This volume celebrates the centenary of the birth of Sarvepalli Radhakrishnan, India's leading philosopher of the twentieth century. Elected president of India in 1962, Radhakrishnan stressed the importance of creating a casteless and classless society in India, conveying his thoughts in extensive writings and numerous speeches. Including articles by twenty-nine leading scholars of Indian philosophy--many of whom knew Radhakrishnan personally--this collection is a critical examination of Radhakrishnan's contribution to the philosophy of religion and his role as an international statesman.
Illustrations: 1 B/w Illustration Description: Pranab Kumar Sen, Professor Emeritus, Jadavpur University in whose honour this volume has been prepared was one of the leading philosophers of our country and a highly respected teacher. It carries thirty-five articles which deal with different branches of philosophy,viz., philosophical logic, philosophy of language, ontology, theory of knowledge, Kant exegesis, moral philosophy, social philosophy, philosophy of art. As Sen's philosophical interests and expertise were wide the authors had ample freedom in their choice of topics. (...) This volume will be of interest to those who are acquainted with sophisticated literature in analytic philosophy, scholars working in different branches of philosophy and also general readers of modern philosophy. (shrink)
Illustrations: Numerous Colour and 15 B/w Illustrations Description: The volumes of the PROJECT OF HISTORY OF SCIENCE, PHILOSOPHY AND CULTURE IN INDIAN CIVILIZATION aim to discover the central aspects of India's heritage and present them in an interrelated manner. In spite of their unitary look, these volumes recognize the difference between the areas of material civilization and those of ideational culture. The Project is not being executed by a single group of thinkers, methodologically uniform or ideologically identical in their commitments. (...) Rather, contributions are made by different scholars of diverse ideological persuasions and methodological approaches. The Project is marked by what may be called 'methodological pluralism'. In spite of its primarily historical character, this project, both in its conceptualization and execution, has been shaped by scholars drawn from different disciplines. It is the first time that an endeavour of such unique and comprehensive character has been undertaken to study critically a major world civilization. History of art, unlike that of science, is not an accumulation of facts. It comprises concurrences and overlappings cutting across the linearity of time. Based on this premise the essays in this volume delve into the discourse as also forms of creativity in the Indian tradition in terms of both the perennial and the ephemeral aspects of aesthetic experience. The essays form four groups dealing with (a) core concepts which permeate the discourse on aesthetic theories, and having ramifications in many other disciplines and domains; (b) The Rasa theory in the framework of classical philosophical traditions of Vedanta, Mimamsa, Samkhya, and Kashmir Saivism, and (c) the comprehension of the foundational concepts of aesthetic theory, namely, Rasa and Dhvani from the perspectives of Indian thought traditions addressing also music, dance and the visual arts. There is no clear-cut demarcation between the four groups of essays though in their own framework they illustrate a transition from the discourse (sastra) to practice (prayoga) i.e., from theorizing on the nature of aesthetic experience to the process of concretizing it into forms of music, dance, architecture, and painting. The contributions highlight the fact that the history of Indian aesthetic tradition comprises various textual and performing traditions that have flourished in the Indian subcontinent. What we have is not a single history but multiple histories based on various philosophical and methodological approaches adopted by art historians. Some of these histories pertain to the technical details of a given art form, and some with the changes that have occurred in the evolution and development these forms. While some historical accounts focus on the relevant biographical details of the artists, some art histories focus on the social, cultural, political, and even the economic conditions of civilization that determine the nature of an art form. Considering the multi-dimensional and multi-level complexities of Indian civilization and culture, the contributions to this volume have investigated into a number of factors which are directly and indirectly relevant for comprehending the complexities of the Indian aesthetic tradition. (shrink)
To define knowledge in terms of (i) belief, (ii) justification, and (iii) truth is primarily epistemological and therefore seems to be untenable. What is wrong with the ontological view of knowledge? If objects like dream and shadow could be said to be real and worth investigating, why should knowledge itself not be treated as a knowable reality? Knowability suggests its possibility-like, pursuit-like, gradual disclosive—as distinguished from enclosed or complete—character. Disclosure isself-revealing or, as Indians say, svaprakasa. That is, its justification arises (...) from within. (shrink)
I will take David Hall and Roger Ames’s idea of “field and focus”—each unique individual is a unique focus in the communal field—as a central theme of the East Asian way of dealing with the relationship between the community and its constituent members. The pairing of these two concepts suggests the essential mutuality of the communal involvement of every person and the “insistent particularity” of each person. The worth of each individual becomes manifest only if the “egocentered” self yields to (...) the “selfless” self. An East Asian sense of justice thereby acquires the sense of attention to each unique focus (particular individual) in the field (community). Liberty and human rights are thus ineluctably bound up with a sense of communal responsibility. (shrink)