Esteticky a teleologicky soud jsou oba zalozene na a priori principu ucelnosti bez ucelu. Ten je subjektivni, tj. nezaklada zadne objektivni poznani. Biolog a estetik se bez toho principu vsak neobejde. Princip je as if: predpokladame, ze v chovani organismu / ruznych vnimatelnych aspektech je jednota, unity of diversity, ze je to non-conceptually ordered whole.
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)
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)
This well-known Buddhist text sets forth a series of conditions under which a positive "rebirth" can occur. This essay argues in favor of a symbolic conception of "rebirth" that does not necessitate the recognition of after-death states of consciousness. The practical consequence of this strategy is therapeutic and enlightening even to those who doubt or deny the existence of an afterlife.
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)