By Sophia Vasalou
With its pessimistic imaginative and prescient and bleak message of world-denial, it has usually been tough to grasp how you can have interaction with Schopenhauer’s philosophy. His arguments have appeared improper and his doctrines marred via inconsistencies; his very pessimism nearly too flamboyant to be plausible. but a manner of redrawing this engagement stands open, Sophia Vasalou argues, if we attend extra heavily to the visionary energy of Schopenhauer’s paintings. the purpose of this booklet is to put the classy personality of Schopenhauer’s viewpoint on the center of how we learn his philosophy and how we solution the query: why learn Schopenhauer - and the way? coming near near his philosophy as an enactment of the elegant with an extended heritage within the historic philosophical culture, Vasalou presents a clean manner of assessing Schopenhauer’s relevance in severe phrases. This booklet should be beneficial for college kids and students with an curiosity in post-Kantian philosophy and old ethics.
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Additional resources for Schopenhauer and the Aesthetic Standpoint: Philosophy as a Practice of the Sublime
22 The phrase is Atwell’s, picking up on Schopenhauer’s own remarks, in Schopenhauer on the Character of the World, 141. Atwell stresses some of the active aspects of aesthetic perception in 150–51. , Schopenhauer, Philosophy, and the Arts, 117–22. Kai Hammermeister, in The German Aesthetic Tradition (Cambridge University Press, 2002), bemoans Schopenhauer’s failure to distinguish clearly between passive and active elements, and concludes that Schopenhauer’s discussion remains ambivalent between the two (118–19).
For let us consider how aesthetic objects appear in this picture. They are (a) predominantly understood as natural kinds and (b) actually present to the observer. ” Yet this, clearly, cannot offer us the whole story. For without thinking twice, the focus on natural objects already needs to be qualified to include the artistic representations of these objects. And once art has been brought into view, the exclusive focus on seeing (“a single image of perception”) comes immediately into question, given Schopenhauer’s well-known keen interest in music and the aesthetics of hearing rather than sight.
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