. (shrink)

The first Philosophers -- Plato -- Aristotle -- Augustine -- Thomas Aquinas -- Rene Descartes -- John Locke -- David Hume -- Immanuel Kant -- Karl Marx -- Soren Kierkegaard -- Fredrich Nietzsche -- Jean-Paul Sartre -- Darwin and Freud.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 73-90 [Access article in PDF] Intellectual Friendship in Architectural Education Yonca Hurol Introduction Limits are causes of repression, and it is usually accepted that repression affects creativity. There are two different approaches to the effects of limits on creativity. According to the first approach, creativity increases parallel to the increase of limits and repression. According to the second approach, any artificial increase (...) of limits produces passionate "locked in" mechanisms. A decrease of limits is necessary for an increase in creativity. Since it is never possible to eliminate some "natural" limits, it is not necessary to create some other "artificial" ones by introducing authoritarian attitudes. Creativity should be directed only toward the natural problems and limits.The aim of this essay is to develop a theoretical base for the following philosophical statement: "Decreasing authoritarian limits causes an increase in creativity in architectural design education." The concepts in such a philosophical statement must be operationalized in order to be applied to the practice of architectural education. The concepts of "limits" and "creativity" should be replaced with some other concepts (variables) which are observable so that they can be applied to the cases in practice.The essay is based on the poststructuralist philosophy of Gilles Deleuze and Felix Guattari, specifically their understanding of the relation betweenthe body and the mind;1 even though other thinkers have related emotion and rationality, for example, Fredrich Nietzsche's nomadic thought, Gaston Bachelard's "childhood dreams," and Antonin Artaud's "theatre of cruelty."2 In this essay, Deleuze and Guattari's philosophy is used more intensively over that of others, because of the clarity of the concepts it contains.The concept of creativity is operationalized by replacing it with the variable of the "design psychology of the student" which can, in turn, be replaced by the constants of "passionate mechanism" and "desire machine." [End Page 73] These psychological states and the their architectural indications are analyzed in the first section. The concept of limits is replaced by the "limiting role of the studio teacher," instead of the natural limits in architecture such aseconomy and technology. This role has two constants: the "role of the authority figure" and the "role of the intellectual friend."In architectural design courses students design buildings which combine the demands of strength, usefulness, and aesthetics. This process relates rationality (mind) to irrationality (body/feelings). Students learn about the rational aspects of architecture in their own ways, while designing the irrational aspects of their projects. They make contact with the studio teachers whenever they need advice or supportive criticism. This is a one-on-one relationship. The early approaches to design education depend on authoritarian "correction," while the new models propose "objective criticism."However, none of these concepts cover the existing power relations between teachers and students. Some teachers believe in the positive role of authority, while others do not. A conflict arises between the authority figures, and the friendly teachers.The formation of an intellectual friendship between students and teachers of architecture is not new. It has existed since postmodernism was first founded in architecture with the differing viewpoints about architecture. Sinan Omacan, was a student of architecture when he described the changing demands of education as follows: School is not simply a structure that is abstract. It is not only an institution of discipline that programs, deals with quantities, and evaluates. The name of it, the building of it, and the people in it, always give it a certain personality, and the strongest part of this story can only start with the relationship between these personalities. While this medium of personal relationships forms an unpredictable and unavoidable situation for the institution, it becomes exactly the right thing that students are looking for, because the most important aspect for students in a school is the possibility created by unprogrammed time and unplanned space.3This essay provides a theoretical explanation of these existing categories for the first time. The concepts which are analyzed in the first two parts are used as variables for comparative research. The third part contains comparative... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 73-90 [Access article in PDF] Intellectual Friendship in Architectural Education Yonca Hurol Introduction Limits are causes of repression, and it is usually accepted that repression affects creativity. There are two different approaches to the effects of limits on creativity. According to the first approach, creativity increases parallel to the increase of limits and repression. According to the second approach, any artificial increase (...) of limits produces passionate "locked in" mechanisms. A decrease of limits is necessary for an increase in creativity. Since it is never possible to eliminate some "natural" limits, it is not necessary to create some other "artificial" ones by introducing authoritarian attitudes. Creativity should be directed only toward the natural problems and limits.The aim of this essay is to develop a theoretical base for the following philosophical statement: "Decreasing authoritarian limits causes an increase in creativity in architectural design education." The concepts in such a philosophical statement must be operationalized in order to be applied to the practice of architectural education. The concepts of "limits" and "creativity" should be replaced with some other concepts (variables) which are observable so that they can be applied to the cases in practice.The essay is based on the poststructuralist philosophy of Gilles Deleuze and Felix Guattari, specifically their understanding of the relation betweenthe body and the mind;1 even though other thinkers have related emotion and rationality, for example, Fredrich Nietzsche's nomadic thought, Gaston Bachelard's "childhood dreams," and Antonin Artaud's "theatre of cruelty."2 In this essay, Deleuze and Guattari's philosophy is used more intensively over that of others, because of the clarity of the concepts it contains.The concept of creativity is operationalized by replacing it with the variable of the "design psychology of the student" which can, in turn, be replaced by the constants of "passionate mechanism" and "desire machine." [End Page 73] These psychological states and the their architectural indications are analyzed in the first section. The concept of limits is replaced by the "limiting role of the studio teacher," instead of the natural limits in architecture such aseconomy and technology. This role has two constants: the "role of the authority figure" and the "role of the intellectual friend."In architectural design courses students design buildings which combine the demands of strength, usefulness, and aesthetics. This process relates rationality (mind) to irrationality (body/feelings). Students learn about the rational aspects of architecture in their own ways, while designing the irrational aspects of their projects. They make contact with the studio teachers whenever they need advice or supportive criticism. This is a one-on-one relationship. The early approaches to design education depend on authoritarian "correction," while the new models propose "objective criticism."However, none of these concepts cover the existing power relations between teachers and students. Some teachers believe in the positive role of authority, while others do not. A conflict arises between the authority figures, and the friendly teachers.The formation of an intellectual friendship between students and teachers of architecture is not new. It has existed since postmodernism was first founded in architecture with the differing viewpoints about architecture. Sinan Omacan, was a student of architecture when he described the changing demands of education as follows: School is not simply a structure that is abstract. It is not only an institution of discipline that programs, deals with quantities, and evaluates. The name of it, the building of it, and the people in it, always give it a certain personality, and the strongest part of this story can only start with the relationship between these personalities. While this medium of personal relationships forms an unpredictable and unavoidable situation for the institution, it becomes exactly the right thing that students are looking for, because the most important aspect for students in a school is the possibility created by unprogrammed time and unplanned space.3This essay provides a theoretical explanation of these existing categories for the first time. The concepts which are analyzed in the first two parts are used as variables for comparative research. The third part contains comparative... (shrink)