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Can values operate in a world of facts and still be more than indifferent facts themselves?
This essay is, first, a theoretical and historical study of some classical scientific ways of studying human being in the world. The more readily accessible and more commonly discussed "models" of being human were chosen for review here, but structuralism is included because I believe it will have ,the same impact in America as it has had in France, and I hope that American readers might be forewarned about what may be ideologically at stake before the technical, and fruitful, aspects of the movement become an academic fad in the United States. The subjects included are mainline experimental psychology from Wundt to Skinner, with its relatively shortlived functionalist and Watsonian-behaviorist formulations; holistic psychology from Brentano through Stumpf, Husserl, and Goldstein to Maslow, Rogers, and contemporary "third force" psychology; and the psychoanalytic model, for which the only paradigm is Freud himself. Preeminence is given to psychological paradigms, since their subject matter lies closest to the classical philosophical tradition from which "philosophical anthropology" emerged. (This book is, in the final analysis, a prolegomenon to an articulated philosophical anthropo logy. ) Sociological models are also considered: the "classical" tradition from Comte to the present, and Marxist anthropology from the manu scripts of 1844 to the present. The structuralist model, from Durkheim to Chomsky, is also considered, since it cuts across and gives new dimensions to all the foregoing models. The essay is, second, a phenomenological critique of these historico theoretical considerations.
Rudolf Arnheim's great forte is his ability to illuminate the perceptual processes that go into the making and reception of artworks—painting, sculpture, architecture, and film. Over the years, his pioneering mode of "reading" art from a unique scientific/philosophic perspective has garnered him an established and devoted audience. That audience will take pleasure in Arnheim's most recent collection of essays, one that covers a range of topics and includes titles such as "Outer Space and Inner Space," "What Is an Aesthetic Fact?," "As I Saw Children's Art," "Two Ways of Being Human," "Consciousness—an Island of Images," and "From Chaos to Wholeness." The notion of structure is Arnheim's guide in these explorations. Most of the essays examine the nature of structure affirmatively: how it comes about, its incentives and objectives, its celebration of perfection. He is interested in how artists grope for structure to shape powerful, enlightening images, and how a scientist's search for truth is a search for structure. Writing with enviable clarity, even when deploying complex arguments, Arnheim makes it easy and exciting to follow him as he thinks. America is not abundantly supplied with "public intellectuals" such as Rudolf Arnheim—to have his writings with us is cause for celebration. "The word 'structure' appears for good reason in the title of this collection. . . . Structure seems to be needed as an arbiter wherever this civilization of ours is split by selfish interests and fighting for either/or decisions. The essays want to speak with the voice of reason, because they want to show how the parts require the whole."
When should I change my mind? What can I believe and what must I doubt? In this new "philosophy of good reasons" Wayne C. Booth exposes five dogmas of modernism that have too often inhibited efforts to answer these questions. Modern dogmas teach that "you cannot reason about values" and that "the job of thought is to doubt whatever can be doubted," and they leave those who accept them crippled in their efforts to think and talk together about whatever concerns them most. They have willed upon us a "befouled rhetorical climate" in which people are driven to two self-destructive extremes—defenders of reason becoming confined to ever narrower notions of logical or experimental proof and defenders of "values" becoming more and more irresponsible in trying to defend the heart, the gut, or the gonads. Booth traces the consequences of modernist assumptions through a wide range of inquiry and action: in politics, art, music, literature, and in personal efforts to find "identity" or a "self." In casting doubt on systematic doubt, the author finds that the dogmas are being questioned in almost every modern discipline. Suggesting that they be replaced with a rhetoric of "systematic assent," Booth discovers a vast, neglected reservoir of "good reasons"—many of them known to classical students of rhetoric, some still to be explored. These "good reasons" are here restored to intellectual respectability, suggesting the possibility of widespread new inquiry, in all fields, into the question, "When should I change my mind?"
I suppose Joseph Agassi's best and dearest self-description, his cher ished wish, is to practice what his 1988 book promises: The Gentle Art of Philosophical Polemics. But for me, and for so many who know him, our Agassi is tough-minded, not tender, not so gentle. True to his beloved critical thinking, he is ever the falsificationist, testing himself of course as much as everyone else. How, he asks himself, can he engage others in their own self-critical exploration? Irritate? Question their logic, their facts, their presuppositions, their rationales? Subvert their reasoning, uncover their motives? Help them to lose their balance, but always help them, make them do it to, and for, themselves. Out of their own mouths, and minds, and imagination. A unique teacher, in classroom and out; not for everyone. Agassi is not quite a tight textual Talmudist disputant, not quite the competitor in the marketplace of ideas offered for persuasive sale, not quite the clever cross-examining lawyer advocate, not quite a philosopher-scientist, not a sceptic more than necessary, not quite embat tled in the bloody world but not ever above the battle either . . . but a good deal of all of these, and steeped in intelligence and good will.
When "Method in Ethical Theory "was initially published in 1963, it called for greater awareness of how an agenda for moral philosophy is established and the conditons under which it changes. Edel strives for effective comparison of ethical theories, denying that any one theory has exclusive claim to the truth about ethics. He maintains that different theories are appropriate for particular conditions. In "Method in Ethical Theory, "he works out an approach for ethical theory that is both critical and comprehensive. Edel presents four approaches to his study: the "analytical "deals with terms and concepts; the "descriptive "seeks to accurately depict, classify, and interpret moral qualities and situations; the "causal-explanatory "raises questions about functional relations; and the "evaluative "critically observes and applies standards. Alongside of these perspectives, Edel sets up a comparative approach, one that grounds the study of ethics hi empirical and historical research. In his new introduction, Edel describes the historical context in which his book was written, and explains his reasons for writing it thirty years ago. "Method in Ethical Theory "continues to be a fundamental contribution to ethical studies. It will be of interest to philosophers, sociologists, and specialists in the study of ethics.
Robert Duncan was a defining figure of twentieth-century American poetry. Eric Mottram was a pioneer in the field of American Studies in the UK and a key contributor to the British Poetry Revival. In the 1970s the two men conducted a wide-ranging dialogue on poetry, politics and the religious through an exchange of intense and often expansive letters. Mottram continued the dialogue in two substantive critical examinations of Duncan's work. The Unruly Garden presents an annotated edition of the complete available correspondence along with the two essays. The first essay was heavily edited when originally published and is included here in its restored form. The second essay appeared in a small press magazine and now receives the wider circulation it deserves.
Much current theorizing about literature involves efforts to renew our sense of aesthetic values in reading. Such is the case with new formalism as well as recent appeals to the notion of "surface reading." While sympathetic to these efforts, Charles Altieri believes they ultimately fall short because too often they fail to account for the values that engage literary texts in the social world. In Reckoning with the Imagination, Altieri argues for a reconsideration of the Kantian tradition of Idealist ethics, which he believes can restore much of the power of the arguments for the role of aesthetics in art. Altieri finds a perspective for that restoration in a reading of Wittgenstein’s later work that stresses Wittgenstein’s parallel criticisms of the spirit of empiricism. Altieri begins by offering a phenomenology of imagination, because we cannot fully honor art if we do not link it to a distinctive, socially productive force. That force emerges in two quite different but equally powerful realizations in his reading of John Ashbery’s "Instruction Manual," which explicitly establishes a model for a postromantic view of imagination, and William Butler Yeats’s "Leda and the Swan." He then turns to Wittgenstein with chapters on the role of display as critique of Enlightenment thinking, the honoring of qualities like sensitivity and the ability to attune to the actions of others, the role of expression in the building of models, and the contrast between ethical and confessional modes of judgment. Finally, Altieri produces his own model of aesthetic experience as participatory valuation and makes an extended argument for the social significance of appreciation as a way to escape the patterns of resentment fundamental to our current mode of politics. A masterful work by one of our foremost literary and philosophical theorists, Reckoning with the Imagination will breathe new life into ongoing debates over the value of aesthetic experience.
This book attempts to open up a path towards a phenomenological theory of values (more technically, a phenomenological axiology). By drawing on everyday experience, and dissociating the notion of value from that of tradition, it shows how emotional sensibility can be integrated to practical reason. This project was prompted by the persuasion that the fragility of democracy, and the current public irrelevance of the ideal principles which support it, largely depend on the inability of modern philosophy to overcome the well-entrenched skepticism about the power of practical reason. The book begins with a phenomenology of cynical consciousness, continues with a survey of still influential theories of value rooted in 20th century philosophy, and finally offers an outline of a bottom-up axiology that revives the anti-skeptical legacy of phenomenology, without ignoring the standards set by contemporary metaethics.
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