By Christopher Janaway, Alex Neill
Better awareness: Schopenhauer's Philosophy of Value reassesses Schopenhauer's aesthetics and ethics and their modern relevance. * contains a number of new essays from prime Schopenhauer students* Explores a comparatively overlooked region of Schopenhauer's philosophy* bargains a brand new standpoint on an excellent philosopher who crystallized the pessimism of the 19th century and has many issues of touch with twenty-first century concept
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Additional info for Better Consciousness: Schopenhauer's Philosophy of Value (European Journal of Philosophy Book)
185). Second, the exceptional capacity for the communication of such cognition: while all people must have the capacity to contemplate the Ideas and through that contemplation to obtain relief from the demands of their will to some degree, otherwise the effect of art would be entirely lost on them, they have the capacity to recognize or discover ideas to a ‘lesser and different degree’ than the genius; and the genius in turn excels the rest of mankind not merely in the capacity to have such ideas but also in the capacity to Back to Truth 19 retain them and convey them through a ‘voluntary and intentional work, such repetition being the work of art.
Guyer and H. Putnam (eds), Pursuits of Reason: Essays in Honor of Stanley Cavell. Lubbock: Texas Tech University Press, 37–66; reprinted in Guyer 2005: 37–74. —— (1994), ‘Kant’s Conception of Fine Art,’ Journal of Aesthetics and Art Criticism, 52: 175–85. Back to Truth 25 —— (1996), ‘Pleasure and Knowledge in Schopenhauer’s Aesthetics’, in D. ), Schopenhauer, Philosophy, and the Arts. Cambridge: Cambridge University Press, ch 5: 109–32, reprinted in Guyer 2005: 265–88. —— (1997), Kant and the Claims of Taste, revised edition.
In §38, Schopenhauer says that there are ‘two inseparable constituent parts’ in the ‘aesthetic method of consideration’, namely ‘knowledge of the object not as individual thing, but as Platonic Idea . ; and the self -consciousness of the knower, not as individual, but as pure, will-less subject of knowledge’, and he then adds that the pleasure produced by contemplation of an aesthetic object arises sometimes more from one of these sources than the other (WWR, §39 195–6). Here he is alluding to this theory that in the case of beauty the Idea presents itself to us (or at least the genius) as if it were immediately in the object, whereas in the case of the sublime we are more conscious of a struggle to isolate the Idea out of the experience of the object.