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The book is the first English translation of Nicolai Hartmann's
final book, published in 1953. It will be of value to graduate
students in philosophy, scholars concerned with 20th century
Continental philosophy, students of aesthetics and art history and
criticism, and persons in and out of academic philosophy who wish
to develop their aesthetic understanding and responsiveness to art
and music. Aesthetics, Hartmann believes, centers on the phenomenon
of beauty, and art "objectivates" beauty, but beauty exists only
for a prepared observer. Part One explores the act of aesthetic
appreciation and its relation to the aesthetic object. It discovers
phenomenologically determinable levels of apprehension. Beauty
appears when an observer peers through the physical foreground of
the work into the strata upon which form has been bestowed by an
artist in the process of expressing some theme. The theory of the
stratification of aesthetic objects is perhaps Hartmann's most
original and fundamental contribution to aesthetics. He makes
useful and perceptive distinctions between the levels in which
beauty is given to perception by nature, in the performing and the
plastic arts, and in literature of all kinds. Part Two develops the
phenomenology of beauty in each of the fine arts. Then Hartmann
explores some traditional categories of European aesthetics, most
centrally those of unity of value and of truth in art. Part Three
discusses the forms of aesthetic values. Hartmann contrasts
aesthetic values with moral values, and this exploration culminates
in an extensive phenomenological exhibition of three specific
aesthetic values, the sublime, the charming, and the comic. A brief
appendix, never completed by the author, contains some reflections
upon the ontological implications of aesthetics. Engaged in
constant dialogue with thinkers of the past, especially with
Aristotle, Kant and Hegel, Hartmann corrects and develops their
insights by reference to familiar phenomena of art, especially with
Shakespeare, Rembrandt and Greek sculpture and architecture. In the
course of his analysis, he considers truth in art (the true-to-life
and the essential truth), the value of art, and the relation of art
and morality. The work stands with other great 20th century
contributors to art theory and philosophical aesthetics: Heidegger,
Sartre, Croce, Adorno, Ingarden, and Benjamin, among others.
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Possibility and Actuality (Hardcover)
Nicolai Hartmann; Introduction by Roberto Poli; Translated by Stephanie Adair, Alex Scott
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R4,413
Discovery Miles 44 130
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Ships in 12 - 17 working days
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Nicolai Hartmann's Possibility and Actuality is the second volume
of a four-part investigation of ontology. It deals with such
questions as: How do we know that something is really possible? Is
the possible only the actual? Is the actual only the possible? What
is the difference between ideal and real possibility? This
groundbreaking work of modal analysis describes the logical
relations between possibility, actuality, and necessity, and it
provides insight into the relations between modes of knowledge and
modes of being. Hartmann reviews the history of philosophical
concepts of possibility and necessity, from ancient Megarian
philosophy to Aristotle, to Medieval Scholasticism, to Leibniz,
Kant, and Hegel. He explains the importance of modal analysis as a
basic investigative tool, and he proposes an approach to
understanding the nature of human existence that unifies the fields
of ontology, modal logic, metaphysics, and epistemology. This
brilliant and fascinating work is relevant to many topics of debate
in contemporary philosophy, including the ontology of possible
worlds, the metaphysics of modality, the logic of counterfactual
conditionals, and modal epistemology. It illuminates the nature of
real, ideal, logical, and epistemic possibility.
It is no exaggeration to say that of the early 20th century German
philosophers who claimed to establish a new ontology, former
neo-Kantian turned realist Nicolai Hartmann is the only one to have
actually followed through. "Ontology: Laying the Foundations" deals
with "what is insofar as it is," and its four parts tackle
traditional ontological assumptions and prejudices and traditional
categories such as substance, thing, individual, whole, object, and
phenomenon; a novel redefinition of existence and essence in terms
of the ontological factors Dasein and Sosein and their
interrelations; an analysis of modes of "givenness" and the
ontological embeddedness of cognition in affective transcendent
acts; and a discussion of the status of ideal being, including
mathematical being, phenomenological essences, logical laws,
values, and the interconnections between the ideal and real
spheres. Hartmann's work offers rich resources for those interested
in overcoming the human-centeredness of much 20th century
philosophy. Hartmann's work offers rich resources for those
interested in overcoming the human-centeredness of much 20th
century philosophy.
Nicolai Hartmann (1882-1950), along with Henri Bergson and Martin
Heidegger, was instrumental in restoring metaphysics to the study
of philosophy. Unlike his contemporaries, however, Hartmann was
clearly influenced by Plato. His tour-de-force, Ethik, published in
English in 1932 as Ethics, may be the most outstanding work on
moral philosophy produced in the twentieth century. In the first
part of Ethics (Moral Phenomena), Hartmann was concerned with the
structure of ethical phenomena, and criticized utilitarianism,
Kantianism, and relativism as misleading approaches. In the second
part, Moral Values, the author describes all values as forming a
complex and as yet imperfectly known system. The actualization of
the non-moral and elementary moral values is a necessary condition
for the actualization of the higher values. It is on this account
that rudimentary values have a prior claim. Hartmann outlines the
main features of the chief virtues, and shows that the moral
disposition required in any exigency is always a specific synthesis
of various and often conflicting values. Specifically describing
fundamental moral values-such as goodness, nobility, and
vitality-and special moral values-such as justice, wisdom, courage,
self-control, trustworthiness, and modesty-Hartmann takes
theoretical philosophy and brings it very much into the realm of
the practical. A compelling and insightful volume, Moral Values
remains an essential contribution to the moral and ethical
literature of the twentieth century. Hartmann offers a
self-contained system of ethics that yet offers a conservative
outlook on social life.
Ethics is Nicolai Hartmann's magnum opus on moral philosophy.
Volume 1, Moral Phenomena, is concerned with the nature and
structure of ethical phenomena. Volume 2, Moral Values, describes
all values as forming a complex and imperfectly known system. The
final volume, Moral Freedom, deals with one of the oldest puzzles
in both philosophy and theology: the individual's freedom of the
will. Freedom of the will is a necessary precondition of morality.
Without it, there is no morality in the full sense of the word. In
Moral Freedom Hartmann sets out to refute the determinist view that
freedom of the will is impossible. Following Kant, while rejecting
his transcendentalism, Hartmann first discusses the tension between
causality and the freedom of the will. The tension between the
determination by moral values and the freedom of the will is next
examined, a crucial issue completely overlooked by Kant and
virtually all other modern philosophers, but recognized by the
scholastics. Why should we believe in the freedom of the will with
regard to the moral values? Are there good reasons for thinking
that it exists? If freedom of the will vis-a-vis the moral values
does exist, how is it to be conceived? Moral Freedom concludes with
the famous postscript on the antinomies between ethics and
religion. Hartmann's Ethics may well be the most outstanding
treatise on moral philosophy in the twentieth century. Andreas
Kinneging's introduction sheds light on the volume's continuing
relevance.
Since the nineteenth century, moral philosophy in the Western world
has been dominated by utilitarianism, Kantianism, and relativism.
Only a few philosophers have been able to escape from this
Procrustean bed. Foremost among these few is Nicolai Hartmann
(1882-1950). Together with Henri Bergson and Martin Heidegger,
Hartmann was instrumental in restoring metaphysics. Hartmann's
metaphysics differs markedly from that of both Bergson and
Heidegger, in his indebtedness to Plato. In 1926, Hartmann
published a massive treatise, Ethik, which was translated into
English by Stanton Coit and published as Ethics in 1932. Ethics is
probably the most outstanding treatise on moral philosophy in the
twentieth century. The central concept of the book is "value."
Drawing upon the pre-modern view of ethics, Hartmann maintains that
values are objectively given, part and parcel of the order of
being. We cannot invent values, we can merely discover them. The
first part of Ethics is concerned with the structure of ethical
phenomena and criticizes utilitarianism, Kantianism, and relativism
as misleading approaches. After some introductory thoughts
concerning the competence of practical philosophy, Hartmann
discusses the essence of moral values, including their absoluteness
and ideal being, and the essence of the "ought." Hartmann is both
controversial and compelling. He provides a moral philosophy that
rejects the subjectivism of the ruling approaches, without taking
recourse to older theological notions on the foundation of the
ethical. In sum: Hartmann's Ethics constitutes an impressive and
preeminent contribution to moral philosophy.
"Ethics" is Nicolai Hartmann's magnum opus on moral philosophy.
Volume 1, "Moral Phenomena," is concerned with the nature and
structure of ethical phenomena. Volume 2, "Moral Values," describes
all values as forming a complex and imperfectly known system. The
final volume, "Moral Freedom," deals with one of the oldest puzzles
in both philosophy and theology: the individual's freedom of the
will. Freedom of the will is a necessary precondition of morality.
Without it, there is no morality in the full sense of the word. In
"Moral Freedom" Hartmann sets out to refute the determinist view
that freedom of the will is impossible. Following Kant, while
rejecting his transcendentalism, Hartmann first discusses the
tension between causality and the freedom of the will. The tension
between the determination by moral values and the freedom of the
will is next examined, a crucial issue completely overlooked by
Kant and virtually all other modern philosophers, but recognized by
the scholastics. Why should we believe in the freedom of the will
with regard to the moral values? Are there good reasons for
thinking that it exists? If freedom of the will vis-a-vis the moral
values does exist, how is it to be conceived? "Moral Freedom"
concludes with the famous postscript on the antinomies between
ethics and religion. Hartmann's "Ethics" may well be the most
outstanding treatise on moral philosophy in the twentieth century.
Andreas Kinneging's introduction sheds light on the volume's
continuing relevance.
Nicolai Hartmann (1882-1950), along with Henri Bergson and Martin
Heidegger, was instrumental in restoring metaphysics to the study
of philosophy. Unlike his contemporaries, however, Hartmann was
clearly influenced by Plato. His tour-de-force, Ethik, published in
English in 1932 as Ethics, may be the most outstanding work on
moral philosophy produced in the twentieth century.
In the first part of Ethics (Moral Phenomena), Hartmann was
concerned with the structure of ethical phenomena, and criticized
utilitarianism, Kantianism, and relativism as misleading
approaches. In the second part, Moral Values, the author describes
all values as forming a complex and as yet imperfectly known
system. The actualization of the non-moral and elementary moral
values is a necessary condition for the actualization of the higher
values. It is on this account that rudimentary values have a prior
claim.
Hartmann outlines the main features of the chief virtues, and
shows that the moral disposition required in any exigency is always
a specific synthesis of various and often conflicting values.
Specifically describing fundamental moral values -- such as
goodness, nobility, and vitality -- and special moral values --
such as justice, wisdom, courage, self-control, trustworthiness,
and modesty -- Hartmann takes theoretical philosophy and brings it
very much into the realm of the practical.
A compelling and insightful volume, Moral Values remains an
essential contribution to the moral and ethical literature of the
twentieth century. Hartmann offers a self-contained system of
ethics that yet offers a conservative outlook on social life.
Since the nineteenth century, moral philosophy in the Western
world has been dominated by utilitarianism, Kantianism, and
relativism. Only a few philosophers have been able to escape from
this Procrustean bed. Foremost among these few is Nicolai Hartmann
(1882-1950). Together with Henri Bergson and Martin Heidegger,
Hartmann was instrumental in restoring metaphysics. Hartmann's
metaphysics differs markedly from that of both Bergson and
Heidegger, in his indebtedness to Plato.
In 1926, Hartmann published a massive treatise, "Ethik," which
was translated into English by Stanton Coit and published as
"Ethics" in 1932. "Ethics" is probably the most outstanding
treatise on moral philosophy in the twentieth century. The central
concept of the book is "value." Drawing upon the pre-modern view of
ethics, Hartmann maintains that values are objectively given, part
and parcel of the order of being. We cannot invent values, we can
merely discover them.
The first part of "Ethics" is concerned with the structure of
ethical phenomena and criticizes utilitarianism, Kantianism, and
relativism as misleading approaches. After some introductory
thoughts concerning the competence of practical philosophy,
Hartmann discusses the essence of moral values, including their
absoluteness and ideal being, and the essence of the "ought."
Hartmann is both controversial and compelling. He provides a moral
philosophy that rejects the subjectivism of the ruling approaches,
without taking recourse to older theological notions on the
foundation of the ethical. In sum: Hartmann's Ethics constitutes an
impressive and preeminent contribution to moral philosophy.
It is no exaggeration to say that of the early 20th century German
philosophers who claimed to establish a new ontology, former
neo-Kantian turned realist Nicolai Hartmann is the only one to have
actually followed through. "Ontology: Laying the Foundations" deals
with "what is insofar as it is," and its four parts tackle
traditional ontological assumptions and prejudices and traditional
categories such as substance, thing, individual, whole, object, and
phenomenon; a novel redefinition of existence and essence in terms
of the ontological factors Dasein and Sosein and their
interrelations; an analysis of modes of "givenness" and the
ontological embeddedness of cognition in affective transcendent
acts; and a discussion of the status of ideal being, including
mathematical being, phenomenological essences, logical laws,
values, and the interconnections between the ideal and real
spheres. Hartmann's work offers rich resources for those interested
in overcoming the human-centeredness of much 20th century
philosophy. Hartmann's work offers rich resources for those
interested in overcoming the human-centeredness of much 20th
century philosophy.
The book is the first English translation of Nicolai Hartmann's
final book, published in 1953. It will be of value to graduate
students in philosophy, scholars concerned with 20th century
Continental philosophy, students of aesthetics and art history and
criticism, and persons in and out of academic philosophy who wish
to develop their aesthetic understanding and responsiveness to art
and music. Aesthetics, Hartmann believes, centers on the phenomenon
of beauty, and art "objectivates" beauty, but beauty exists only
for a prepared observer. Part One explores the act of aesthetic
appreciation and its relation to the aesthetic object. It discovers
phenomenologically determinable levels of apprehension.Beauty
appears when an observer peers through the physical foreground of
the work into the strata upon which form has been bestowed by an
artist in the process of expressing some theme. The theory of the
stratification of aesthetic objects is perhaps Hartmann's most
original and fundamental contribution to aesthetics. He makes
useful and perceptive distinctions between the levels in which
beauty is given to perception by nature, in the performing and the
plastic arts, and in literature of all kinds. Part Two develops the
phenomenology of beauty in each of the fine arts. Then Hartmann
explores some traditional categories of European aesthetics, most
centrally those of unity of value and of truth in art. Part Three
discusses the forms of aesthetic values. Hartmann contrasts
aesthetic values with moral values, and this exploration culminates
in an extensive phenomenological exhibition of three specific
aesthetic values, the sublime, the charming, and the comic. A brief
appendix, never completed by the author, contains some reflections
upon the ontological implications of aesthetics. Engaged in
constant dialogue with thinkers of the past, especially with
Aristotle, Kant and Hegel, Hartmann corrects and develops their
insights by reference to familiar phenomena of art, especially with
Shakespeare, Rembrandt and Greek sculpture and architecture. In the
course of his analysis, he considers truth in art (the true-to-life
and the essential truth), the value of art, and the relation of art
and morality. The workstands with other great 20th century
contributors to art theory and philosophical aesthetics: Heidegger,
Sartre, Croce, Adorno, Ingarden, and Benjamin, among others.
This textbook includes important texts by Hartmann, some of them
virtually inaccessible before, with a concise introduction to the
central themes in Hartmann s thought. There has been a recent
renaissance of interest in his new ontology both as systematic
theory and in philosophical anthropology. This text serves as an
ideal introduction to Hartmann and as a supplement in courses on
metaphysics, anthropology, and 20th century philosophy."
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