Healing Emotions is the record of an extraordinary series of encounters between the Dalai Lama and prominent Western psychologists, physicians, and meditation teachers that sheds new light on the mind-body connection. Edited by Pulitzer Prize nominee and best-selling author Daniel Goleman.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This new edition brings Farquharson's authoritative 1944 translation up to date and includes a helpful introduction and notes for the student and general reader. Rutherford includes a selection of letters from Marcus to his tutor Fronto--most of which date from his earlier years--that offer personal detail and help to fill out the somber portrait of the emperor that is found in the Meditations.

La Terre est un jardin bordé de nuit. Tels des aveugles nous avançons, mais sûrs de nous, fiers, cruels, consommateurs, assoiffés de profit. Modernes? Que restera-t-il à nos enfants de cette oasis si humaine? Seront-ils seulement là pour contempler nos méfaits? Verront-ils, comme nous, les fleurs, le désert, le ciel aux mille étoiles, la vie menacée, la guerre? Théodore Monod - qui avait seize ans quand les cloches de France sonnèrent la paix en 1918 - nous offre une méditation lucide (...) et pleine d'espoir. Il se bat aujourd'hui comme il l'a toujours fait. Et nous dit : ne mourons pas résignés devant nos ordinateurs. Dans le silence. Dans nos lits. Battons-nous. Cherchons le beau, le vrai. Ayons enfin le courage des larmes. Et révérons la vie. (shrink)

Marcus Aurelius, Roman emperor from 161 to 180 A.D., is renowned for his just rule and long frontier wars. But his lasting fame rests on his Meditations, a bedside book of reflections and self-admonitions written during his last years, that provide unique insights into the mind of an ancient ruler and contain many passages of pungent epigram and poetic imagery. This study is designed to make the Meditations more accessible to the modern reader. Rutherford carefully explains the historical (...) and philosophical background, charts the main themes and tendencies of Marcus's thought, and relates stylistic detail to the intellectual and moral outlook of the author. His goal is to define Marcus's aims, attitudes, and styles more precisely and restore his work to the position it held in the past, that of a spiritual classic which can be read and enjoyed by people who are not professional scholars. (shrink)

Contents include a translator's introduction, selected bibliography, note on the text, glossary of technical terms, biographical index, and The Meditations of Marcus Aurelius -- books 1-12.

The Meditations, a bedside book of reflections and self-admonitions, give unique access to the mind of an ancient ruler. In this study they are made more approachable to the modern reader, through explanations of the historical and philosophical background, and the main themes of the emperor's thought.

All the notes to the Farquharson translation, amplifying the twelve books of the "Meditations," are included in this volume.

Contents include a translator's introduction, selected bibliography, note on the text, glossary of technical terms, biographical index, and The Meditations of Marcus Aurelius -- books 1-12.

The Meditations of Marcus Aurelius are treasured today--as they have been over the centuries--as an inexhaustible source of wisdom. And as one of the three most important expressions of Stoicism, this is an essential text for everyone interested in ancient religion and philosophy. Yet the clarity and ease of the work's style are deceptive. Pierre Hadot, eminent historian of ancient thought, uncovers new levels of meaning and expands our understanding of its underlying philosophy. Written by the Roman emperor for (...) his own private guidance and self-admonition, the Meditations set forth principles for living a good and just life. Hadot probes Marcus Aurelius's guidelines and convictions and discerns the hitherto unperceived conceptual system that grounds them. Abundantly quoting the Meditations to illustrate his analysis, the author allows Marcus Aurelius to speak directly to the reader. And Hadot unfolds for us the philosophical context of the Meditations, commenting on the philosophers Marcus Aurelius read and giving special attention to the teachings of Epictetus, whose disciple he was. The soul, the guiding principle within us, is in Marcus Aurelius's Stoic philosophy an inviolable stronghold of freedom, the "inner citadel." This spirited and engaging study of his thought offers a fresh picture of the fascinating philosopher-emperor, a fuller understanding of the tradition and doctrines of Stoicism, and rich insight on the culture of the Roman empire in the second century. Pierre Hadot has been working on Marcus Aurelius for more than twenty years; in this book he distills his analysis and conclusions with extraordinary lucidity for the general reader. (shrink)

The Meditative Way - Readings in the theory and practice of Buddhist meditation. Ed. by Rod Bucknell and Chris Kang. Curzon Press, Richmond 1997. x, 274 pp. Cloth £40, pbk £14.99. ISBN 0-7007-0677-1/0678-X.

In this paper, I reflect on Descartes' employment of the meditational genre in the weaving of the text of the Meditations. In the first part, the possible influences behind Descartes' choice of the meditational genre are examined. The second part of the paper attempts to spell out the significance of Descartes' use of the meditational form. The claim advanced here is that Descartes adopted this unique genre ultimately to further his radical philosophical project of a subject-centred theory of knowledge (...) and a new metaphysical Weltbild, with the self catapulted to the central stage and the physical world reduced to an object of the subject's act of representation. (shrink)

In this paper, I reflect on Descartes' employment of the meditational genre in the weaving of the text of the Meditations. In the first part, the possible influences behind Descartes' choice of the meditational genre are examined. The second part of the paper attempts to spell out the significance of Descartes' use of the meditational form. The claim advanced here is that Descartes adopted this unique genre ultimately to further his radical philosophical project of a subject-centred theory of knowledge (...) and a new metaphysical Weltbild, with the self catapulted to the central stage and the physical world reduced to an object of the subject's act of representation. (shrink)

This new edition brings Farquharson's authoritative 1944 translation up to date and includes a helpful introduction and notes for the student and general reader. Rutherford includes a selection of letters from Marcus to his tutor Fronto--most of which date from his earlier years--that offer personal detail and help to fill out the somber portrait of the emperor that is found in the Meditations.

The Roman emperor Marcus Aurelius Antoninus (a.d. 121--180) embodied in his person that deeply cherished, ideal figure of antiquity, the philosopher-king. His "Meditations "are not only one of the most important expressions of the Stoic philosophy of his time but also an enduringly inspiring guide to living a good and just life. Written in moments snatched from military campaigns and the rigors of politics, these ethical and spiritual reflections reveal a mind of exceptional clarity and originality, and a spirit (...) attuned to both the particulars of human destiny and the vast patterns that underlie it. A. S. L. Farquharson (1871--1942) spent a lifetime on his edition of the "Meditations," which is one of the outstanding twentieth-century achievements of classical scholarship. All the notes to the Farquharson translation, ampli-fying the twelve books of the "Meditations," are included in this volume. (shrink)

Descartes intended to revolutionize seventeenth-century philosophy and science. But first he had to persuade his contemporaries of the truth of his ideas. Of all his publications, Meditations on First Philosophy is methodologically the most ingenuous. Its goal is to provoke readers, even recalcitrant ones, to discover the principles of “first philosophy.” The means to its goal is a reconfiguration of traditional methodological strategies. The aim of this chapter is to display the methodological strategy of the Meditations. The text’s (...) method is more subtle and more philosophically significant than has generally been appreciated. Descartes’ most famous work is best understood as a response to four somewhat separate philosophical concerns extant in the seventeenth century. Section 1 describes these. Section 2 discusses how Descartes uses and transforms them. A clearer sense of the Meditations’ methodological strategy provides a better understanding of exactly how Descartes intended to revolutionize seventeenth-century thought. (shrink)

Kichul Kim, né en 1969 à Séoul, a ceci de remarquable qu’il prétend — et réussit — à sculpter le son. En effet, il a une formation de sculpteur. Mais il se fascine très tôt pour le son, pour des raisons spirituelles. L’énigme du bodhisattva Gwan-eum qui, selon l’étymologie de son nom, « voit ou fait voir les sons », l’intrigue. Une intuition lui révèle — pense-t-il — de quoi il s’agit. Il va s’efforcer de le faire voir à son (...) tour. Le son fait voir, visualiser, évoquer, et on peut donc, en ce sens, voir le son. Ses installations sonores sont en général réalisées dans des formes minimales et simplifiées. Ces formes pures ne correspondent qu’au son qu’il veut diffuser. C’est le son qu’émettent des haut-parleurs, un son qu’il a enregistré et qui parle. En effet, le son, tout invisible et intangible qu’il est, par l’espace qu’il recrée et modèle, est tridimensionnel, et sculptable. Le spectateur ne peut certes pas voir ce travail sonore par ses yeux de chair, pas plus qu’il ne peut le toucher de sa main, mais son œil de l’imagination, son imagination visuelle, le construit, et en ce sens il le perçoit bien : à partir du son se crée une image, une image dont l’intensité frôle l’illusion. On a là un véritable environnement créé par le son. Inspiré par l’Extrême-Orient ancien, son art et sa pensée, Kichul Kim puise dans ses sites historiques, religieux souvent, et dans la nature, son inspiration et ses enregistrements. L’environnement particulier d’origine est rendu présent par son son, si puissamment que l’auditeur devient spectateur, recréant activement la scène originelle : spect-acteur. Plongé si profondément en lui-même, il est graduellement conduit aux portes d’une sorte de méditation, ici et ailleurs à la fois, comme hors du temps. Kichul Kim, born in 1969 in Seoul, is remarkable in that he claims—and succeeds—to carve the sound. He trained as a sculptor but was fascinated very early with the sound, for spiritual reasons. The enigma of the Bodhisattva Gwan-eum which, according to the etymology of its name, “sees or makes one see sounds”, intrigued him. He understood intuititvely what it means and tried to examplify it himself. The sound makes you see, visualize, evoke, and you can, in this sense, see the sound. His sound installations are generally performed in minimal and simplified forms. These pure forms correspond only to the sound he wants to produce. This is the sound emitted through loudspeakers, a sound that he recorded and that speaks. Indeed, the sound, as invisible and intangible as it is, thanks to the space it recreates and models, becomes three-dimensional, and “sculptable”. The spectator certainly cannot see this sonic work through his/her eyes of flesh, any more than he/she can touch it with his/her hand. But his/her eye of the imagination, the visual imagination, builds it, and in this sense he/she perceives it well: from the sound is created an image whose intensity borders on illusion. This is a real environment created by sound. Inspired by the ancient Far East, its art and thought, Kichul Kim draws from historical sites, often religious, and from nature, for his inspiration, and recordings. The particular environment of which the sounds originates is made present by the sound, so powerfully that the listener becomes a spectator, actively recreating the original scene: spect-actor. So deeply immersed in himself, he is gradually led to the gates of a kind of meditation, here and elsewhere at once, as if out of time. (shrink)

This is the first English translation of the 12th-century philosophical and ethical classic that has been a key work in the development of medieval Jewish thought.

This chapter contains sections titled: Marcus' Project Socrates and the Stoic Art of Living Types of Philosophical Text Assimilation and Digestion Writing the Self Further Reading References.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Is knowledge possible? If so, what can we know and how do we come to know it? What degree of certainty does our knowledge enjoy? In these two powerful works, Descartes, the seventeenth-century philosopher considered to be the father of modern philosophy, outlines his philosophical method and then counters the skeptics of his time by insisting that certain knowledge can be had. He goes on to address the nature and extent of human knowledge, the distinction between mind and body, the (...) existence of God, and the existence of external objects. (shrink)

Are there universal structures or stages of experience, so-called contemplative landmarks, that unfold during meditative practice? As commonly described in contemplative manuals or handbooks, there is a transition from a form of meditation where the subject must exert continual effort in order for consciousness to remain focused. As Kenneth Rose has recently shown, these manuals, stemming from the Buddhist, Hindu, and Christian traditions, agree that a transition will take place from effortful meditation into a state where attention is fixed or (...) locked in on the meditation object. This article describes the micro-phenomenology of this phenomenon, sometimes called dhyana or access concentration, from the first-person perspective. This study both confirms and refines the traditional account, engaging with certain difficulties involved in establishing a correspondence between traditional, clear-cut, and sometimes contradictory concepts and actual experiences, which can be hard to conceptualize precisely. (shrink)

This paper considers just how memory works throughout the Meditations to adduce Descartes’s conception of memory. Examining the meditator’s memory at work raises some questions about the nature of Cartesian memory and its epistemic role. What is the distinction between remembering and repeating a thought? If remembering is not simply repeating a thought, then what is involved in properly remembering? Can we remember properly while adding or shifting content, say, in virtue of articulating relations between ideas? If so, what (...) is the relation between remembering and reasoning, since both would then involve relations of ideas? These questions become salient in considering the meditator’s creative recollections in the Third and especially the Sixth Meditations. After briefly considering what Descartes does say about memory, I consider two other strategies for addressing those questions: an analogy with innate ideas, and attending to the role that other thinkers play in one’s own recollections. (shrink)

Jewish and Christian philosophy existed side by side in the Middle Ages. Both sought the same goal: the explanation of God and His universe. Both utilized the same sources; yet each attained different philosophical and theological systems. The Meditation of the Sad Soul illustrates this divergence between Christian and Jewish thought. Furthermore, since it stands midway between Neo-platonic and Aristotelian Judaism, it underlines the development of key philosophical concepts common to both Judaism and Christianity. Abraham Bar Hayya lived in eleventh (...) century Barcelona, an intellectual center for both Jews and Arabs. The major points of his philosophy blend rabbinical, Neo-platonic and Aristotelian ideas, yet maintain a unique independence of their own. For instance, Abraham cut through the rabbinical and Aristotelian proofs of God, demanding instead a primary positive faith in God's existence. Caught up in the theology of light, he rejected the Platonic idea that darkness was merely an absence of light. Rather, darkness had a force equal to light. Most important, darkness and light were opposites, as were good and evil. God created both. Abraham insists that each had an independent existence in the world. Abraham's thought shows a more "rational" strain which appears later in Christian and even Jewish "heresies." Since good and evil exist as positive forces, man can freely choose his path to salvation. Abraham never gets caught in the Augustinian dilemma of will, grace, and predestination. Further examples of Abraham's independent position crop up in his ideas of creation and time. Creation ex nihilo, of course, but creation in time. Time must have a beginning and, consequently, an end. But man does not have to await passively the Messiah's rectification of sin. Man must repent here on earth and actively lead a good life. He cannot repent after death. How influential was Abraham's tract? The editor calls it a "minor classic" yet does not indicate that it formed a basis for later Christian theology. Maimonides knew it and rejected some of its basic tenets. Still, the book is important since it indicates a striking combination of traditional philosophy subjected to a new critical rationalism, an it foreshadows some of the questions raised by deviant Christian and Jewish theologians.--J. K. B. (shrink)

According to the reading offered here, Descartes' use of the meditative mode of writing was not a mere rhetorical device to win an audience accustomed to the spiritual retreat. His choice of the literary form of the spiritual exercise was consonant with, if not determined by, his theory of the mind and of the basis of human knowledge. Since Descartes' conception of knowledge implied the priority of the intellect over the senses, and indeed the priority of an intellect operating independently (...) of the senses, and since, in Descartes' view, the untutored individual was likely to be nearly wholly immersed in the senses, a procedure was needed for freeing the intellect from sensory domination so that the truth might be seen. Hence, the cognitive exercises of the Meditations, modeled not on the sense- and imagination-based exercises of Ignatius of Loyola, but on the Augustinian procedure of turning away from the senses and imagination to perceive the unpicturable with the fleshless eye of the mind. In accordance with this reading, the function of Descartes' skeptical arguments is not to introduce skepticism so that it can be defeated but to aid the meditator in withdrawing the mind from the senses in order to attend to truths of the pure intellect. These truths then offer the basis for a new natural philosophy, including a new theory of the senses. (shrink)

I recognise in retrospect that this review chides Prof. Hadot for those things that he didn't do so well, while failing to give due credit to the kinds of writing about philosophy that he did do well.

The impact of the Meditations on the Life of Christ, a treatise originally written for the spiritual instruction of Clares in the Tuscan town of S. Gimignano, on the course of later medieval Western Christianity can hardly be overestimated. Originally written either in Latin or Italian, as I prefer to believe, once it had appeared the treatise spread like wildfire through Europe, translated into many languages and evolving into different versions of varying length and content. In surveying how the (...) search regarding its origin has fared in recent years it is evident that there exists a sharp difference in opinion on the part of art historians on the one hand and contemporary scholars who deal with medieval... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Inner Citadel. The Meditations of Marcus AureliusJames KerPierre Hadot. The Inner Citadel. The Meditations of Marcus Aurelius. Translated by Michael Chase. Cambridge: Harvard University Press, 1998. Pp. xii + 351. Cloth, $45.00Marcus Aurelius has sometimes been viewed as a Stoic "half-way to Platonism," so overawed by the brevity of human life within the infinite procession of eternity that he "almost lost faith in his own (...) existence" (J. M. Rist). Hadot's book, however, in this excellent English translation (first published as La Citadelle Intérieure: Introduction aux "Pensées" de Marc Aurèle, Paris, 1992), argues not only that the Meditations are thoroughly Stoic in their doctrine, but that to call Marcus a Platonist (or a pessimist) is to misinterpret the techniques by which he seeks to live a Stoic life. For Hadot it is the teachings of the philosopher-slave Epictetus that explain the Meditations, and the bulk of the book is concerned with demonstrating that Marcus's writings are spiritual exercises by which the author seeks to instill in himself three basic Epictetan disciplines corresponding to the tripartite Stoic system of logic, physics, and ethics. Readers of Hadot's other works will already recognize his concern with the ancient conception of philosophy as a way of life [3]. This study aims to show how Marcus's self-therapy relates to specific elements of Stoic doctrine and to redefine our understanding of the Meditations as a literary work.The book begins by tracing Marcus's initiation into the philosophic life, with special emphasis on the role of statesman-philosopher Junius Rusticus, who introduced Marcus to the writings of his influential teacher, Epictetus. In Chapter Two Hadot approaches the text which we refer to as the Meditations and argues that they are better referred to as Marcus's "personal notes" (hypomnêmata): their characteristic features (discontinuity, repetition, self-address, and refined literary form) are due to their being the product of day-by-day exercises in which Marcus, focussed upon the definitiveness of the present moment, strove to keep the essential rules of life ever present in his mind. Marcus's constant repetition of familiar doctrine indicates that for him "the [End Page 116] essential thing was not to invent or to compose, but to influence himself and produce an effect upon himself" (244).Hadot is at pains in Chapter Three, however, to reveal that these exercises derive from the "highly rigorous conceptual system" which he calls "the true key to the Meditations," namely, a set of three dogmas that require (a) the regulation of judgment to assent only to what is objectively true; (b) the restriction of the desires to that which is in accordance with universal Nature and Destiny; and (c) the disciplining of one's impulse toward action to be just and altruistic, in agreement with one's human nature. According to Hadot, this systematic distinction between the disciplines of judgement, desire, and impulse, and the three dogmas on which they depend, is "a doctrine which is peculiar to Epictetus and which is not found in Stoicism prior to him" (70). Marcus, then, in organizing his spiritual exercises around these three disciplines, "was working with pre-existing materials" (52). Thus Chapter Five is dedicated entirely to explaining how the practical disciplines of judgment, desire, and impulse to action, which Hadot argues correspond respectively to logic, physics, and ethics, operate within "the Stoicism of Epictetus."There is a certain apparent tension generated by Hadot's argument concerning the Stoicism of Epictetus. Although he depicts him as a distinctive innovator, Hadot also states that Epictetus does not change the system of Zeno and Chrysippus but simply adds "color and tonality" (73)—a statement that allows him to classify both Epictetus and Marcus as authentic Stoics but thereby risks undermining his argument about Epictetus's distinctiveness. This real ambiguity could be explained by reference to the emphasis on originality in Stoicism, in which the embodiment of philosophy in each new Stoic establishes him as an independent authority. (As Seneca says to Lucilius, "Zeno said this. But what do you say?" Epistulae Morales 33.7.) Indeed Hadot illustrates how didactic procedures in particular were... (shrink)

In the Sixth Meditation, Descartes intends to prove that material things exist. His proof, which centers on the origin of the ideas of material things, has frequently been judged weak. But there is...

Discover the ancient wisdom of Roman Emperor Marcus Aurelius Antoninus, as collected and edited by Walter Lee Brown. These helpful thoughts and meditations offer timeless insight on how to live a virtuous and fulfilling life. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, (...) you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)