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This book explores the complex domain of social reality, asking what this reality is, how it is composed and what its dynamics are in both theoretical and practical terms. Through the examination of some of the most important contemporary theories of social ontology, the book discusses the fundamentals of the discipline and lays the foundations for its development in the political sphere. By analyzing the notion of State and the redesign of ontology, the author argues in favor of a realist conception of the State and shows the reasons why this promotes a better understanding of the dynamics of power and the actualization of a greater justice between generations. This book captures the relationship between different generations within the same political context, and presents it as a necessary condition for the re-definition of the concepts of State and meta-State.
Philosophy. --- Philosophy and social sciences. --- Political philosophy. --- Social sciences --- Political Philosophy. --- Social Philosophy. --- Philosophy of the Social Sciences. --- Ontology. --- Knowledge, Theory of. --- Epistemology --- Theory of knowledge --- Being --- Philosophy --- Psychology --- Metaphysics --- Necessity (Philosophy) --- Substance (Philosophy) --- Political science --- Social sciences-Philosophy. --- Political philosophy --- Social philosophy --- Social theory --- Social sciences—Philosophy. --- Social sciences and philosophy
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Originally published in Italian in 2010, this book is the first to address the theory of atmospheres in a thorough and systematic way. It examines the role of atmospheres in daily life, and defines their main characteristics. Outlining the typical phenomenological situations in which we experience atmospheres, it assesses their impact on contemporary aesthetics. It puts forward a philosophical approach which systematises a constellation of affects and climates, finds patterns in the emotional tones of different spaces (affordances) and assesses their impact on the felt body. It also critically discusses the spatial turn invoked by several of the social sciences, and argues that there is a need for a non-psychologistic rethinking of the philosophy of emotions. It provides a history of the term 'atmosphere' and of the concepts anticipating its meaning (genius loci, aura, Stimmung, numinous, emotional design and ambiance), and examines the main ontological characteristics of atmospheres and their principal phenomenological characteristics. It concludes by showing how atmospheres affect our emotions, our bodies' reactions, our state of mind and, as a result, our behaviour and judgments. Griffero assesses how atmospheres are more effective than we have been rationally willing to admit, and to what extent traditional aesthetics, unilaterally oriented towards art, has underestimated this truth.
Philosophical anthropology --- Aesthetics --- Affective and dynamic functions --- Architecture --- Criticism --- Social aspects --- Space. --- Aesthetics, Modern. --- Emotions (Philosophy) --- Espace --- Esthétique --- Emotions (Philosophie) --- Space --- Mood (Psychology) --- Aesthetics, Modern
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Ranging from Antiquity to contemporary analytic philosophy, it provides a concise but thorough analysis of the arguments developed by some of the most outstanding philosophers of all times. Besides the aesthetics of music proper, the volume touches upon metaphysics, ethics, philosophy of language, psychology, anthropology, and scientific developments that have influenced the philosophical explanations of music. Starting from the very origins of philosophy in Western thought (Pythagoras, Plato, Aristotle) the book talks about what music is according to Augustine, Descartes, Leibniz, Rousseau, Kant, Hegel, the Romantics, Schopenhauer, Nietzsche, Wittgenstein, Susanne Langer, Bloch, Adorno, and many others. Recent developments within the analytic tradition are illustrated with particular attention to the ontology of the musical artwork and to the problem of music and emotions. A fascinating idea which recurs throughout the book is that philosophers allow for a sort of a secret kinship between music and philosophy, as means to reveal complementary aspects of truth.
Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Philosophy and aesthetics&delete& --- History --- E-books --- Philosophy and aesthetics --- History. --- Music and emotions. --- Music and language. --- Musical aesthetics. --- Philosophy of music. --- Metaphysics --- Philosophical anthropology --- Psychology --- Philosophy of science --- General ethics --- Aesthetics --- Philosophy of language
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In recent years, the word 'virus' has lost its biological perimeter of reference to acquire a much broader - could say 'paradigmatic' - meaning. The term 'virus' can be seen as a key word or an explanatory model also for processes that go beyond the infectious sphere. Every event appears to have a viral character: from the way information is transmitted to the processes of cultural globalization, from the impact of human beings on the planet to the subversion of ecosystems, from pandemic risks to the demographic increase on the planet. This seems to be indeed the Age of the Virus. Its model can be applied to most of the phenomena that characterize the twenty-first. Its profile - its looming and invisible nature, its ability to use other people's resources to spread and to transform into a dangerous doppelganger - is perfect to represent the fears of the contemporary age.
Ecology. --- Biogeochemistry. --- Virology. --- Microbiology --- Biochemistry --- Geochemistry --- Balance of nature --- Biology --- Bionomics --- Ecological processes --- Ecological science --- Ecological sciences --- Environment --- Environmental biology --- Oecology --- Environmental sciences --- Population biology --- Ecology
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This book provides a detailed reconstruction of the origins of Schopenhauer's philosophy and its inherent aporias.It is divided into four parts. The first section delves into the pietistic upbringing of young Schopenhauer and his introduction to philosophy through the teachings of G.E. Schulze, as well as his study of Plato, Schelling, and Kant. Faced with the "negative" outcomes of Kant's criticism, particularly the unknowability of the thing-in-itself, young Schopenhauer initially engaged with Fichte and Schelling (this is covered in the second part of the volume). However, Schopenhauer formed the opinion that these two philosophers, instead of upholding and expanding upon Kant's ideas, ultimately diverge from them. That notwithstanding, he implicitly inherited certain pivotal concepts from Fichte and Schelling.The third part explores Schopenhauer's initial endeavor to formulate a new metaphysics after Kant, known as the theory of "better consciousness." In the fourth part, the book demonstrates how the internal contradictions within that theory and Schopenhauer's transformative encounter with Indian wisdom (Hinduism and Buddhism) lead him to abandon his first attempt at a system and develop his metaphysics of will.The last and most substantial chapter of the book focuses on the author's analysis of the inherent aporias within Schopenhauer's mature system, approaching them from a genetic perspective.
Schopenhauer, Arthur, --- Metaphysics. --- Free will and determinism.
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Ranging from Antiquity to contemporary analytic philosophy, it provides a concise but thorough analysis of the arguments developed by some of the most outstanding philosophers of all times. Besides the aesthetics of music proper, the volume touches upon metaphysics, ethics, philosophy of language, psychology, anthropology, and scientific developments that have influenced the philosophical explanations of music. Starting from the very origins of philosophy in Western thought (Pythagoras, Plato, Aristotle) the book talks about what music is according to Augustine, Descartes, Leibniz, Rousseau, Kant, Hegel, the Romantics, Schopenhauer, Nietzsche, Wittgenstein, Susanne Langer, Bloch, Adorno, and many others. Recent developments within the analytic tradition are illustrated with particular attention to the ontology of the musical artwork and to the problem of music and emotions. A fascinating idea which recurs throughout the book is that philosophers allow for a sort of a secret kinship between music and philosophy, as means to reveal complementary aspects of truth.
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This book sheds light on the most philosophically interesting of contemporary objects: the cell phone. “Where are you?”—a question asked over cell phones myriad times each day—is arguably the most philosophical question of our age, given the transformation of presence the cell phone has wrought in contemporary social life and public space. Throughout all public spaces, cell phones are now a ubiquitous prosthesis of what Descartes and Hegel once considered the absolute tool: the hand. Their power comes in part from their ability to move about with us—they are like a computer, but we can carry them with us at all times—in part from what they attach to us (and how), as all that computational and connective power becomes both handy and hand-sized. Quite surprisingly, despite their name, one might argue, as Ferraris does, that cell phones are not really all that good for sound and speaking. Instead, the main philosophical point of this book is that mobile phones have come into their own as writing machines—they function best for text messages, e-mail, and archives of all kinds. Their philosophical urgency lies in the manner in which they carry us from the effects of voice over into reliance upon the written traces that are, Ferraris argues, the basic stuff of human culture. Ontology is the study of what there is, and what there is in our age is a huge network of documents, papers, and texts of all kinds. Social reality is not constructed by collective intentionality; rather, it is made up of inscribed acts. As Derrida already prophesized, our world revolves around writing. Cell phones have attached writing to our fingers and dragged it into public spaces in a new way. This is why, with their power to obliterate or morph presence and replace voice with writing, the cell phone is such a philosophically interesting object.
Cell phones --- Cell phones. --- Ontology. --- Social aspects. --- Collective Intentionality. --- Derrida. --- Documentality. --- Epistemology. --- Mobile Phone. --- Realism. --- Searle. --- Social Reality. --- Textualism. --- Writing.
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