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A new translation directly from the original manuscript of Hegel's "On the Nature of Philosophical Criticism in General and its Relationship to the Current State of Philosophy in Particular". This edition contains an extensive afterword on Hegelian philosophy by the translator and a timeline of his life and works. This essay would form the basis of Hegel's Phenomenology of Spirit. This was first printed in 1802 in the Critical Journal of Philosophy, edited by Friedrich Wilhelm Joseph Schelling and Georg Wilhelm Friedrich Hegel. In this article, Hegel stresses the need for an objective standard for philosophical criticism, independent of both the critic and the criticised. He argues that there can only be one philosophy and that there is only one reason. Therefore, there should be only one true philosophy, and criticism has the task of determining the nature and degree to which the idea of philosophy is clearly expressed in a philosophical work. Hegel also identifies various types of philosophising of his time, including those that masquerade as original but are in fact empty word games. He criticises the tendency to invent particular principles and systems without recognising the ideal philosophy, and argues against what he calls 'provisional philosophising', in which philosophers use existing knowledge without any real systemic understanding.
We must all make choices about how we want to live. We evaluate our possibilities by relying on historical, moral, personal, political, religious, and scientific modes of evaluations, but the values and reasons that follow from them conflict. Philosophical problems are forced on us when we try to cope with such conflicts. There are reasons for and against all proposed ways of coping with the conflicts, but none of them has been generally accepted by reasonable thinkers. The constructive aim of The Nature of Philosophical Problems is to propose a way of understanding the nature of such philosophical problems, explain why they occur, why they are perennial, and propose a pluralist approach as the most reasonable way of coping with them. This approach is practical, context-dependent, and particular. It follows from it that the recurrence of philosophical problems is not a defect, but a welcome consequence of the richness of our modes of understanding that enlarges the range of possibilities by which we might choose to live. The critical aim of the book is to give reasons against both the absolutist attempt to find an overriding value or principle for resolving philosophical problems and of the relativist claim that reasons unavoidably come to an end and how we want to live is ultimately a matter of personal preference, not of reasons.
This comprehensive guide to the history of literary criticism from antiquity to the present day provides an authoritative overview of the major movements, figures, and texts of literary criticism, as well as surveying their cultural, historical, and philosophical contexts. Supplies the cultural, historical and philosophical background to the literary criticism of each era Enables students to see the development of literary criticism in context Organised chronologically, from classical literary criticism through to deconstruction Considers a wide range of thinkers and events from the French Revolution to Freud’s views on civilization Can be used alongside any anthology of literary criticism or as a coherent stand-alone introduction
Philosophical Speculations About The Origin Of Poetry And The Nature And Function Of Criticism Have Engaged The Attention Of Poets And Critics For Over 2500 Years In The West And Still There Is No Consensus Either Regarding The Mysterious Process Of Creation Or The Proper Function Of Literary Criticism. One Reason, Of Course, Is That There Is A Lack Of Definiteness Both About The Nature Of The Object And About The Tools For Judging It. Unlike An Architecture A Temple Or A Mosque A Literary Work Does Not Conveniently Exist In Space And Time. Paradoxically, Though Frozen In Time It Transcends Time. The Problem Is Further Complicated By The Fact That Since Reading A Poem Is An Aesthetic Experience We Cannot Read The Same Poem Twice, Because During The Period Intervening Between The First Reading And The Second We Have Changed.However, In Recent Years, Particularly During The Second Half Of The Twentieth Century Literary Criticism Has Burgeoned Into Too Many Schools And Theories Resulting In A Complete Critical Anarchy. In This Period Of Confusion, Standing On The Darkling Plain As We Are, We Must Focus On The Real Function Of Literature And Save Literature From Being A Casualty In The Cross-Fire Of Literary Theories. Literary Criticism Is A Discourse On Literature, An Art Of Judging Literature And Deciding How Far And For What Reasons A Literary Work Is Good Or Bad, Great Or Useless. In Fact, The Term Criticism Is Derived From The Greek Krino Which Means To Judge And Krites Which Means A Judge. We Should Never Lose Sight Of The Fact That Literary Criticism Must Be Literary Criticism. And The Literary Value Of A Work Must Be Judged By Literary Criteria Alone.The Essays Included In This Volume Constitute A Significant Body Of Literary Criticism In The True Sense Of The Term. Keeping Their Focus Sharply On The Literary Text The Critics, By Comparison And Analysis, Have Tried To Evaluate Different Authors And Their Works. In Their Wider Gropings They Have Also Embraced The Other Areas Such As The Relation Between Linguistics, Literary Criticism, Scholarship And Teaching, Etc.
Philosopher, physicist, and anarchist Paul Feyerabend was one of the most unconventional scholars of his time. His book Against Method has become a modern classic. Yet it is not well known that Feyerabend spent many years working on a philosophy of nature that was intended to comprise three volumes covering the period from the earliest traces of stone age cave paintings to the atomic physics of the 20th century – a project that, as he conveyed in a letter to Imre Lakatos, almost drove him nuts: “Damn the ,Naturphilosophie.” The book’s manuscript was long believed to have been lost. Recently, however, a typescript constituting the first volume of the project was unexpectedly discovered at the University of Konstanz. In this volume Feyerabend explores the significance of myths for the early period of natural philosophy, as well as the transition from Homer’s “aggregate universe” to Parmenides’ uniform ontology. He focuses on the rise of rationalism in Greek antiquity, which he considers a disastrous development, and the associated separation of man from nature. Thus Feyerabend explores the prehistory of science in his familiar polemical and extraordinarily learned manner. The volume contains numerous pictures and drawings by Feyerabend himself. It also contains hitherto unpublished biographical material that will help to round up our overall image of one of the most influential radical philosophers of the twentieth century.
Reprint of the original, first published in 1883.
In a recent poll of practicing art critics, 75 percent reported that rendering judgments on artworks was the least significant aspect of their job. This is a troubling statistic for philosopher and critic Noel Carroll, who argues that that the proper task of the critic is not simply to describe, or to uncover hidden meanings or agendas, but instead to determine what is of value in art. Carroll argues for a humanistic conception of criticism which focuses on what the artist has achieved by creating or performing the work. Whilst a good critic should not neglect to contextualize and offer interpretations of a work of art, he argues that too much recent criticism has ignored the fundamental role of the artist's intentions. Including examples from visual, performance and literary arts, and the work of contemporary critics, Carroll provides a charming, erudite and persuasive argument that evaluation of art is an indispensable part of the conversation of life.