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Added by: Björn FreterAbstract:
In Japanese religious history, Dōgen (1200–1253) is revered as the founder of the Japanese school of Sōtō Zen Buddhism. Tradition says he was born of an aristocratic family, orphaned, and at the age of twelve joined the Tendai Buddhist monastic community on Mt Hiei in northeastern Kyoto. In search of an ideal teacher, he soon wandered off from the central community on the mountain and ended up in a small temple in eastern Kyoto, Kennin-ji.Driver, Julia. Ethics: The Fundamentals2006, Wiley-Blackwell.-
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Added by: Nick Novelli
Editor's Note: Ethics: The Fundamentals explores core ideas and arguments in moral theory by introducing students to different philosophical approaches to ethics, including virtue ethics, Kantian ethics, divine command theory, and feminist ethics. The first volume in the new Fundamentals of Philosophy series. Presents lively, real-world examples and thoughtful discussion of key moral philosophers and their ideas. Constitutes an excellent resource for readers coming to the subject of ethics for the first time.Comment: This book offers good preliminary introductions to a number of topics in ethics. Each section could be assigned individually as a starting point for the given topic. The sections on utilitarianism and consequentialism are particularly good introductions. Primarily of use to early undergraduates or students who have not studied ethics before.
Du Châtelet, Emilie. Discourse on Happiness2009, Selected Philosophical and Scientific Writings, ed. with an Introduction by Judith P. Zinsser, transl. by Isabelle Bour, Judith P. Zinsser, Chicago, London: University of Chicago Press, 349–365.-
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Added by: Björn Freter
Abstract: It is commonly believed that it is difficult to be happy, and there is much reason for such a belief; but it would be much easier for men to be happy if reflecting on and planning conduct preceded action. One is carried along by circumstances and indulges in hopes that never yield half of what one expects. Finally, one clearly perceives the means to be happy only when age and self- imposed fetters put obstacles in one’s way.
Comment: This accessible 18th century text lays out a hedonistic theory of happiness with interesting parallels to Epicureanism.
Du Châtelet, Emilie. On Freedom2020, Online Translation by Julia Jorati, with the help of Julie Roy; based on “Sur la liberté,” in Oeuvres complètes de Voltaire, vol. 14, edited by William H. Barber, 484–502. Oxford: Voltaire Foundation, 1989.-
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Added by: Björn Freter
Abstract: The question of freedom is the most interesting question we could examine, since one can say that all of morality depends on this single question. Something so interesting justifies departing from my subject a little bit in order to enter this discussion, and to put here in front of the reader’s eyes the main objections that people make against freedom, so that he can judge for himself their soundness.
Comment: This is an English translation of Emilie Du Châtelet's "Sur la liberté." This 18th century text discusses freedom of the will, determinism, and divine foreknowledge.
Eaton, Marcia Muelder. Kantian and contextual beauty1999, Journal of Aesthetics and Art Criticism 57 (1):11-15.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: Two conflicting but strongly entrenched intu itions about beauty hold sway in the hearts and minds of many. On the one hand, many people believe that attributions of beauty to objects or events are unmediated-that all that matters is one's direct, personal response. If something is beautiful, one just sees it; cognitive or ethical concerns matter little. On the other hand, many people are drawn to the view that the beautiful is not independent of other human values and atti tudes-that our attributions of beauty are related to beliefs or moral judgments. At the end of the eighteenth century, Immanuel Kant represented the former view with such cleverness that his ar guments continue to disturb even those who re main unconvinced by them. At the end of the nineteenth century, partly as a result of the influ ence of Kant's theory of beauty, Leo Tolstoy felt forced to downplay the importance of beauty's role in explaining the value of art-a trend that continued for several decades. At the end of the twentieth century, increasing numbers of aes thetic theorists and practitioners are persuaded that beauty does matter in art, and although many, including me, believe that beauty is a con textual property deeply connected to factual be liefs and moral attitudes, the tug of Kant's arguments remains strong.Comment:
Elisabeth of Bohemia. Selections from her Correspondence with Descartes1994, in Margaret Atherton (ed.) Women Philosophers of the Early Modern Period. Hackett Publishing Company. [originally written 1643-1650]-
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Added by: Alison Stone, Contributed by: Simon FoktAbstract:
From the SEP: Elisabeth presses Descartes on the relation between the two really distinct substances of mind and body, and in particular the possibility of their causal interaction and the nature of their union. They also correspond on Descartes's physics, on the passions and their regulation, on the nature of virtue and the greatest good, on the nature of human freedom of the will and its compatibility with divine causal determination, and on political philosophy.Comment: This chapter could be used in a history of philosophy course covering Descartes as one week's reading, covering Elisabeth's questions to Descartes about mind/body interaction. Note that the selections in Atherton's collection are adequate for a Philosophy of Mind course, but students wishing to explore the issues in more detail might benefit from reading the full text.
Complimentary Texts/Resources:
Lisa Shapiro, “Princess Elizabeth and Descartes: The Union of Soul and Body and the Practice of Philosophy” - Shapiro explicates Elizabeth’s underlying view and objections and shows how to frame the issues in the correspondence as feminist issues and issues about philosophy and its culture.
Andrea Nye, “Polity and Prudence: the Ethics of Elisabeth, Princess Palatine” - Nye explores Elisabeth’s ethical views, as discovered via the correspondence.
Elisabeth of Bohemia, Shapiro, Lisa (ed.). The Correspondence Between Princess Elisabeth of Bohemia and Rene Descartes2007, University of Chicago Press.-
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Added by: Alison Stone
Publisher's Note: Between the years 1643 and 1649, Princess Elisabeth of Bohemia and René Descartes exchanged fifty-eight letters—thirty-two from Descartes and twenty-six from Elisabeth. Their correspondence contains the only known extant philosophical writings by Elisabeth, revealing her mastery of metaphysics, analytic geometry, and moral philosophy, as well as her keen interest in natural philosophy. The letters are essential reading for anyone interested in Descartes’s philosophy, in particular his account of the human being as a union of mind and body, as well as his ethics. They also provide a unique insight into the character of their authors and the way ideas develop through intellectual collaboration. Philosophers have long been familiar with Descartes’s side of the correspondence. Now Elisabeth’s letters—never before available in translation in their entirety—emerge this volume, adding much-needed context and depth both to Descartes’s ideas and the legacy of the princess. Lisa Shapiro’s annotated edition—which also includes Elisabeth’s correspondence with the Quakers William Penn and Robert Barclay—will be heralded by students of philosophy, feminist theorists, and historians of the early modern periodComment: This book contains the complete exchange of letters between Descartes and Princess Elisabeth. It can be used as further or supplementary reading on Descartes in a history of modern philosophy course; for example, if there was a week on Elisabeth's questions to Descartes about mind and body, this could be assigned as further reading for students wanting to go into more depth.
Ellen Dissanayake. Art and Intimacy2000, University of Washington Press-
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Added by: Simon Fokt, Contributed by: Christy Mag Uidhir
Publisher's Note: To Ellen Dissanayake, the arts are biologically evolved propensities of human nature: their fundamental features helped early humans adapt to their environment and reproduce themselves successfully over generations. In Art and Intimacy she argues for the joint evolutionary origin of art and intimacy, what we commonly call love.It all begins with the human trait of birthing immature and helpless infants. To ensure that mothers find their demanding babies worth caring for, humans evolved to be lovable and to attune themselves to others from the moment of birth. The ways in which mother and infant respond to each other are rhythmically patterned vocalizations and exaggerated face and body movements that Dissanayake calls rhythms and sensory modes. Rhythms and modes also give rise to the arts. Because humans are born predisposed to respond to and use rhythmic-modal signals, societies everywhere have elaborated them further as music, mime, dance, and display, in rituals which instill and reinforce valued cultural beliefs. Just as rhythms and modes coordinate and unify the mother-infant pair, in ceremonies they coordinate and unify members of a group. Today we humans live in environments very different from those of our ancestors. They used ceremonies (the arts) to address matters of serious concern, such as health, prosperity, and fecundity, that affected their survival. Now we tend to dismiss the arts, to see them as superfluous, only for an elite. But if we are biologically predisposed to participate in artlike behavior, then we actually need the arts. Even -- or perhaps especially -- in our fast-paced, sophisticated modern lives, the arts encourage us to show that we care about important things.Comment:
Eva Kit Wah Man. Issues of Contemporary Art and Aesthetics in Chinese Context2015, Berlin, Heidelberg: Springer Berlin Heidelberg.-
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Added by: Meilin Chinn
Publisher's Note: This book discusses how China’s transformations in the last century have shaped its arts and its philosophical aesthetics. For instance, how have political, economic and cultural changes shaped its aesthetic developments? Further, how have its long-standing beliefs and traditions clashed with modernizing desires and forces, and how have these changes materialized in artistic manifestations? In addition to answering these questions, this book also brings Chinese philosophical concepts on aesthetics into dialogue with those of the West, making an important contribution to the fields of art, comparative aesthetics and philosophy.Comment: A timely discussion of the influence of the last century’s political, economic, and cultural changes in China upon its philosophical aesthetics. Man’s book addresses a number of key neglected topics of comparative aesthetics between China and the West, contemporary aesthetics and art in Hong Kong, the relation of gender and art in the politics of identity, and the role of tradition in new creative practices. Chapter 4 introduces the leaders of the major schools of aesthetics in new China, including Li Zehou. This text is best used in a comparative aesthetics context, especially in discussions of contemporary aesthetic mediums.
Related reading:
- Li Zehou. The Chinese Aesthetic Tradition. Honolulu: University of Hawai‘i Press, 2009. A timely discussion of the influence of the last century’s political, economic, and cultural changes in China upon its philosophical aesthetics. Man’s book addresses a number of key neglected topics of comparative aesthetics between China and the West, contemporary aesthetics and art in Hong Kong, the relation of gender and art in the politics of identity, and the role of tradition in new creative practices. Chapter 4 introduces the leaders of the major schools of aesthetics in new China, including Li Zehou. This text is best used in a comparative aesthetics context, especially in discussions of contemporary aesthetic mediums.
Related reading:
Feagin, Susan. Feminist Art History and De Facto Significance2010, In Peg Zeglin Brand & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Penn State Press.-
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Added by: Clotilde Torregrossa, Contributed by: Christy Mag Uidhir
Abstract: In her excellent "Feminist Art History and De Facto Significance," for example, aesthetician Susan L. Feagin explains how her initial skepticism about Continental approaches-especially those drawing on Foucault, Marx, Levi-Strauss, Lacan, and "even Derrida and poststructuralist literary theory" - gave way to an appreciation of how these approaches encourage, in a way analytic aesthetics does not, "the trenchant analyses and acute observations that have emerged from feminist art historians" (305). And, indeed, although she goes on to suggest how traditional aesthetics might accommodate feminist and other politically informed analyses, she cautions that "it is too easy to miss the most innovative aspects of another's view if one tries to understand it only in terms of one's own theoretical perspective" (305).(from review by Sally Markowitz, Hypatia Vol. 11, No. 3 (Summer, 1996), pp. 169-172)Comment:
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Dōgen. Dōgen 道元 (1200–1253)
2011, In James W. Heisig, Thomas P. Kasulis and John C. Maraldo (eds.) Japanese Philosophy. A Sourcebook. Honolulu: University of Hawai’i Press, pp. 141-162
Comment (from this Blueprint): Excerpts from Shōbōgenzō (Repository of the Eye for the Truth), the major philosophical work of Dōgen (1200–1253), founder of the Japanese school of Sōtō Zen Buddhism allowing to deepen his philosophical understanding of nature.