John Hospers' _Introduction to Philosophical Analysis_ has sold over 150,000 copies since its first publication. This new edition ensures that its success will continue into the twenty-first century. It remains the most accessible and authoritative introduction to philosophy available using the full power of the problem-based approach to the area to ensure that philosophy is not simply taught to students but practised by them. The most significant change to this edition is to respond to criticisms regarding the omission in the (...) third edition of the famous opening chapter. A brand new chapter, Words and the World, replaces this in the fourth edition - which now features a large number of examples and illustrative dialogues. The rest of the text has been thoroughly revised and updated to take account of recent developments in some areas of philosophy. (shrink)
John Hospers endeavors to relate his thoughts on phñosophy of art to those of Ayn Rand, both in her published work and in discussions he had with her. In such areas as artistic creativity, artistic expression, representation, the role of feelings in art, truth and knowledge in the arts, sense of life, beauty, and aesthetic value, Hospers describes his agreements and disagreements with Rand.
It is not my intention in this brief essay to give an exhaustive critical analysis of the theory of art championed by Croce and his follower Collingwood; I intend only to point out certain confusions in and misunderstandings of their theory, and to make a few critical comments in the light of them. Nor do I wish to imply that the theories of Croce and Collingwood are identical; but although they diverge on some points, and although each develops views that (...) the other discusses only briefly, they are so substantially alike on all important points that, as reviewers were quick to point out on the appearance of Collingwood's The Principles of Art , the two can for all practical purposes be considered as one theory. (shrink)
In 1848 Frederic Bastiat wrote an article in the Journal des Debats in which he said, Man struggles against pain and suffering. However, he is condemned by nature to suffering and to privation if he does not take upon himself the effort of work. Hence he has only the choice between two evils….Up to now, however, no remedy has been found for it, except for one man to avail himself of the work of others…so that all work is for the (...) one and all enjoyment is for the other. Hence [we have] slavery and robbery.[Today] the oppressor no longer directly compels the oppressed through his own strength. There is still a tyrant and a victim, but now the state, i.e. the law itself, is placed as a mediator between the two. What could be better for the purpose of stifling our doubts and vanquishing all resistance? We turn to the state and say to it: I find that between my enjoyment and my work there exists no relation that satisfies me. In order to bring about the desired balance, I would like to take away a little from others. However, that would be dangerous were I to do it myself. Can you, state, facilitate matters for me? Can you not assign me to a favorable position, or assign a more unfavorable one to my competitor? Can you not grant me a special “protection” and, not without plausible reason, lend me capital which you have taken from its possessors? Or, can you not educate my children at public expense? or guarantee me a carefree life from age 50 onwards?… In this case the law would be acting for me, and I would have all the advantages of exploitation without its risks and its onus. (shrink)
Art as communication, by L. Tolstoi.--Art, intuition, and expression, by B. Groce.--Art as expression, by R. G. Collingwood.--The Groce-Collingwood theory of art, by J. Hospers.--The act of expression, by J. Dewey.--Art and the language of the emotions, by C. J. Ducasse.--Music as impressive and music as expressive, by E. Gurney.--Expression, by G. Santayana.--The expressiveness of colors, by W. Kadinsky.--Expression and association, by C. Hartshorne.--Expressiveness, by R. Arnheim.--The expression theory of art, by O, K. Bouwsma.--The concept of expression in art, by (...) V. Tomas, D. Morgan and M. Beardsley.--Musical expression, by M. Beardsley.--Expressive predicates of art, by G. Sircello. (shrink)