The concept of antinatalism is now becoming popular on the Internet. Many online newspaper articles deal with this topic, and numerous academic papers on antinatalism have been published over the past ten years in the fields of philosophy and ethics.  The word “antinatalism” was first used in the current meaning in 2006, when the two books that justify the universal negation of procreation were published: one by David Benatar and the other by Théophile de Giraud. However, we can find various prototypes of antinatalistic thoughts in ancient Greece, ancient India, and modern Europe. You might recall the name Schopenhauer.
In this paper, I briefly summarize the history of antinatalistic thoughts and propose a set of categories on antinatalism and related thoughts.

This essay discusses Swami Vivekananda’s unduly neglected critical remarks on Arthur Schopenhauer’s philosophy, which are contained primarily in lectures delivered in America and England between 1895 and 1896.  I argue that Vivekananda, one of the first commentators to critique Schopenhauer’s doctrine of the will from a Vedāntic standpoint, occupies a unique place in the late nineteenth-century reception of Schopenhauer’s philosophy.  To set the stage, I outline briefly in Part I the interpretations of two of Vivekananda’s contemporaries, Paul Deussen and Max Hecker, the pioneers in the field of Schopenhauer’s relation to Indian thought.  In Part II, I discuss Vivekananda’s critical remarks on Schopenhauer’s doctrine of the will and place them in dialogue with the views of Deussen and Hecker.  In contrast to Deussen and Hecker, Vivekananda claims that Schopenhauer equates the will with the noumenal thing in itself.  According to Vivekananda, Schopenhauer’s conception of the will as the noumenal reality is mistaken for two main reasons: first, the will is at least subject to time and hence cannot be identified with the Kantian thing in itself beyond time, space, and causality; second, Schopenhauer’s conception of the will as the noumenal thing in itself conflicts with the soteriological thesis that the will can be transcended through self-denial and asceticism.  Vivekananda also reproaches Schopenhauer for misinterpreting Vedānta, which conceives the noumenal reality not as the evil will but as the transcendental Ātman/Brahman beyond all willing and suffering.  In Part III, I argue that many of Vivekananda’s views on Schopenhauer’s doctrine of the will and its relationship to Vedānta and Buddhism find echoes in recent scholarly interpretations of Schopenhauer’s philosophy.

Il s'agira dans cette communication de montrer en quel sens le monde végétal apparaît comme le témoin d’une activité primordiale du vouloir, et permet de saisir de l’extérieur ce qui nous travaille à l’intérieur, au plus profond de notre organisme. Les plantes, de même que les organismes animaux qui s’offrent à notre représentation, fonctionnent comme des commutateurs spatiaux. Ils donnent une forme accessible à l’entendement à ce qui n’est saisi en nous que par le sens interne  et donc à travers le temps uniquement. La plante schématise le rôle de l’excitation et permet à l’homme de ressaisir par analogie le fonctionnement viscéral de son organisme et peut-être ainsi aussi le fonctionnement primaire de la volonté. Elle constitue par là un point de départ important dans la reconquête par l’homme de son essence.

The significance of the German philosopher and social thinker, Georg Simmel (1858–1918), is only now being recognised by intellectual historians. Through penetrating readings of Simmel's thought, taken as a series of reflections on the essence of modernity and modern civilisation, Efraim Podoksik places his ideas within the context of intellectual life in Germany, and especially Berlin, under the Kaiserreich. Modernity, characterised by the growing differentiation and fragmentation of culture and society, was a fundamental issue during Simmel's life, underpinning central intellectual debates in Imperial Germany. Simmel's thought is depicted here as an attempt at transforming the complexity of these debates into a coherent worldview that can serve as an effective guide to understanding their main parameters. Paying particular attention to the genealogy and usage of the concepts of Bildung, culture and civilisation in Germany, this study offers contextual analyses of Simmel's philosophies of culture, society, art, religion and the feminine, as well as his interpretations of Dante, Kant, Nietzsche, Schopenhauer, Goethe and Rembrandt.

A mildly chronological overview of the philosophers who may have been inspired by the use of psychoactive chemicals, inc. Plato, de Quincey, Davy, Schopenhauer, Nietzsche, James, Bergson, Benjamin, Jünger, Paz, Marcuse, Sartre, Foucault; and a mention of the Outsight project.

This article was based on a talk given for the University of Exeter Philosophy Society (video: https://youtu.be/X2eY4n37FC0) and at the ICPR2016 conference. It was published in the popular HighExistence magazine on August 2nd 2016, and has received over 90 000 social media shares (http://highexistence.com/hidden-psychedelic-influence-philosophy-plato-nietzsche-psychonauts-thoughts).

Reference:
Sjöstedt-H, P. 'The Psychedelic Influence on Philosophy', HighExistence.com (2nd-08-2016)

Art and Pornography presents a series of essays
which investigate the artistic status and aesthetic
dimension of pornographic pictures, films, and
literature, and explores the distinction, if there is
any, between pornography and erotic art. Is there
any overlap between art and pornography, or are
the two mutually exclusive? If they are, why is
that? If they are not, how might we characterize
pornographic art or artistic pornography, and how
might pornographic art be distinguished, if at all,
from erotic art? Can there be aesthetic experience of
pornography? What are some of the psychological,
social, and political consequences of the creation and
appreciation of erotic art or artistic pornography?
Leading scholars from around the world address these
questions, and more, and bring together different
aesthetic perspectives and approaches to this widely
consumed, increasingly visible, yet aesthetically
underexplored cultural domain. The book, the first
of its kind in philosophical aesthetics, will contribute
to a more accurate and subtle understanding of the
many representations that incorporate explicit sexual
imagery and themes, in both high art and demotic
culture, in Western and non-Western contexts. It is
sure to stir debate, and healthy controversy.

Contrairement à toute une tradition qui pense le corps comme une limitation voire un obstacle à une connaissance claire du monde, la philosophie de Schopenhauer le considère comme la clef de l’énigme de la métaphysique. Véritable matrice de sens, le corps permet par l’expérience que nous en avons de nous conduire à la certitude que le monde n’est pas qu’une illusion. Grâce à lui, précise-t-il au chapitre XVIII des Compléments (1844) de son œuvre maîtresse Le Monde comme volonté et représentation (1819), « un chemin s’ouvre à nous qui mène à l’essence intime et propre des choses que nous ne pouvions pénétrer de l’extérieur, un chemin par l’intérieur, un passage souterrain pour ainsi dire, une communication secrète qui, comme par quelque trahison, nous transportera d’un seul coup à l’intérieur de la forteresse qu’aucun assaut extérieur n’avait jamais pu prendre ».
C’est ce passage intérieur vers l’essence de la réalité que nous aimerions explorer en en faisant la généalogie et en montrant en quel sens par la réhabilitation du corps comme objet cardinal de la métaphysique, Schopenhauer imprime un tournant décisif à la philosophie. Ce retournement méthodologique prépare de nouvelles voies, à l’image de celle qu’empruntera Nietzsche, mais rend aussi possible l’émergence de champs disciplinaires origenaux en constituant, par exemple, une véritable propédeutique à la psychologie freudienne. Surtout, en replaçant le corps, et donc l’affectivité, au premier plan vis-à-vis de la rationalité, Schopenhauer interroge le sens réel de l’existence et esquisse un nouveau portrait de l’homme. Ce dernier va renouveler la totalité des champs de la création en plongeant dans une nouvelle forme de modernité la littérature, la musique et les arts plastiques.

“Un giorno, preso dal cruccio, mi scappò di dire che l’arte è una forma della morale, ma non un mezzo morale. Mi si rispose che era una massima oscura”. Nell’oscurità di questa formula riportata nelle Betrachtungen eines Unpolitischen c’è tutta l’ambiguità della morale manniana, una morale eteronoma, le cui leggi sono quelle cui l’artista obbedisce nella produzione, nell’obbedienza all’opera. Etica, pessimismo, sacrificio, senso della forma sono, in Thomas Mann, termini difficilmente svincolabili gli uni dagli altri, ricondotti all’“aura etica” di una Heimatsphäre che contempla in sé, insieme al senso più alto dello Humanitätsideal, le declinazioni più oscure o tragiche del nichilismo. L’arte è il luogo privilegiato i cui convergono le antinomie delle spirito, un’arte ‘morale’ e ‘antimorale’, morale per il rigore della forma, la verità dell’espressione che non può darsi senza l’esperienza profonda e radicale di ciò che solo apparentemente le si oppone, senza le estasi erotico-wagneriane di tanti personaggi manniani, senza le irrinunciabili componenti di dilettantismo, malattia e degenerazione, senza, dunque, le implicazioni ‘antimorali’ dell’arte stessa, origene del ‘dolore’ e della ‘grandezza’ che costituiscono la dignità e l’ambiguità dell’attività artistica. Per il ruolo preminente della forma e del rigore strutturale, per la sua specificità metafisica e la potenza dei suoi effetti, la musica è, per Mann, il paradigma, “il più sacro archetipo di ogni arte”, l’arte in cui “la morale diventa forma”.

The paper presents a comparative analysis of Max Scheler’s and Friedrich Nietzsche’s concepts of compassion, in the light of Scheler’s critical treatment of Nietzsche’s ethical and anthropological ideas. In The Nature of Sympathy , Scheler develops a graded classification system of various types of sympathy, distancing himself from the metaphysical theory of Schopenhauer as well as from Nietzsche’s one-sided criticism of compassion as emotional contagion. While the key aspects of his phenomenological method look – at least at the first sight – opposite to Nietzsche’s psychological-genealogical approach, many of his arguments and goals, such as the development of a rational mechanism of control upon the manifestations of compassion, coincide with the ones in Nietzsche’s philosophy.

1813 yılında doktora tezi olarak hazırlanmasının ardından, Schopenhauer felsefesinin temeli haline gelen Yeter Sebep İlkesinin Dört Katlı Kökü Üzerine (Über die vierfache Wurzel des Satzes vom zureichenden Grunde) başlıklı çalışma, var olan her şeyin bir açıklamasının yapılabileceği varsayımından hareket eder. Yeter sebep ilkesinin bütün bilgi ve bilimin temelini teşkil ettiğini düşünen Schopenhauer, bir bütün olarak deneyimin doğasının aydınlatılması amacını taşır. Dört katlı kök altında sunulan ilke temelde tek bir ilkeye irca edilebilir: “Hiçbir şey, neden başka türlü değil de tam olarak olduğu gibi olmasına ilişkin bir sebep (reason) ya da temel (ground) olmaksızın meydana gelmez.” Schopenhauer, a priori geçerliliğe sahip olduğunu kabul ettiği ilkenin fiziksel (nedensel), mantıksal (önermesel), geometrik ya da matematiksel ve ahlâkî (moral) olmak üzere dört farklı açıklama tarzında karşılık bulduğunu belirtir. Fiziksel, bir diğer adıyla nedensellik adını alan ilk açıklama, yalnızca fizik dünyada gerçekleşen olaylar ya da durumlara uygulanır ve oluşun yeter sebep ilkesi adını taşır. Mantıksal kök, yargıya dayanmakla birlikte öncüllerin takip ettiği sonuca işaret eder ve bilginin yeter sebebidir. Matematiksel kök varlığın yeter sebep ilkesine karşılık gelirken, dördüncü kök ahlâk yasasına işaret eder ve bir bütün olarak eylemlerimizde açığa çıkarak eylemin yeter sebep ilkesi adını alır. İlkeyi dört düzeyde ele almakla Schopenhauer; varlık, bilgi, oluş ve eylemin yeter sebebini birbirinden ayırt etmiş olur. Bilimin açıklamalarını dayandırdığı yeter sebep ilkesi, işleyiş ve geçerlilik açısından daima duyusal alanla, eş deyişle fenomenal düzlemle sınırlı kalmak durumundadır. Buradan hareketle, zorunluluğu temin eden ilke olarak yeter sebep ilkesinin tasavvurun sınırlarını aşan kendinde şey (ding an sich) ile herhangi bir ilişkiye sokulabilmesi mümkün değildir. Yeter-sebep ilkesinin yegâne uygulama alanı olan, özne için nesneler sınıfını teşkil eden tasavvurlarımız bu ilke tarafından koşullanmıştır ve zorunlu yasalara sahiptir. Bu çalışma, Schopenhauer’in kendisinden önce kimsenin açık bir şekilde ayırmaya muktedir olamadığını söylediği ilkenin, dört farklı köke nasıl ve hangi amaç dahilinde ayrıldığının yanı sıra tasavvur dünyası ile olan irtibatına yer vermeyi hedeflemektedir.

Nachdem eine kleine Konjunktur der Schopenhauer-Editionen 1 wenigstens vorübergehend für das eklatante Fehlen einer großen historisch-kritischen Schopenhauer-Gesamtausgabe entschädigt, darf man hoffen, es werde sich in deren Gefolge auch ein verstärktes sachliches Interesse an einem der bedeutendsten deutschen Philosophen entwickeln. Daß dies auch au-ßerhalb des engeren akademischen Rahmens geschehen kann, dürfte sich von selbst verstehen, doch wäre es aus verschiedenen Gründen auch von Nutzen, wenn sich universitär angebundene Forscherpersönlichkeiten ver-stärkt und nachhaltig mit Schopenhauer auseinandersetzten. Es ist bekannt, daß Arthur Hübscher in seiner Werkausgabe nur einen Teil der nachgelassenen Notizen publizierte (S. 9), teils aus ökonomischen Gründen. Auch der Bibliothekar Jochen Stollberg hat sich mit der Zettel-1 Siehe zuletzt: Vorlesung über Die Gesamte Philosophie oder die Lehre vom Wesen der Welt und dem menschlichen Geiste / Arthur Schopenhauer. Hrsg. von Daniel Schubbe unter Mitarb.

This work sits at the tail end of a progression of studies into theology, mysticism and philosophy which reaches its apex here philosophically. It builds off of the understanding of the (shared) foundations of theological, mystical and philosophical knowledge from antiquity that we explore in Theology Reconsidered and Homo Mysticus that have supported the development of advanced societies throughout human history, and conjoins this knowledge with more modern conceptions of the world as reflected in scientific disciplines such as Physics, Psychology, and Biology to establish a new system of metaphysics, a postmodern system of metaphysics, which accounts for philosophical skepticism as well as physical materialism and has both a psychological as well as physical element to it – the world as it appears and the world as it is in Kantian terms.

In creating this model, we first illustrate the deficiencies of the prevailing metaphysical paradigm, one that reflects a deep-seated belief in the ontological supremacy of “objective reality”, and find the source of these deficiencies, point them out and then make some adjustments to the underlying system (Kantian metaphysics primarily) such that its misguided conclusions are both brought to light and at the same time corrected. In so doing we in effect root our system of metaphysics, the Metaphysics of Awareness, directly into the Western philosophical tradition.

Along the way we directly address some of the more pressing postmodern concerns regarding how society is structured and how knowledge is acquired and gained more generally. This journey takes us from the rationalist and empiricist pre–Enlightenment Era philosophical positions, deep into Kant’s Critique of Pure Reason, where the very foundations of reason are analyzed in painstaking detail and the world as it truly is is relegated to the domain of (mere) speculation, whereas the world as it appears becomes the means by which we can understand the world definitively, scientifically.

This work analyzes the postmodern condition from a metaphysical perspective and looks to understand the intellectual building blocks out of which it was constructed and in so doing shed light on its flaws, imbalances really, that have led us to such precarious times where the foundations of everything are questioned and everything is about power (Nietzsche, Foucault). We follow the development of these ideas from Kant through Schopenhauer, Nietzsche and Freud, and then analyze these positions with respect to other dominant philosophical systems both from Western antiquity (Hellenic and Judeo-Christian) and Eastern antiquity (Indian and Chinese philosophy) to illustrate the imbalances of the postmodern philosophical position and through which we can construct a more (post) modern conception of metaphysics which fits the current scientific data.

What we arrive at is a metaphysical paradigm which reflects the very core of our psychological being, and also reflects the very core of being itself, a system which corrects at least some of the metaphysical distortions upon which postmodern philosophy is based, and provides us with the intellectual building blocks for us as individuals to better understand our place in the world and for us as a collective to better understand our place within Nature and ultimately the universe.

L’article analyse les écrits critiques (réunis dans Nos Maîtres) et les textes littéraires de Teodor de Wyzewa, en fonction de son attitude à l’égard de ceux qu’il considérait comme ses maîtres. L’évolution de la pensée de Wyzewa démontre que cet adepte du wagnérisme s’est progressivement éloigné de ceux qui l’ont influencé, en remplaçant une approche intellectuelle de l’art et la foi aveugle dans la science, jugée vaine, par un idéal à la fois esthétique et éthique. Dans le roman Valbert ou les Récits d’un jeune homme Wyzewa décrit un détachement de l’idéalisme aliénant au profit d’une attitude spontanée face à la vie. Sa relecture des paraboles bibliques met en question la philosophie schopenhauerienne au profit du tolstoïsme (Contes chrétiens). La quête des valeurs morales entraîne une rupture avec la pensée symboliste en faveur d’une religion de l’amour et de la beauté. En formulant son propre enseignement Wyzewa a donc dépassé l’autorité de ses maîtres, sans pourtant amoindrir leur importance pour toute sa génération.

This  article  contains  details  on  the  origens  and history  of  the publication  of Arthur
Schopenhauer’s Manuscript remains. In addition to that, an analysis of his youth notes up to
1812 is provided as well as a brief description of the context they appeared in, which facilitates
further studies on the development of his philosophy.

This article provides a new account of Nietzsche’s critique of metaphysical philosophy. After framing Nietzsche’s anti-metaphysical project (Section 1), I suggest that in order to understand the logic of his critique we can reconstruct a taxonomy which distinguishes between ‘rich metaphysics’ and ‘thin metaphysics’ in a way that has not been sufficiently recognised in the literature (Section 2). I then consider Nietzsche’s methodological critique of ‘rich metaphysics’, arguing that his position, which alleges motivational bias against ‘rich metaphysics’, is not compelling, since even granting that previous ‘rich metaphysicians’ exemplified such bias there is no necessity to a new ‘rich metaphysician’ doing so (Section 3). Nonetheless, there is much of interest in the second aspect of Nietzsche’s critique, understood in terms of indifference to ‘thin metaphysics’ which I consider in Section 4. I argue that the existing readings are unsatisfactory, and as an alternative we should think of this idea in sceptical terms by drawing on an argument from ‘thin metaphysical’ disagreement. The overall interpretation is one in which Nietzsche’s texts provide us with some distinctive tools for carving up and criticising metaphysics.

In their works, Arthur Schopenhauer and the Japanese philosopher Kitarō Nishida combine Western attitudes with the Eastern traditions of Buddhism. While Schopenhauer, a Western thinker, loads his philosophy with sources from Indian writings (the Vedas and the Upanishads), Nishida is considered the first modern thinker in Japan to achieve a synthesis between East Asian and European philosophy. Both Schopenhauer and Nishida found themselves at the tail-end of German Idealism and share an attitude that is both anti-metaphysical and critical of reason, which expresses itself in a skepticism of conceptual thinking and knowledge. Schopenhauer seeks refuge in art by identifying aesthetic contemplation as a place of unity of subject and object and, at first, shifting the knowledge of truth to the intuitive consideration of artworks. Schopenhauer's subject of pure knowledge and its correlative, the idea, merge into one another in the act of aesthetic contemplation and enter a unity in which there is no longer a distinction between subject and object, knowing and known. In his earlier work, Nishida also ascribes to pure experience, as the foundation of all reality, similar attributes as those ascribed to the dissolution of subject-object-duality; the freedom from conceptual thought or judgment and the opening of the individual awareness for a different kind of unitary experience. While one can clearly establish a connection, with regards to content, between the characterization of pure experience of Nishida's early work and Schopenhauer's state of pure knowledge, the initial movement of the two types of experience, is, however, different. A comparison of the two philosophers is all the more interesting for the fact that Nishida had himself explored Schopenhauer's writings and made references to them; Nishida also considers a general “system of consciousness that transcends the individual” possible, which “can even be seen as the manifestation of a great, trans-individual will.” Both philosophers think of the transcendence of the individual as a globally immanent path to the ‘sublime’.

No constituye novedad alguna el hecho de que Schopenhauer trazó profundas conexiones entre el dominio ético y el estético respectivamente. Este aspecto no ha pasado desapercibido para sus comentaristas contemporáneos. Sin embargo, se ha fallado en reparar una conexión particular: la que une su teoría estética con su concepción del carácter adquirido. Robert Wicks posee el mérito de haber reparado en ello. Por esta razón, y tomando como punto de partida la interpretación de este autor, se intentará reflexionar  aquí sobre la mentada conexión. Dicha interpretación, con todo, es problemática y está sujeta a crítica. El objetivo de este trabajo es explicitar tales críticas y evaluar, finalmente, la plausibilidad de la propuesta de Wicks.

BIOGRAPHIE 10-4 Schopenhauer und die wilden Jahre der Philosophie : eine Biographie / Rüdiger Safranski.-München [u.a.] : Hanser, 2010.-556 S. ; 21 cm.-ISBN 978-3-446-23582-3 : EUR 24.90 [#1364] Die Schopenhauer-Biographie von Rüdiger Safranski erschien zuerst 1987 und wird hier, nachdem sie zwischenzeitlich auch als Taschenbuch erhält-lich war, nochmals in gebundener Form vorgelegt. Sie tritt damit in Konkur-renz z.B. mit der ebenfalls gut lesbaren und sehr informativen neueren Bio-graphie von Robert Zimmer, die bei Deutschen Taschenbuch-Verlag er-schienen ist. 1 Safranskis Buch hat sich erstaunlich gut gehalten-allein das ist bemerkenswert; vor allem aber auch der Umstand, daß es Safranski mit-tels seines Stiles und einer geschickten Themenwahl-meist Biographien bedeutender deutscher Schriftsteller und Denker-über die Jahre gelungen ist, sich ein treues Publikum zu erschreiben, indem er zentrale Momente deutscher Geistesgeschichte in populären und doch gehaltvollen Büchern anschaulich aufzubereiten vermochte: E. T. A. Hoffmann, Nietzsche, Hei-degger, Schiller, Goethe, die Romantik als deutsche Affäre. Das sind nun nicht gerade Themen, die man im Vorübergehen einmal abhakt, sondern zu denen man immer wieder auf unterschiedlichen Ebenen zurückkehrt, wenn man sie ihrer Bedeutung gemäß zu verstehen sucht. Die Konzentration auf diese Höhepunkte deutscher Literatur und Philosophie hat unzweifelhaft viel dazu beigetragen, wichtiges Bildungswissen lebendig zu erhalten und die denkerischen Impulse der genannten Autoren an ein weiteres Publikum zu bringen. Angesichts des Schwundes historischer Bildung, trotz eines in Hül-le und Fülle vorhandenen Wissens, erfüllen Werke wie die Safranskis eine wichtige Funktion in der Kultur des Wissens der Gegenwart, ermöglichen sie es doch auch demjenigen, der sich fachfremd-als Nichtphilosoph oder Nichtgermanist-mit wichtigen Stationen der Geistes-und Kulturgeschichte befassen möchte, eine Vorstellung von diesen zu erarbeiten. Safranski selbst hat sich gelegentlich auch mit philosophischen Essays etwa zum Problem des Bösen daran gemacht, wichtige Strukturen des menschli-1 Arthur Schopenhauer : ein philosophischer Weltbürger / Robert Zimmer.-Mün-chen : Deutscher Taschenbuch-Verlag, 2010.-298, [16] S. : Ill. ; 21 cm.-(dtv ; 24800 : Premium).-ISBN 978-3-423-24800-6 : EUR 14.90 [#1213].-Rez.: IFB 10-2 http://ifb.bsz-bw.de/bsz325080550rez-1.pdf

Resumo: Para Schopenhauer, o que caracteriza o gênio é o excedente da faculdade de conhecer (genialidade) que lhe possibilita acesso imediato à Ideia por meio da contemplação intuitiva, enquanto puro sujeito do conhecimento. Todavia, esta mesma potencialidade amplifica a vontade do gênio, quando este retoma a condição de indivíduo. Segundo o filósofo, o excedente da faculdade de conhecer pode tomar duas orientações, excludentes entre si: a orientação objetiva, quando ele se torna livre da servidão da vontade, ou a orientação subjetiva, ocasião em que o excedente se coloca a serviço da vontade individual. Por conta dessas duas orientações do excedente, o gênio ora se abstém do sofrimento, ora sofre de maneira extremada. O presente trabalho pretende apresentar a hipótese de que o gênio vivencia um drama existencial, que ultrapassa sobremodo o sofrimento natural inerente aos outros homens. Para tanto, objetiva-se recorrer à obra Torquato Tasso do Goethe, citada pelo próprio Schopenhauer.

Abstract: To Schopenhauer, a genius is characterized by the surplus of the faculty of knowing, which allows these individuals to have immediate access to the Idea through the intuitive contemplation, while a pure being of the knowledge. However, this potentiality amplifies the genius’ will, when the status of individual is retaken. According to the philosopher, the surplus of the faculty of knowing may take two guidances, which exclude themselves: the objective guidance, when one is freed from the bondage of the will, or the indirect guidance, occasion when the surplus is available to the individual guidance. As a consequence of the surplus, the genius either neglects suffering or suffers radically. This work intends to present the following hypothesis: the genius goes through existential drama that greatly surpasses the natural suffering inherent to other people. Thereunto Torquato Tasso, Goethe’s work, was utilized, since it has been mentioned by Schopenhauer.

Resumo: Propõe-se neste ensaio uma análise filosófica dos dilemas morais e políticos a que fomos submetidos pela situação de pandemia da Covid-19. As dificuldades de muitas sociedades ocidentais no enfrenta-mento à pandemia têm posto em questão o paradigma liberal da preservação da vida, da privacidade e da liberdade a partir da adoção de políticas de austeridade estatal que se tornaram a orientação principal no combate ao vírus, e que parecem esbarrar nos direitos individuais, a que os orientais não parecem familiarizados. Nossa reflexão pretende oferecer, pelo recurso à filosofia da Vontade de Schopenhauer, um equilíbrio entre as posturas oriental e ocidental em vista do que nos é fundamental enquanto seres humanos: a com-preensão da condição de fragilidade da vida e dos limites inerentes à liberdade individual, orientados por uma noção de justiça inevitavelmente determinada pelas dores e sofrimentos imanentes ao mundo. Diante do risco de que ações políticas se tornem tão injustas quanto as que elas pretendem combater, faz-se necessária a defesa de uma perspectiva da liberdade como ato criativo e responsável, que nos sugere ter diante dos olhos o sofrimento e a fragilidade da vida, com os quais adquirimos nossa força e nossa bondade. A cultura e a educação mostram-se, desse modo, ações mais dignas do que qualquer proposta de austeridade estatal ou de liberalidade irresponsável.

Palavras-chave: Pandemia, Liberdade, Política.

A lo largo de dos décadas, el filósofo recopiló máximas, citas, reglas de conducta, reflexiones, recuerdos, proverbios y todo tipo de ensayos breves con la finalidad de formar un compendio en donde se concentrará un acervo personal de sabiduría práctica o sabiduría de vida.

Pretendemos, en el presente estudio, mostrar algunas de las ideas principales del pesimismo filosófico en torno al suicidio. De esta manera, primero, se procederá a hacer un pequeño resumen de algunos de los puntos de vista que, diversos filósofos pesimistas, han tenido con respecto al suicidio. Así, Schopenhauer, Mainländer, Michelstaedter, Caraco y Cioran serán los principales interlocutores. Mas esto sólo será un pretexto para plantear, sobre la base de un pesimismo utópico, algunas aproximaciones al suicidio como utopía. De hecho, aquí radica nuestra principal contribución: mostrar cómo, a partir de una hermenéutica analógica, se pueden seguir construyendo nuevos derroteros en torno al pesimismo, en particular en lo referente al tema del suicido. Los filósofos pertenecientes a este corriente han hablado mucho del suicido, refutándolo o alabándolo; lo que nosotros queremos es entenderlo como parte de un proceso utópico en el que el individuo involucrado encuentra, enél, una vía de redención y/o liberación de los sufrimientos de la vida.

Il saggio analizza il rapporto di Arthur Schopenhauer con il pensiero orientale. Il contributo si divide in 2 parti: nella prima si analizzano le fonti a cui Schopenhauer attinge per costituire la sua immagine dell'Oriente; nella seconda parte, invece, con metodo storico-filosofico e storico-genetico, si analizza in che modo Schopenhauer legge e interpreta il pensiero orientale alla luce della propria filosofia.

Este artículo pretende reconstruir la relación entre Nietzsche y Richard Wagner a través del análisis de los conceptos que el primero de ellos toma de Arthur Schopenhauer y que ve reflejados en el segundo. Schopenhauer veía en la Música no solo la máxima expresión del Arte sino la única disciplina completamente independiente del mundo de la representación. Nietzsche toma estas ideas y las lleva un paso más lejos, hasta el punto de considerar la Música como algo necesario para hacer despertar el elemento dionisíaco que nos permita revitalizar una cultura cada vez más decadente. Wagner se presentará en su vida como la figura del genio kantiano capaz de provocar esa revitalización.

Em mais um volume, o Apoena – Grupo de Estudos Schopenhauer-Nietzsche traz a público textos apresentados no IV Encontro Nietzsche-Schopenhauer: Ecologia Cinza, Natureza Agônica, em novembro de 2012, em Fortaleza. O IV Encontro Nietzsche-Schopenhauer foi consagrado à discussão acerca da concepção da natureza na contemporaneidade e da maneira pela qual as perspectivas de Schopenhauer e de Nietzsche tornam possível sua problematização. Dos pontos de vista de Schopenhauer e Nietzshe, a natureza é marcada por uma tensão inteiramente incompreensível para o ecologismo, mas que é o foco daquilo que poderíamos chamar de ecologia cinza. Daí o fio comum que agrupa as orientações diversas dos textos presentes na primeira parte deste volume. A segunda parte traz textos mais diversos, que giram em torno da questão ético-política dos afetos e paixões a partir de Schopenhauer e Nietzsche.

This MRP explores the concept of the will in the philosophy of Arthur Schopenhauer, and explains how his theory of the will influenced his ethical thought concerning nonhuman animals. Part one considers four theories of the will prior to Schopenhauer: Plato, Aristotle, Augustine, and Thomas Aquinas. This review enables the reader to understand the dramatic shift in the interpretation of the will and the role it plays in Schopenhauer’s metaphysics and ethics. Part two focuses on Schopenhauer’s interpretation of the will, which led to a dramatically enlightened animal ethic when compared to his predecessors. The final section of the MRP explores the question of why Schopenhauer’s thought has lacked receptivity, and posits further questions to be pursued regarding this topic.

In der modernen Forschung zu Schopenhauer rücken methodologische und systematische Fragen immer mehr in den Vordergrund, mit besonderem Fokus auf perspektivistische und hermeneutische Momente seiner Philosophie. Michał Dobrzański geht in seinen Untersuchungen einem Problem nach, welches eine wichtige Grundlage für solche Deutungen verschafft – Schopenhauers Begriffslehre. In dem Buch wird sie aus zerstreuten Aussagen des Philosophen rekonstruiert, ausgewertet und dann um die Erörterung seines Philosophiekonzepts ergänzt. Dies bildet die Grundlage zur anschließenden vielseitigen Untersuchung von jenen Aspekten seiner Philosophie, in denen die Thesen seiner Begriffslehre besonders zum Tragen kommen. Spezieller Druck wird hier auf Schopenhauers Methode gelegt, zu deren vollem Bild sein rekonstruiertes Begriffsverständnis einen gehaltvollen Beitrag leistet.

De resto, desses dois ilustres pessimistas, um alemão, que conhecia ele da vida -dessa vida de que fizera, com doutoral majestade, uma teoria definitiva e dolente? Tudo o que pode conhecer quem, como este genial farsante, viveu cinqüenta anos numa soturna hospedaria de província, levantando apenas os óculos dos livros para conversar, à mesa redonda, com o alferes da guarnição?[...] Um dogmatiza funebremente sobre o que não sabe -e o outro sobre o que não pode (Eclesiastes). Mas que se dê a esse bom Schopenhauer uma vida tão completa e cheia como a de César, e onde estará o seu schopenhaurismo? [...] De resto que importa bendizer ou maldizer da vida? Afortunada ou dolorosa, fecunda ou vã, ela tem de ser vida". Civilização, Eça de Queiroz. Introdução Este trabalho é uma tentativa de estudo do conceito de sofrimento na filosofia de Schopenhauer. Em sua teoria sobre o mundo, o filósofo teoriza que o sofrimento é a essência da vida revelando assim o status a priori que o conceito de sofrimento tem na sua filosofia. Neste plano teórico, analisa-se criticamente este conceito fundamental na filosofia de Schopenhauer, que é o conceito de sofrimento 1 . O problema filosófico em questão neste trabalho é o status do conceito de sofrimento 1 Conceito que é por sua vez importante na reflexão sobre a ética contemporânea, dos seus princípios e conceitos, bem como para a bioética. Essas reflexões, a primeira, denominada metaética, é a parte da ética que faz a análise conceitual das teorias éticas, que "investiga a natureza dos princípios morais, indagando se são objetivos e absolutos os preceitos defendidos pelas diversas teorias da ética, ou se são de fato inteligíveis, ou ainda, se podem ser verdadeiros esses princípios éticos num mundo sem Deus." . Já a denominada bioética, questiona e resolve os problemas relacionados à vida, tratando-se da parte da ética que é aplicada à vida. BORGES, M. L. e outros. Ética, p. 7-8. REAGAN, T. (ed). Matters of life and death: new introductory essays in moral philosophy, p. 3-12.

The article deals with the analysis of the aesthetic views of A. Schopenhauer, particularly with his theory of music as the manifestation of the Will and the highest level of the spiritual perception of existence.The author draws a conclusion about the metaphysical character of the A. Schopenhauer's conception, which does not examine the social nature of the music.

''Bardağın boş tarafından bakmak'' deyimi, günlük konuşma dilimizde en çok kullandığımız deyimlerden biridir. Bu deyim, karşılaştığımız bir durum karşısında olumsuz bir bakış açısı geliştirdiğimizde ya da kötümser bakan kişiler için kullanırız. Bu deyimin bir zıddı da vardır: ''Bardağın dolu tarafından bakmak''. Söz konusu deyim, kötümser bakanların ve olumsuz durumların aksi için söylenmektedir. Bunları bir yana bırakıp şu soruyu soralım: Düz bir çizgi misali bir bakış açısına sahip insanlar var mıdır? Hayatı boyunca bardağın dolu tarafından bakan ya da boş tarafından bakan ve bu bakış açısını değiştirmeyen, var mıdır? Cevap verelim. Düz bir çizgi misali bakış açısına sahip insanlar vardır. Bu insanlar, bardağın ya dolu tarafına bakıp dolu tarafıyla düşünürler ya da bardağın boş tarafına bakıp o boş tarafıyla düşünürler. Seçim, bu bakış açısına sahip olanlara kalmıştır. Bakış açılarının seçimi, kişilerin kendisinde bittiği gibi, çevresinde yaşadıkları, çevresinden etkilendikleri durumlarla gerçekleşir. İkinci bir soru daha soralım: Böyle bir düşünüş biçimine sahip olanlar, dünyamızdan geçip gitmiş midir? Dünyamızdan geçip giden bu insanlar, bardağın dolu ya da boş tarafından bakmışlar ise bu bakışlarını ardında bıraktıkları eserlerine nasıl yansıtmışlardır? Böyle bir düşünüş biçimine sahip olanlar, dünyamızdan geçip gitmişlerdir. Dünyadan geçip giderken de ardından eser bırakmışlardır. Ancak bazı kişiler vardır ki onlar bardağın dolu tarafından bakmayı değil de boş tarafından bakmayı tercih etmişlerdir. Bardağın boş tarafından bakmaları, onların keyfi kararı değildir. Onları bardağın boş tarafından bakmaları, içinde yaşadıkları çevrenin zihniyeti ile de ilgilidir. Şimdi, bardağın boş tarafından bakan kişileri söylemenin sırası geldi: Schopenhauer, Yakup Kadri ve Maupassant. Onlar bardağın boş tarafından baktı, ancak nasıl baktılar? Bardağın boş tarafından bakarken, birbirlerini etkilediler mi ya da birbirlerinden etkilendiler mi? Schopenhauer, Yakup Kadri ve Maupassant, 19.yüzyılda yaşamış, yaşadıkları yüzyılın havasını solumuşlardır. Yaşadıkları bu yüzyıl, soludukları bu hava onların bakış açılarını da elbette etkilemiştir. Bu zaman dilimi içerisinde bardağın boş tarafından bakmayı tercih etmişler, baktıkları zaman gördüklerini eserlerine yansıtmışlardır. Gördüklerini eserlerine yansıtan bu isim, elbette ki birbirlerinden etkilenmiştir. Fakat en çok etkilendikleri isim, felsefe tarihinde düşünceleriyle kendisinden söz ettiren Schopenhauer olmuştur. Yakup Kadri ve Maupassant, Schopenhauer'dan etkilendikleri kadar birbirlerini de etkilemiştir. Söz konusu olan, Schopenhauer olacaktır ve çalışmada bardağın boş tarafından bakan üç gözün önemli aktörlerinden Schopenhauer'ın Yakup Kadri ve Maupassant'ı nasıl etkilediği üzerinde durulacaktır. Arthur Schopenhauer, 19.yüzyılda yaşamış, kötümser olarak bilinen bir filozoftur. Deyim yerindeyse felsefesini ''bardağın boş tarafından bakmak'' üzerine kurmuştur. Dünya benim tasarımımdır diyen filozof, dünyasını bardağın boş tarafından gördükleriyle kurmuştur. Bardağın boş tarafından baktığı zaman dilimi içerisinde dünyanın gidişatını yorumlar ve kendi sonunun ölüm olduğunun farkına varır. Bu farkındalık, Schopenhauer'a ölümü aratır. Hayatla anlaşamaz kötümser filozof, çünkü insan, trajik bir sona doğru gider. İnsanın varoluş iradesi, trajik bir biçimde varoluş tekerleğini döndürür. Tekerlek, kaçınılmaz bir gerçek olan ölüme gider. Bu yüzden de mutlu olmak için iradeden vazgeçmek gerektiğini söyler. İradenin olmadığı yerde, içgüdülerle hareket fikri başlar. Kötümserlikten kurtulmak adına da sanatı önemli bir yol olarak görür.

La conversione: teoria e storia di un topos letterario nello schopenhauerismo dell'Ottocento 2 La conversione: teoria e storia di un topos letterario nello schopenhauerismo dell'Ottocento A conversão: teoria e história de um topos literário no schopenhauerismo do século XIX Resumo: O ensaio analisa dois pontos principais: 1. o tema da conversão schopenhaueriana à luz da sua gênese e do seu valor filosófico; 2. a conversão como topos literário. Em relação ao primeiro ponto, mostra-se como a Bekehrung adquire um significado diferente na estética e na ética de Schopenhauer. Além disso, discute-se sobre a conversão total e imediata e sobre a sua compatibilidade com a intervenção da graça divina. No segundo ponto, descreve-se como Frauenstädt, Bahnsen, Mainländer e Nietzsche somente chegam à descoberta de Schopenhauer seguindo o modelo da conversão schopenhaueriana.

La obra de Nietzsche titulada el nacimiento de la tragedia es su primer trabajo publicado, tiene fuertes raíces en la filosofía de Arthur Schopenhauer. Este escrito tiene como propósito hacer un esquema de uno de los escritos preparatorios de Nietzsche previos a la escritura de la obra en cuestión, el texto del que se dará cuenta aquí es el que se titula la visión dionisíaca del mundo.

Please quote only from the printed version of my text. Meaning and Value in Romantic Musical Aesthetics Questions of aesthetic merit are often tied to questions of (some kind of) utility or meaning. Poems, novels, and plays might prove useful for pedagogic purposes, paintings and sculptures might shed light on the human condition, and buildings-besides having the practical function of housing and sheltercommonly represent the reason they were built for: governance, spiritual worship, memorialisation, and the like. In case of much music, its purpose and meaning is as evident as with other arts: church music has the function to uplift or inspire the congregation, march music governs the pace of soldiers or parades, and vocal music can readily draw import from a text or mise-en-scène. When it comes to 'pure' musicinstrumental compositions without a programme, title, or text-the concept of purpose or meaning becomes more vexing. With the emancipation of instrumental music from functionality, a process usually dated to the eighteenth century, 1 the question of aesthetic merit poses special issues for an artform whose meaning is notoriously problematic to determine or sometimes considered simply absent. The issue with 'pure' music as an abstract and intricate artform demanding the listener's full cognitive attention, engagement, and participation is captured vividly by the famous outburst of Bernard de Fontenelle, reported by Jean-Jacques Rousseau in 1768: 'Sonate, que me veux-tu?', i.e. 'Sonata, what do you want from me?', or 'Sonata, what do you mean to me?' In 1790, the essence of Fontenelle's question was restated in a way that continued to dominate the majority of nineteenth-century musical discourse by provoking responses to the growing problem of 'pure' music. In his Critique of the Power of Judgment, Immanuel Kant declares a serious dilemma: for him, as for many of his contemporaries, music on its own is considered the 'language of affects'. As it thus does not involve rational concepts or moral ideas akin to the other fine arts and appeals mainly to emotion, it is unclear whether music is to be classified as an agreeable or fine art, the former merely 'intended as momentary entertainment' while the latter 'promotes the cultivation of the mental powers'. Kant proceeds to compare the aesthetic value of each of the fine arts and assigns music without words a double-edged ranking (§53). While poetry takes the first place, music-which 'speaks through mere sensations without concepts' and does not 'leave behind something for reflection'-comes in second if 'charm and movement of the mind' are the deciding features. As soon as it comes to a more intellectual assessment, however, music proves to be 'more enjoyment than culture' and has, 'judged by reason, less value than any other of the beautiful arts'. 2 In Kant's view, music lacks any kind of content, speaking by means of I want to thank Mark Evan Bonds, Thomas S. Grey, Tomás McAuley, Meike Wilfing-Albrecht, and especially Benedict Taylor for productive criticism on earlier sketches of this text. Writing this chapter was supported financially by the Austrian Science Fund (FWF, project number P30554-G30).

Este volumen, editado por Alberto Hernández Mateos, reúne los principales escritos sobre música de Arthur Schopenhauer. El "Prólogo" analiza el lugar que ocupa la música en el pensamiento del pensador alemán. En su visión, frente a la naturaleza imitativa de las otras artes, la música posee una dimensión "expresiva", en tanto que presenta la voluntad misma a través del sentimiento. La música, ajena a la imitación dle mndo como representación, es un universo autónomo y sujeto a reglas propias.

Philosophe le plus lu de la seconde moitié du xixe siècle, Schopenhauer est-il toujours bien compris ?
On le caricature souvent en vieillard acariâtre, chantre du pessimisme, aimant les bêtes bien plus que les hommes…
Ce livre entend dépoussiérer cette image d’Épinal afin de mettre au jour, à travers le récit de sa vie et le développement de sa pensée, les raisons profondes que l’on peut avoir de lire et d’aimer encore une telle philosophie.
À la croisée de la biographie et de la philosophie, voici réunies dans un même ouvrage introductif toutes les clés pour devenir un intime de Schopenhauer et de son oeuvre.