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Dale Jacquette

Auteur de A Companion to Philosophical Logic

28+ oeuvres 449 utilisateurs 4 critiques

A propos de l'auteur

Dale Jacquette is Professor of Philosophy at Pennsylvania State University

Comprend les noms: D. Jacquette

Œuvres de Dale Jacquette

A Companion to Philosophical Logic (2002) 61 exemplaires
Philosophy of Logic: An Anthology (2001) — Directeur de publication — 50 exemplaires
Ontology (2002) 33 exemplaires
Cannabis - Philosophy for Everyone: What Were We Just Talking About? (2010) — Directeur de publication; Contributeur — 31 exemplaires
Philosophy of Mathematics: An Anthology (2001) — Directeur de publication — 30 exemplaires
Philosophy of Mind (1993) 23 exemplaires
Russell vs. Meinong: The Legacy of "On Denoting" (2008) — Directeur de publication — 12 exemplaires

Oeuvres associées

The Routledge Companion to Aesthetics (2000) — Contributeur, quelques éditions115 exemplaires

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Date de décès
201-
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Critiques



One of the most engaging collection of essays I have come across in quite some time. As a way of sharing the richness contained in the pages of this book, below are a number of points made by Shehira Doss-Davezac in her essay Schopenhauer According to the Symbolists: Philosophical Roots of Late 19th Century French Aesthetic Theory.

• Schopenhauer promised through art, the viewer will experience 1) a loss of self, 2) a feeling of ecstasy and 3) an intuitive vision of the absolute. These are three qualities the French Symbolist writers and artists yearned. And the science of the day could certainly not satisfy their longing.

• For Schopenhauer, through aesthetic contemplation, we reach the painless state of the gods, for we are for the moment set free from the miserable striving of the will; we can have this temporary aesthetic release in our contemplation of both the natural world and art.

• The French artists and writers felt that the positivism and scientism of the day ignored our spiritual needs and neglected intuition. In keeping with Schopenhauer, they believed it is our intuition that moves us well beyond the limits of reason.

• The relative existence of objects make them symbols, not independent entities – emphasis on the interpreting subjective self - NATURE SEEN AS SYMBOL.

• The world is only representation – Schopenhauer's work appeared to the French as a theory of art more than a formal philosophy.

• The Symbolists displayed a tendency to transform all the arts into a kind of music.

• Schopenhauer said arts not science point to the thing-in-itself and ultimate truth.

• The Symbolists aspired to an art not of mimesis but expression – art that was a creation of supernal, that is, celestial beauty.

• Schopenhauer said the soul has innate sentiments and the imagination of artists and poets is able to give form and life to the imagination– style is the physiognomy of the spirit.

• All the French Symbolists favored a sensual response to nature, but asked that the response be sublimated through a world of Ideas --- (at a later date, Jung would use "world of the collective unconscious") – art’s mission is to open a window onto the ultimate realm of truth.

• For both Schopenhauer and the French Symbolists, art is beyond reason; art is an evocative magic; reaching a state of unremitting bliss.

• Baudelaire, like Schopenhauer, saw raw nature as carnal, struggle, hate and ugliness, as the voice of self-interest.

• The French Symbolists agreed with Schopenhauer that art mitigates the evil of the world – rescues nature from its materiality.

• The Symbolists followed Schopenhauer in how art can transform nature into Idea (I liken this to the Jungian archetype) for the sake of the soul.

• The Symbolists were eschewing the outward skin for the inward symbol.

• Schopenhauer’s “Idea" opposes the notion of "Concept." The concept is abstract and discursive; the Idea is always an object of perception (I liken the Idea to a Jungian archetype).

• Schopenhauer posited that art manifests the Idea visually rather than conceptually – the communication of Idea can only take place on the path of perception.

• For both Schopenhauer and the Symbolists, real artists work from pure feeling intuitively; imitators or mannerists start from a concept.

• Symbolism is to clothe the idea in a sensitive form.

• Symbolists wanted to extract art from the roots in the active world and from all practical needs and desires.

• For the Symbolists, "Realism"" is a crude understanding.

• For Schopenhauer, allegorical and conceptual art is distant, limited, cold and dry – we, as viewers, feel cheated when we view this kind of art.

• True art conveys an idea of ultimate reality rather than reality itself.

• Aesthetic mode of contemplation: 1) knowledge of object as Idea 2) self-consciousness of the knowing subject not as individual but as pure, will-less subject of knowledge.

• Schopenhauer showed the Symbolists that salvation and ecstasy could be achieved only by the artist’s renunciation of the ordinary world of perception.

• Disinterested contemplation leads to profound wisdom.

• For the ordinary person, the Idea (what Jung calls the archetype) remains hidden beneath layers of phenomenon.

• For Baudelaire, great art is the result of seeing in a disconnected way, as though in a hieroglyphic dream.

• Imagination extends our horizons. Imagination is mystical perception revealing its secret affinity to a human soul and the realm of spirit.

• The French experimented with new language of forms which would be capable of embodying rather than illustrating Ideas. This new language was to be subjective, expressive, and free from any accepted formula.

• For Schopenhauer, creativity involves the imagination not reason – extraordinary rather than ordinary perception – AND WHAT THE ARTIST ACHIEVES IS REPEATED TO SOME EXTENT BY THE VIEWER – this type of mysticism can save us from brutalism, utilitarianism and becoming a sensualist.

• Synesthesia, that is, one sense crossing over into another sense, for example, sights becoming sounds, became a favorite game of the Symbolist writers and painters.

I have outlined the other essays in this collection in the comments section below, beginning with comment #11.


German philosopher Arthur Schopenhauer, 1788- 1860
… (plus d'informations)
 
Signalé
Glenn_Russell | 1 autre critique | Nov 13, 2018 |
This is one of the most thought-provoking collection of essays I have come across in quite some time. As a way of sharing the richness of what is contained in the pages of this book, below are a number of points made by Shehira Doss-Davezac in her essay ‘Schopenhauer according to the Symbolists: the philosophical roots of late 19th century French aesthetic theory’.

• Schopenhauer promised that through art, one will experience a loss of self, a feeling of ecstasy and an intuitive vision of the absolute. These are 3 qualities the French Symbolist writers and artists yearned. And the science of the day could certainly not satisfy their longing.

• For Schopenhauer, through aesthetic contemplation, we reach the painless state of the gods, for we are for the moment set free from the miserable striving of the will; we can have this temporary aesthetic release in our contemplation of both the natural world and art.

• The French artists and writers felt that the positivism and scientism of the day ignored our spiritual needs, neglecting intuition. It is our intuition that moves us well beyond the limits of reason.

• The relative existence of objects make them symbols, not independent entities – emphasis on the interpreting subjective self --- NATURE SEEN AS SYMBOL.

• The world is only representation – Schopenhauer's work appeared to the French as a theory of art more than a formal philosophy.

• The Symbolists displayed a tendency to transform all the arts into a kind of music.

• Schopenhauer said arts not science point to the thing-in-itself and ultimate truth.

• The Symbolists aspired to an art not of mimesis but expression – art that was a creation of supernal, that is, celestial beauty.

• Schopenhauer said the soul has innate sentiments and the imagination of artists and poets is able to give form and life to the imagination– style is the physiognomy of the spirit.

• All the French Symbolists favored a sensual response to nature, but asked that the response be sublimated through a world of Ideas --- (at a later date, Jung would use ‘world of the collective unconscious’) – art’s mission is to open a window onto the ultimate realm of truth.

• For both Schopenhauer and the French Symbolists, art is beyond reason; art is an evocative magic; reaching a state of unremitting bliss.

• Baudelaire, like Schopenhauer, saw raw nature as carnal, struggle, hate and ugliness, as the voice of self-interestedness.

• The French Symbolists agreed with Schopenhauer that art mitigates the evil of the world – rescues nature from its materiality.

• The Symbolists followed Schopenhauer in how art can transform nature into Idea (I liken this to the Jungian archetype) for the sake of the soul.

• The Symbolists were eschewing the outward skin for the inward symbol.

• Schopenhauer’s “Idea’ opposes the notion of ‘Concept’. The concept is abstract and discursive; the Idea is always an object of perception (I liken the Idea to a Jungian archetype).

• Schopenhauer posited that art manifests the Idea visually rather than conceptually – the communication of Idea can only take place on the path of perception.

• For both Schopenhauer and the Symbolists, real artists work from pure feeling intuitively; imitators or mannerists start from a concept.

• Symbolism is to clothe the idea in a sensitive form.

• Symbolists wanted to extract art from the roots in the active world and from all practical needs and desires.

• For the Symbolists, ‘Realism’ is a crude understanding.

• For Schopenhauer, allegorical and conceptual art is distant, limited, cold and dry – we, as viewers, feel cheated when we view this kind of art.

• True art conveys an idea of ultimate reality rather than reality itself.

• Aesthetic mode of contemplation: 1) knowledge of object as Idea 2) self-consciousness of the knowing subject not as individual but as pure, will-less subject of knowledge.

• Schopenhauer showed the Symbolists that salvation and ecstasy could be achieved only by the artist’s renunciation of the ordinary world of perception.

• Disinterested contemplation leads to profound wisdom.

• For the ordinary person, the Idea (what Jung calls the archetype) remains hidden beneath layers of phenomenon.

• For Baudelaire, great art is the result of seeing in a disconnected way, as though in a hieroglyphic dream.

• Imagination extends our horizons. Imagination is mystical perception revealing its secret affinity to a human soul and the realm of spirit.

• The French experimented with new language of forms which would be capable of embodying rather than illustrating Ideas. This new language was to be subjective, expressive, and free from any accepted formula.

• For Schopenhauer, creativity involves the imagination not reason – extraordinary rather than ordinary perception – AND WHAT THE ARTIST ACHIEVES IS REPEATED TO SOME EXTENT BY THE VIEWER – this type of mysticism can save us from brutalism, utilitarianism and becoming a sensualist.

• Synesthesia, that is, one sense crossing over into another sense, for example, sights becoming sounds, became a favorite game of the Symbolist writers and painters.

… (plus d'informations)
 
Signalé
GlennRussell | 1 autre critique | Feb 16, 2017 |
Since this book was issued in 2010, the circumstances of cannabis prohibition in the US have changed considerably, but not so much as to obsolete any of the issues that it treats. (Following the consequences of the relevant 2016 referenda, marijuana possession and consumption--without medical sanction--is now legal in eight states, including the entire Pacific coast, and accounting for a majority of the US population, although Federal prohibition remains in effect.) The volume collects essays by an assortment of authors with different intellectual specialties, treating a variety of concerns, such as phenomenology, ethics, aesthetics, psychology, and sociology. The trend overall is toward a somewhat favorable view of moderate cannabis use, but the mix of perspectives includes at least a couple of pieces that condemn it.

More than one of the papers notes the mystery involved in the origins of the US-cum-global cannabis prohibition of the 20th century, but none provides an adequate explanation. Mitch Earlywine, whose "Pot Politics" piece does a good job of raising the question, only goes so far as to note the suspicious coincidence of the end of the alcohol prohibition and the start of the Federal marijuana ban. None of the papers note the significant racist component of US drug policy, evident in both the origins of laws against marijuana, and their later selective enforcement as a conscious anti-civil-rights strategy directed at the non-white population of the US.

Still, political science is not the book's center of gravity. Several of the papers include a component of psychological and psychiatric literature review, and most, in keeping with the title, attempt to address basic dilemmas or obscurities of cannabis use. I especially appreciated the chapters on escapism and "weakness of will." Gilbert Shelton's famous comics freak notoriously quipped "Dope will get you through times of no money better than money will get you through times of no dope," and the adage is cited in this book. The writings collected here make a decent case that getting stoned is a better conundrum for philosophy than philosophy is for stoners.
… (plus d'informations)
3 voter
Signalé
paradoxosalpha | Feb 2, 2017 |
This book is the real deal: down-and-dirty philosophy, not as dumbed-down or sugar-coated for the layman as your average super-chain-bookstore-with-coffee-shop-addition science-section-book. In other words, I am not likely to ever finish it.

Of course, if you are wondering if a career in mathematical philosophy is for you, then, by all means, check this out. It'll set you straight.
 
Signalé
openset | Jul 6, 2007 |

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