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This book presents a systemic analysis of Spinoza’s philosophy and challenges the traditional views. It deals with Spinoza’s concepts of substance, truth conditions, attributes, and the first, second, and supreme grades of knowledge. Based upon an analysis of the relevant details in all of Spinoza’s philosophical works, the book reveals many important points, including the following: Spinoza’s system is not, nor is meant to be, a foundational-deductive system but was meant to be a coherent system of a network model. Spinoza’s reality is not made in the image of a mathematical model. Imaginatio, the first grade of knowledge, and ratio, the second grade, are parts or properties of the supreme grade of knowledge, scientia intuitiva, which is their essence. Finite beings, especially humans, are necessary and eternal (unless they are mistakenly perceived by imaginatio) whereas time, place, and death are simply “entities of imagination.” The salvation, happiness, and blessedness that Spinoza’s Ethics offers us, are active and depend only upon us. Concluding a careful examination and interpretation, the book suggests additional novel viewpoints in interpreting Spinoza’s philosophical psychology and political philosophy.
This book, combining integratively-revised previously-published papers with entirely new chapters, challenges and treats some major problems in Kant’s philosophy not by means of new interpretations but by suggesting some variations on Kantian themes. Such variations are, in fact, reconstructions made according to Kantian ideas and principles and yet cannot be extracted as such directly from his writings. The book also analyses Kant's philosophy from a new metaphysical angle, based on the original metaphysics of the author, called panenmentalism. It reconstructs some missing links in Kant's philosophy, such as the idea of teleological time, which is vital for Kant's moral theory. Although these variations cannot be found literally in Kant’s works, they can be legitimately explicated, developed, and implied from them. Such is the case because these variations are strictly compatible with the details of the texts and the texts as wholes, and because they are systematically integrated. Their coherence supports their validation. The target audiences are graduate and PhD students as well as specialist researchers of Kant's philosophy.
Berthold Auerbach's novel, Spinoza*, will probably prove more attractive to the student and the admirers of the great pantheistic philosopher than to ordinary novel readers. It is essentially a novel with a purpose, and that purpose is the setting forth of the life, the character, and the teachings of Spinoza. It would be difficult indeed for such a work to be popular in the sense in which romance writers aim at popularity. But to the ever-widening circle of students of Spinoza, and to the large class who like to leaven their light reading with instruction, the book will appeal directly. In Goethe's biography, he tells us of the distrust which Bayle's article on Spinoza inspired in him. "In the first place," says Goethe, "the man was represented as an atheist, and his opinions as most abominable; but immediately after it was confessed that he was a calm, reflective, diligent scholar; a good citizen, a sympathizing neighbour, and a peaceable domestic man." In Auerbach's last novel we are shown Spinoza from both these points of view, regarded with hatred and with horror by his enemies, with admiration by his friends. It is in no small degree to Goethe's admiration for him that Spinoza finds the widespread admiration which his writings and his teachings receive in the present day. The "great disinterestedness" which Goethe finds in every sentence -the "all-composing calmness" which made the great German poet his most devoted worshipper-these qualities have been appreciated and accepted by not a few who first learned to look for them through the teachings of Goethe. They may be found again in Auerbach's story. "No figure," says Auerbach, "risen since Spinoza has lived so much in the eternal as he did." This novel is complete and is contained in 444 pages.
An excerpt from The Nation, Volume 34: The translator of 'Spinoza' calls it a novel. Auerbach himself named it "Ein Denkerleben," and it is in fact one of those imaginative biographies which attempt rather to embody the spirit of a life than to narrate an exact sequence of real events. It is a book of many years since, and many who have read Auerbach's later works can never have heard of it. The oblivion that fell upon it is hardly deserved, though it has nothing to attract the usual novel-reader; on the other hand, while a life so lofty in aim and so absolute in its consecration to truth as Spinoza's can nowhere be viewed with indifference readers who can appreciate his intellectual force will seek it in philosophy rather than in fiction. The story follows the well-known outlines, closing with the excommunication of Spinoza by the ten Rabbis, “since he would have naught but the good old right of free thought.” The portrait of Spinoza is lifelike, although the dialogue often becomes only a disquisition in philosophy, but the other figures lack reality. Even Olympia, the young Roman Catholic whom he loves but will not marry because he cannot forsake the faith of his fathers, has no such charm as to justify his devotion. The translation is superior to most work of the kind. It never degrades the original, though the sentences often labor with the weight of the heavy inversions of the German. "This neck-risking setting of his formerly squandered life on a single cast," is not English. There is an unaccountable fondness for changing constructions: the literal "Am I to be a tradesman?" is surely better than "Must I go into trade?" (See Chapter II).
The great philosopher, essayist, poet, and novelist masterfully offers his fascinating outline of Aesthetics Theory. Drawing on the art, literature, and social sciences involved, Santayana discusses the nature of beauty, form, and expression.
Engaging with the challenging and controversial reading of Spinoza presented by Gilles Deleuze in Expressionism in Philosophy (1968), this book focuses on Deleuze's redeployment of Spinozist concepts within the context of his own philosophical project of constructing a philosophy of difference as an alternative to the Hegelian dialectical philosophy. Duffy demonstrates that a thorough understanding of Deleuze's Spinozism is necessary in order to fully engage with Deleuze's philosophy of difference.
Is Love an Illusion ? What is the relationship between Love and Sexual Impulse ? Schopenhauer gives us a new way of thinking about relationships between men and women.
Drawing from a rich corpus of art works, including sarcophagi, tomb paintings, and floor mosaics, Patrick R. Crowley investigates how something as insubstantial as a ghost could be made visible through the material grit of stone and paint. In this fresh and wide-ranging study, he uses the figure of the ghost to offer a new understanding of the status of the image in Roman art and visual culture. Tracing the shifting practices and debates in antiquity about the nature of vision and representation, Crowley shows how images of ghosts make visible structures of beholding and strategies of depiction. Yet the figure of the ghost simultaneously contributes to a broader conceptual history that accounts for how modalities of belief emerged and developed in antiquity. Neither illustrations of ancient beliefs in ghosts nor depictions of afterlife, these images show us something about the visual event of seeing itself. The Phantom Image offers essential insight into ancient art, visual culture, and the history of the image.
Webster's new collegiate dictionary.