Can one be happy and free, and nonetheless be moral? This question occurs at the core of daily life and is, as well, a question as old as philosophy itself. In _Can Virtue Make Us Happy? The Art of Living and Morality, _Otfried Höffe, one of Europe’s most well-known philosophers, offers a far-reaching and foundational work in philosophical ethics. As long as one understands "happiness" purely as a feeling of subjective well-being, Höffe argues, there is at best only an (...) accidental unity between it and morality. However, if one means by "happiness" the quality of doing well in the sense of one’s own successful existence, then one must include actions that undoubtedly have a moral character and are named virtues. He uses clear and general language to present what one understands by "happiness" and "freedom" while illuminating the blind alleys in the history of philosophy as well as the difficulties raised by the issues themselves. What has priority: good ends or right action? Is freedom always anarchy? Is it possible to think of a freedom enhanced by morality? Is "morality" only a pretty word for stupidity? Does humanity have a good or a bad character? Is there such a thing as evil? Höffe offers us enlightened philosophical reflection and foundational orientation but no simple formulas; this is precisely what is at stake because anyone who wishes to live a self-determined life rejects any and all formulas. (shrink)

Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness, Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and (...) desire, and to show that the values of art, independently of their moral worth, are equally crucial to the rest of life.Nehamas makes his case with characteristic grace, sensitivity, and philosophical depth, supporting his arguments with searching studies of art and literature, high and low, from Thomas Mann's Death in Venice and Manet's Olympia to television. Throughout, the discussion of artworks is generously illustrated.Beauty, Nehamas concludes, may depend on appearance, but this does not make it superficial. The perception of beauty manifests a hope that life would be better if the object of beauty were part of it. This hope can shape and direct our lives for better or worse. We may discover misery in pursuit of beauty, or find that beauty offers no more than a tantalizing promise of happiness. But if beauty is always dangerous, it is also a pressing human concern that we must seek to understand, and not suppress. (shrink)

The European Legacy, Volume 17, Issue 4, Page 517-523, July 2012.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Only a Promise of Happiness: The Place of Beauty in a World of ArtJoe WinstonOnly a Promise of Happiness: The Place of Beauty in a World of Art, by Alexander Nehamas. Princeton, NJ: Princeton University Press, 2007, 186 pp., $29.95 cloth.We cannot doubt that, since the turn of the new millennium, there has been something of what Michael Bérubé has called a "Return to Beauty" in (...) cultural and literary scholarship.1 Bérubé locates the beginning of this return in an article written by Marjorie Perloff for the Chronicle of Higher Education in December 4, 1998, and in an opinion that he shares with Rita Felski, he sees it as a misguided attack on cultural studies.2 It is clear that when Elaine Scarry spoke disparagingly of "the enemies of beauty" in her influential book On Beauty and Being Just, she had the more extreme relativists of cultural studies in her sights.3 Far from being a short-lived spat, however, the renewed scholarly interest in beauty has grown, moved on a pace, and shows no sign of intellectual exhaustion; and most of this work has not, as Bérubé would have us believe, directed itself against postmodern aesthetics. Wendy Steiner, in The Trouble with Beauty, took Modernism and the art of the twentieth-century avant-garde as her target;4 whereas John Armstrong's The Secret Power of Beauty provided a sustained and accessible look at the history of aesthetic thought and reminded us of the significance of beauty in our lives, as both a concept and as a value.5 Arthur Danto's The Abuse of Beauty traced, like Steiner, the rejection of beauty to the rise of Modernism. Significantly, he did not attack Modernist art but recognized how it drove a wedge between beauty and the arts, showing us in the process that art need not be beautiful to be of value. In reassessing Modernism's rejection of beauty, however, Danto concluded by arguing forcefully that if beauty need not be excluded from art, it cannot be excluded from everyday living: "Beauty is an option for art but not a necessary condition. But it is not an option for life. It is a necessary condition for life as we would want to live it"6When a scholar with the reputation of Alexander Nehamas turns his attention to beauty, then we know it is still on the agenda in a big way. As with John Armstrong's work, one of the many delights of this book is its clarity of expression and the accessibility of its prose. In no way is Nehamas ever talking down to or patronizing the reader, however. He takes us on a philosophical journey that is rigorously argued and backed up by a wide selection of examples drawn chiefly from the world of art, which is indeed the subject of the writer's attention. If he has cultural studies in his sights, then he is very quiet about it. In fact, the canonical writers of cultural studies, whether they be Foucault, Bourdieu, Williams, or Gramsci, are entirely absent from the text. Instead, the central role goes to Plato—on whom Nehamas has written in two previous publications7—with important [End Page 124] contributions from Schopenhauer, Kant, Nietszche, and Clive Bell, not to mention Proust and Thomas Mann or the artworks themselves. This has a strong whiff of the canon about it perhaps; be that as it may, only a reviewer with a very large ideological drum to beat could remain deaf to the argument itself. For these individuals are all supportive of Nehamas's own thinking and of the argument he has himself developed, which, I think, is not only important to the world of art and art education but, more broadly, to the aesthetics of contemporary schooling itself.Before beginning to look at this argument in detail, it is worth noting that Nehamas has something telling to say about the principles and role of the reviewing process, something that cannot but make me feel wryly self-conscious as I begin it here. A review, he tells us, is a kind of advertisement to help... (shrink)

In recent decades, psychological research on the effects of mindfulness-based interventions has greatly developed and demonstrated a range of beneficial outcomes in a variety of populations and contexts. Yet, the question of how to foster subjective well-being and happiness remains open. Here, we assessed the effectiveness of an integrated mental training program The Art of Happiness on psychological well-being in a general population. The mental training program was designed to help practitioners develop new ways to nurture their own (...) happiness. This was achieved by seven modules aimed at cultivating positive cognition strategies and behaviors using both formal and informal practices. The program was conducted over a period of 9 months, also comprising two retreats, one in the middle and one at the end of the course. By using a set of established psychometric tools, we assessed the effects of such a mental training program on several psychological well-being dimensions, taking into account both the longitudinal effects of the course and the short-term effects arising from the intensive retreat experiences. The results showed that several psychological well-being measures gradually increased within participants from the beginning to the end of the course. This was especially true for life satisfaction, self-awareness, and emotional regulation, highlighting both short-term and longitudinal effects of the program. In conclusion, these findings suggest the potential of the mental training program, such as The Art of Happiness, for psychological well-being. (shrink)

"First published in the United States of America as The philisophy of Epicurus: letters, doctrines, and parallel passages from Lucretius."--T.p, verso.

The idea of happiness boomed in the public as well as in the academic domain over the last decade and has not reached its peak yet. However, the understanding of happiness as being the utmost goal of human beings is hardly new. Philosophers have discussed this topic, under various terms, throughout history. One of the most recent philosophical concepts has been conducted by Wilhelm Schmid in his book Philosophie der Lebenskunst [Philosophy of the Art of Living], which is (...) a theory about the good and beautiful life from a modern perspective under consideration of the philosophical history of this topic. Martin Seligman presented the ‘happiness formula’ in his book Authentic Happiness in 2002 and research about happiness, subjective well-being and life satisfaction began to form the field of positive psychology. This article provides a critical comparative analysis of philosophical concepts of the art of living and positive psychological research from an educational point of view. It will explore the extent of common ground between these disciplines, where they differ, and where they might be complementary. (shrink)

Alexander Nehamas calls beauty a ‘promise of happiness’ and claims that it is an object of love. While this approach appealingly places beauty at the center of both artistic passion and everyday life, it also renders it riskily personal. This discussion raises two main questions to Nehamas. The first question regards the role of happiness in the concept of beauty, for many beautiful artworks seem to acknowledge the inevitability of sorrow rather than its opposite. The second question concerns (...) how beauty may be both personal and grounded in factors sufficiently outside the self to safeguard it against the instability of individual preferences. To explore the latter issue, Nehamas's ideas are compared to those of another Platonist, Iris Murdoch. (shrink)

To analyze the influence of the integration of piano art and media on long-term care of the elderly in the aging society, and to improve the living standard and happiness of the elderly, based on educational psychology, several scales of self-compiled personal information, the Ackerson personality inventory, and the memorial university of Newfoundland happiness scale were introduced for statement, and questionnaire method was adopted for information collection. Then, the mechanism of the integration of piano art and media on (...) the happiness of the elderly was summarized. The results showed that there were significant differences in the happiness of the elderly in terms of monthly average income, economic pressure, health status, and living conditions. The happiness of the elderly with a monthly income of more than 5,000 yuan was significantly higher than that of the elderly with a monthly income of <3,000 yuan. The happiness of the elderly with low economic pressure was significantly higher than that of the elderly with high economic pressure. The happiness of the elderly with good living conditions was significantly higher than that of the elderly with ordinary living conditions. The happiness score and positive experience of the elderly with learning over 5 years were significantly higher than those with learning <5 years and the non-piano learning group. The total score of happiness in the piano learning group was significantly positively correlated with positive affection and PE, and negatively correlated with neuroticism and psychosis. It is concluded that the piano art learning process based on educational psychology can improve the subjective well-being of the elderly. In addition, the elderly who have been exposed to piano art for a long time are more active in life. Piano art edification is an important factor affecting the psychological well-being of the elderly. The research has a good guiding significance for improving the happiness of the elderly. (shrink)

This is a reproduction of the original artefact. Generally these books are created from careful scans of the original. This allows us to preserve the book accurately and present it in the way the author intended. Since the original versions are generally quite old, there may occasionally be certain imperfections within these reproductions. We're happy to make these classics available again for future generations to enjoy!

In the novel A Burnout-Out Case, Graham Greene argues for an intimate relationship between burnout and happiness. The novel claims that a life worth living is a continuous balancing between something painful, e.g. burnout and something desirable, e.g. happiness. In this essay, I try to make a case for the happiness of burnout. By examining the case story of a young artist, who suffered from burnout, I describe how such suffering might open up for a necessary reevaluation (...) of the values that actually make sense. Such creation of new values is what eventually leads to more happy moments, not happiness per se. This essay provides a philosophical reflection regarding the relationship between happiness and burnout in order to say something regarding which life is worth living. (shrink)

[NOTE: THE ENTIRE TEXT OF THE PRINT VERSION OF THIS BOOK CAN BE DOWNLOADED FROM "CHAPTERS" BELOW, DIVIDED INTO 48 SEGMENTS: TABLE OF CONTENTS, INTRODUCTION, 45 CHAPTERS, AND CONCLUSION AND EPILOGUE.] -/- Whatever the circumstances and states of our happiness might be, we all can benefit from clarifying our understanding of happiness and from solidifying our conduct in favor of happiness on the basis of such an understanding. In trying to develop such a basis, I ended up (...) pursuing the philosophy of happiness as a subject of deep, original inquiry. I found there had been no adequate investigation of happiness throughout human existence up to this point although happiness had formed and continued to be the subject of many philosophical and other efforts. It seemed that the collective human conscious kept searching for answers because it kept realizing that the essence of happiness and how to achieve it continued to be insufficiently illuminated or distorted in mirages. -/- My Philosophy of Happiness book is dedicated to lifting individual humans and humanity out of this confusion and resulting unnecessary unhappiness. My handling of the subject is comprehensive and thorough. My work focuses on equipping us to find clarity about happiness in general and our happiness in particular and to identify and apply appropriate means to overcome problems that can be overcome. It also endeavors to have us find peace with circumstances we cannot change. Its goal is to enable us to develop our own philosophy of happiness to maturity and to apply that philosophy successfully. -/- My book investigates in a thorough manner what happiness is and how we might create happiness. It is written as a theoretical and practical guide. It is intended as a self-help book for personal development. Its comprehensive inquiry also makes it a philosophy book that does not require prior philosophical training. It does not dwell on the rudimentary and often failed attempts of other philosophers regarding happiness but constitutes a new beginning. Striving to cover all facets of human pursuits of happiness, the book's considerations in­clude topics of law, economics, political science, sociology, history, anthropology, psychology, biology, and physics. It approaches the pursuit of happiness not as an art but from the standpoint of science. Its examination reveals happiness as an intensely individual phenomenon as well as a systematic force that shapes the human condition, human destiny, and matters beyond up to a cosmic scale. -/- The book illuminates these subjective and objective functions of happiness. Its insights about the nature of happiness may help us to understand the general subject matters of our search as well as the general terrain and rules by which we must abide in our pursuit of happiness. However, it does not presume to know what specific objectives and pursuits will make us happy. Rather, it develops, describes, and encourages us to discover tools to find, understand, and define our personal happiness and to pursue the implementation of this vision with optimized preparedness. Its objective is not to indoctrinate but to empower us. -/- The book proposes that humans are generally endowed with all internal constituents and mechanisms to develop their happiness to its fullest possible extent. Unless our faculties are pathologically impeded, we might only have to become aware of these inherent forces to actuate them. Still, we have to do some work before we can systematically increase our happiness. This seems to be a function of comprehensively revealing our concept of happiness and permitting it to take its natural place. The mission of the book is to assist in this process. Finding what makes us happy requires that we attain knowledge of who we are and of what we want. It requires us to be mindful of our wishes, our needs, our personality. Once we understand our motivations, we must arrange and implement them to their best effect in relation to one another, our capacities, other humans, and our nonhuman environment. The book supports us in gaining these insights and in the resulting choices and tasks on our path toward a happier, if not a happy, life and a better world. -/- The book further examines how much happiness we can expect to obtain even under the best circumstances when we maximize our happiness. It describes external and internal constraints that threaten our achievements. But it also shows perspectives that may enable us to conquer limitations. Thus, we may not only gain clarity about our happiness but also confidence in its pursuit. -/- This seminal treatise arrives at a time when there are promising signs that humanity may become receptive to the idea that happiness is the core objective motivating our being and that we ought to dedicate more attention to it not only on a personal but also on higher levels. Individuals around the world give increased consideration to their happiness and how their treatment of surroundings affects it. This is reflected in a growing interest in self-improvement literature that beyond purely individual concerns includes social and environmental connections. In addition, happiness has transcended the scientific domain of philosophers and is becoming an acknowledged subject of empirical research. Countries have been turning toward happiness as indication for the success of societal undertakings. International organizations are advancing this idea as well. Beyond efforts expressly focusing on happiness, there are many undertakings and movements that impliedly pursue it by trying to advance some of its components or by attempting to abate ills that stand in its way. -/- However, without solid philosophical foundation and counsel, personal, societal, and supra-national efforts regarding happiness may not reach far, may become misguided, or may not be sustainable. My Philosophy of Happiness book provides the necessary philosophical foundation and counsel on all three levels. The book is currently available in hardcover, a two-volume paperback edition, as well as in Kindle, EPUB, and PDF e-book versions. (shrink)

Can poem and picture collaborate successfully in a composite art of text and design? Or does one art inevitably dominate the other? W.J.T. Mitchell maintains that Blake's illuminated poems are an exception to Suzanne Langer's claim that "there are no happy marriages in art—only successful rape." Drawing on over one hundred reproductions of Blake's pictures, this book shows that neither the graphic nor the poetic aspect of his composite art consistently predominates: their relationship is more like an energetic rivalry, a (...) dialogue between vigorously independent modes of expression. W.J.T. Mitchell is Professor of English and Art and Design at the University of Chicago and editor of Critical Inquiry. Originally published in 1978. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Emmanuel Levinas (1906-1995), French phenomenological philosopher and Talmudic commentator, is regarded as perhaps the greatest ethical philosopher of our time. While Levinas enjoys prominence in the philosophical and scholarly community, especially in Europe, there are few if any books or articles written that take Levinas's extremely difficult to understand, if not obtuse, philosophy and apply it to the everyday lives of real people struggling to give greater meaning and purpose, especially ethical meaning, to their personal lives. This book attempts to (...) fill in the large gap in the Levinas literature, mainly through using a Levinasian-inspired, ethically-infused psychoanalytic approach. All of the essays included in this book are animated by the Levinasian assumption that it is the ethical relation to the other person (and, in one case, dog!) that is primary. That is, there is a human tendency in us, an often inhibited, muted or repressed tendency, as psychoanalysts have taught us, to see the needs of others as more important (or at least as important) than our own and therefore be willing to sacrifice for others. Moreover, once this human tendency to be for the Other is consciously embraced and made part of one's way of being in the world the possibility for a greater degree of personal fulfillment and happiness is often enhanced. Thus, the art of living the "good life" involves embracing "goodness" as one's guiding metaphor, an existential orientation in which, says Levinas, "the Other counts more than myself." As social psychologists have repeatedly shown, in social life, paradoxically, it is often the case that "the more you give, the more you get." Being for the Other, in other words, is often self-affirming!. --- Product Description. (shrink)

Memory, mother of the Muses by Zeus, has nurtured culture for nearly three millennia while her nemesis, forgetfulness, has been demonized as an agent of destruction. In the modern age, however, memory has grown increasingly burdensome, opening the way for a more positive assessment of forgetfulness. Nietzsche praises animals for an inability to remember that preserves their innocence and happiness, and Freud documents the discontents of a civilization that cannot forget. ;In tracing the recent development of these issues, the (...) dissertation focuses primarily on Walter Benjamin, Hans Blumenberg, and Thomas Pynchon. Benjamin and his anguished "angel of history" show the destructive psychological effects of trying to use human memory as a secular form of redemption. Blumenberg's philosophy of history makes it possible to trace memory's responsibility for redemption to the modern age's inflated notion of the subject. Blumenberg's work also emphasizes the importance of metaphor and narrative in mediating and creating historical understanding, and this aesthetic distance weakens memory's redemptive relation to the past. Pynchon's protagonists, too, find that their desire to make historical meaning fully present is overshadowed by their fear of such presence. By reconciling themselves to a profane aesthetic distance from the past, Blumenberg and Pynchon redeem themselves from the melancholy engendered by an overly ambitious memory. ;Thus the dissertation attempts to recover a more modest and less oppressive memory by understanding it as a way to distance rather than redeem past injustices. This reconception of the function of memory helps establish an equilibrium between the pensive memory of Benjamin's "angel of history" and the innocent oblivion of Nietzsche's animals. ;In addition to the three major figures named in the title, the dissertation devotes sections and excursuses to Friedrich Nietzsche, Sigmund Freud, Ernst Cassirer, Martin Heidegger, Virginia Woolf, Ernst Robert Curtius, Elie Wiesel, Primo Levi, Michel Foucault, and Thomas Kuhn. Translations of two essays by Blumenberg, "Pensiveness" and "Being--A MacGuffin," and a comprehensive Blumenberg bibliography are included as appendices. (shrink)

Excerpt from Happiness and Continuous Personality, or Life's Purposive AppearanceOur invasions of the unknown, by admittance, invitation and compulsion.The educational value OF destruction and suffering Struggle. The central requirement of survival. The animal or brute plane of struggle. The human plane and moral evolution. Spurs to human betterment enumerated. Rebuilding change and the meaning of today's tumult. Brutal factors of human progress. Schools and honest political economy. Education, perpetual peace and youthful civiliza tion. Equal rights to all and Special (...) privileges to none, its moral effect.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

The human person is a truth seeker, and one of the most compelling ways human beings pursue truth is through the arts. In Beauty and Imitation: A Philosophical Reflection on the Arts, Daniel McInerny argues for an understanding of art as a form of inquiry into truth that proceeds by way of sensible beauty. Drawing upon the thought of Aristotle and St. Thomas Aquinas, McInerny argues for the unfashionable yet philosophically compelling view that art is essentially "mimetic," imitative of human (...) action. But what does it mean for art to imitate human action? It means that art imitates the way human beings by nature quest for fulfillment, or happiness. In questing for fulfillment, human life takes the form of a story, and so the arts--all the arts, from painting to music, from fiction to film--are storytelling arts whose beauty reveals the truth about human happiness. The first part of the book features a renewed defense of the ancient Aristotelian claim that art is mimetic and that its imitation of the human story takes the form of a moral argument. The second part shows how audiences are transformed by the moral arguments the mimetic arts make, and the third concludes with a guided tour of the mimetic arts, where specific arts are considered in light of the Aristotelian and Thomistic principles advanced earlier. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Peter Lamarque TRUTH AND ART IN IRIS MURDOCH'S THE BLACK PRINCE "Art," writes Bradley Pearson, protagonist and narrator in The Black Prince, "is concerned not just primarily but absolutely with truth." Bradley Pearson is also concerned with truth. And understandably so, as he has just taken the rap, and been imprisoned, for a murder he claims he never committed. There are two rather different concerns here with truth: there (...) is the high-minded concern of the artist and there is the more pragmatic concern of the despised and falsely convicted man writing his "apologia." The careful juxtaposition of these two appeals to truth is a central theme in The Black Prince. The bulk of the novel purports to be a first-person narration of events in the later life of Bradley Pearson. Bradley is a writer who has been waiting patiently and silently for the inspiration, "the dark blaze," to produce a great work of art. This "dark blaze" eventually shows itself as the "black Eros," in a passionate but short-lived love affair with the youngJulian Baffin. Bradley is reflecting on these events from his prison cell, guided by his mentor and fellow prisoner, the "editor" P. Loxias (a witty reference to Apollo, god of truth). He sees his art and his love as stemming "from the same source" (p. 172) and, although sensitive to his shortcomings as an artist, he believes that through a divine inspiration he has attained a kind of Platonic tranquillity in the presence of truth and self-knowledge. However, through the device of "postscripts," purportedly written by other characters, we are presented with another picture of him rather different from his own. His former friends, more down to earth, though variously self-interested, depict him as a pitiful, even contemptible, charlatan lost in fantasy and delusion and a suitable case for psychoanalysis. What, then, is the real Bradley Pearson? Is he the pathetic, fantasy-ridden creature of the "postscripts"? Or is he, as he thinks, the great artist inspired by the gods and by Eros who has seen the revelation of truth? 209 2 1 0 Philosophy and Literature By forcing us to raise these questions about the novel, Iris Murdoch, I suggest, is inviting us to reflect on, and relate, two concerns we might have with truth in works of fiction. The first is with truth internal to the novel, truth-within-fiction, which informs us about the fictional characters and events. In The Black Prince, our attention is focused on unravelling and assessing the "truth" of Bradley's account. The second is with truth proper, as it might be revealed through fiction. This is truth not about the fictional world but about the non-fictional real world. It is often maintained that novels can instruct us in acquiring knowledge of the world. This, I suggest, is the type of truth that Bradley, so grandly and solemnly, and frequently, identifies with art. The nature of such truth is the main topic of this article. II What sense can we make of Bradley's repeated claims to the effect that "good art speaks truth" (p. xi)? One answer, reflecting an obvious feature of literary works, is that propositions about the world are often expressed, explicitly, within a fictional context; they might be uttered by one of the characters or directly by the author. The Black Prince offers many such propositions, some of which, on the nature of art, I shall be considering in detail. Examples are plentiful. Thus, Bradley remarks on marriage: "People who boast of happy marriages are, I submit, usually self-deceivers, if not actually liars. The human soul is not framed for continued proximity..." (p. 64). He meditates on love: "The foreverness of real love is one of the reasons why even unrequited love is a source of joy" (pp. 173-74) and discusses jealousy (p. 207). He also reflects on human consciousness and responsibility (p. 155) and on selfishness and goodness: "The burden of genuine goodness is instinctively appreciated as intolerable, and a desire for it would put out of focus the other and ordinary wishes by which one lives" (p. 149). Such explicit propositions carry us beyond the... (shrink)

The given work analyses several aspects of the concept te’cnh in Plato´s philosophy. At the same time, it deals with his attempt of finding a type of behaviour which counts on the same features as arts and science, in other words, a behaviour based on rational principles that will enable us to act accurately and according to our principles. He followed the path of Socrates in the process of the search for such behaviour. The sophists were proud of teaching a (...) certain political science that, to Plato, is an exclusive property of the philosopher who is acquainted with the intelligible forms and makes use of the right calculation and measure. According to him, these two would be the undeniable components of what we may define as the good and happy life of an individual.El presente estudio analiza algunos aspectos del concepto de te’cnh en la filosofía de Platón, así como el intento, siguiendo los pasos de su maestro, de encon- trar un tipo de conducta que posea las mismas características que las artes y ciencias, es decir, basado en principios racionales capaces de proporcionar fiabilidad y precisión a nuestras acciones. Los sofistas se preciaban de enseñar una ciencia política que, en opinión de Platón, es propiedad exclusiva del filósofo que conoce las Formas inteligibles y se sirve del cálculo y la medida, componentes indispensables de toda vida buena y feliz. (shrink)

Philosophers, scientists, and artists alike are prone to explore important questions concerning ecology as it relates to the impact of human actions for the future of nature and human civilizations. The main focus in this essay is to consider ecological implications of art understood as a form of leisure. Art is of course more than leisure for the artists and other arts professionals, but its personal and societal roles also serve as leisure activities. Both the production of art and its (...) consumption have important ecological implications. Select philosophical (Hegel) and scientific (Escobar) concerning art and nature provide a context for exploring art’s role in ecology. Complementing the philosophical and scientific understanding of ecological concerns are the efforts of artists and arts institutions to address ecological concerns both in their creative works and in assessing ecological implications of their respective practices. Ecology concerns environmental relationships taking place among the elements of nature (weather, land and water for example) that relate to evolutionary change and the effects on life in the built environments that comprise human civilizations. [i] Leisure, as I shall understand it here functions as a creative force in the life of human persons. [i]Robert A. Stebbins, “Leisure, Happiness, and Positive Lifestyle” and John Haworth, “Leisure, Life, Enjoyment,” in editors, Sam Elkingtonand Sean J. Gammon, Contemporary Perspectives in Leisure (London and New York: Routledge, 2014), 28-64. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Towards the very end of his wide-ranging lectures on the philosophy of art, Hegel unexpectedly expresses a preference for comedy over tragedy. More surprisingly, given his systematic claims for his aesthetic theory, he suggests that this preference is arbitrary. This essay suggests that this arbitrariness is itself systematic, given Hegel’s broader claims about unity and necessity in art generally and his analysis of ancient as opposed to modern drama in particular. With the emergence of modern subjectivity, tragic plots lose their (...) necessity and so their redemptive conclusions; comic plots disintegrate into mockery and entertainment. In many cases, the dramas in question consequently fail to be art. This does not, however, mean that art ends: insofar as it inspires humans to a better understanding of their unity with the divine, it will continue to meet its mandate. But the lack of necessity in modern drama means we are free to prefer happy endings. Hegel’s seemingly arbitrary preference is, in the end, systematically justified. (shrink)

When viewing the picture of a beautiful sunset, how many of us realize that, while we admire it as a work of art, we have just taken the very first step toward pornography? And that both the beauty in the sunset and the senses that recognize such beauty are very likely to be anti-art? Making a radical departure from the conventional wisdom on art and beauty, ART, BEAUTY, AND PORNOGRAPHY presents the startling thesis that things of beauty are not only (...) unrelated to art but often responsible for pornography. How is this possible? In this controversial work, Huer argues that beauty pleases the senses, which demand to be pleased with each new stimulation. In a society whose members put a premium on pleasurable things, it is natural that the visual medium occupies a commanding position among forms of cultural expression. In the process of competing to please the human eye, American society (the most graphic and visual civilization to date) concentrates on objects and events that please consumers and, by doing so, sell products. Much of this sense-pleasing business takes place in the name of art. But those senses pleased by what is beautiful are the same senses that receive gratification from the pornographic. Art has no place in this process. Based on these arguments, Huer makes a strong case for re-orienting the purpose of art. Drawing on historical experience in the West, he defines art as a statement about life: pain, wisdom, and happiness embodied in the life process. The artist is a teacher of life, the artwork his philosophy, and the art public the beneficiaries of his teaching. Neither beauty nor sensory pleasure, therefore, has anything to do with art. This important volume is, above all, a critique of contemporary American culture directed most especially to society's confusion about art, beauty, and pornography, and its willingness to allow business to assert dominion over artistic impulse. ART, BEAUTY, AND PORNOGRAPHY is a searing commentary on the follies of our time as well as an inspired defense of high art and the creative spirit. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 169-171 [Access article in PDF] Book Review The Passion for Happiness: Samuel Johnson and David Hume The Passion for Happiness: Samuel Johnson and David Hume, by Adam Potkay; 241 pp. Ithaca: Cornell University Press, 2000, $42.50. This book is a sustained attack on the widespread impression that Samuel Johnson and David Hume were antithetical characters, a notion largely nourished by that memorable (...) moment when Boswell brings up Hume "and other skeptical innovators" and Johnson replies, as we all remember, "Truth will not afford sufficient food to their vanity; so they have betaken themselves to error. Truth, sir, is a cow which will yield such people no more milk, and so they have gone to milk the bull." Professor Potkay feels that this image has radically distorted our perception of the truth.A large part of the problem, as Potkay sees it, is that the Johnson of the biography is not the same as the Johnson seen in his writings. Boswell, he claims, "superbly fashioned a Johnson after his own heart" (p. 29). Biography is beset with the misapprehensions we all have of another individual, but personal writing is equally subject to rhetorical posturing, selective memory, and other histrionics of the ego.Potkay makes a strong and interesting case for the proposition that Johnson and Hume were in accord as to their ideas of happiness. "Johnson and Hume set forth largely compatible visions of human happiness that, while rooted in Cicero, draw as well on modern authors..." (p. 5). In this view, happiness is intrinsically social, the inverse of Sartre's L'enfer, c'est les autres. We are estimable in our own eyes only if we are so in the eyes of others. The astronomer in Rasselas finally surmounts his delusion that he controls the weather only by leaving his solitude for the society of others. Hume declared that perfect solitude is the greatest punishment that we can suffer (p. 60). Hume and Johnson both agree that cities afford the greatest happiness through a multiplicity of agreeable consciousness--London for Johnson and Paris for Hume.Potkay argues that the chief ethic in the writings of both Hume and Johnson [End Page 169] "is the eclectic, Ciceronian brand of Stoicism Hume delineates in 'the Stoic', a sociable Stoicism whose end is 'the moderating of our passions, the enlightening of our reason'" (p. 77). The path to happiness lies in cultivating reason and moderating passion. However, unlike ethicists that downgrade the passions, Hume and Johnson see the passions as necessary and good. As against the whole duty of man, they think that pride is good, unless it causes pain to others. This is fresh news for those of us who have squirmed in Sunday school classes when pride was severely denounced and humility recommended--squirmed in spite of our reverence for Milton. Johnson and Hume viewed pride and the pleasure derived from praise as inspiring progress in trades, professions, arts, and science. It excites ingenuity. This is what we didn't dare say in Sunday school.Potkay searches indefatigably for parallels between the two men. We are told that they both rejected the hard determinism that some thinkers derived from Newtonian physics. In the midst of all this we have another discussion of tragedy, pity and fear, etc., the sort of thing that requires the reckless exuberance of youth in order to relish. Are we expected to feel astonished that here too we find them in accord? The parallels between the two men are pushed to the point that a reader might begin to suspect that there is a hidden half of the text that is being withheld, perhaps countervailing evidence. We begin to feel that lurking suspicion evoked by someone too zealously dedicated to a thesis.By the middle of the book, a reader is likely to be convinced that far from going forth to milk the bull, Hume was almost an intellectual twin of Johnson. At the same time, though, sepia thoughts begin to seep into the mind. We notice that these parallel thoughts... (shrink)

Happiness can be regarded as an evaluation of life satisfaction. A high level of wellbeing can promote self-fulfillment and build a rational, peaceful, self-esteem, self-confidence, and positive social mentality. Therefore, the analysis of the factors of happiness is of great significance for the continuous improvement of the individual’s sense of security and gain and the realization of the maximization of self-worth. Emotion is not only an important internal factor that affects happiness, but it can also accurately reflect (...) the individual’s happiness. However, most of current happiness evaluation methods based on the emotional analysis belong to shallow learning paradigm, making the deep learning method unexploited for automatically happiness decoding. In this article, we analyzed the emotions of graduates during their employment and studied its influence on personal happiness at work. We proposed deep restricted Boltzmann machine for graduates’ happiness evaluation during employment. Furthermore, to mitigate the information loss when passing through many network layers, we introduced the skip connections to DRBM and proposed a deep residual RBM for enhancing the valuable information. We further introduced an attention mechanism to DRRBM to focus on the important factors. To verify the effectiveness of the proposed method on the happiness evaluation tasks, we conducted extensive experiments on the statistical data of the China Comprehensive Social Survey. Compared with the state-of-the-art methods, our method shows better performance, which proves the practicability and feasibility of our method for happiness evaluation. (shrink)

The fifth volume of The Hackett Aquinas, a series of central philosophical treatises of Aquinas in new, state-of-the-art translations accompanied by a thorough commentary on the text.

One of the main issues raised over the years has been how religion feels about music. The relationship between religion and music as a promoting and not a corrupting art is one of the problems that warrants further research in this area. According to this article, phonic music can be a source for various services and be supported by religion in particular circumstances. The article discusses the musical elements of several religious texts, how religion affects the creative process, the human (...) voice, and religious music. In popular music, voices and vocal expression are extremely important. Voices are instantly connected to the body and different emotional states. However, learned cultural patterns of expression can also conventionalize and alter vocal expression; this is true for both music and daily speech. We know from day to day experience that singing might give us energy and, surprisingly, an actual exercise. Anecdotal suggestions that singing is good for your health and happiness are backed up by a growing body of research. It has been demonstrated that singing causes a variety of physiological changes. Persistent singing practice uses the cardiorespiratory system, strengthening the respiratory muscles and improving breathing efficiency. The up rule of oxytocin, immunoglobulin A, and endorphins, which work on immunological capacity and raise impressions of joy, is only one of the progressions in synapses and chemicals that singing can achieve. In this essay, we examine the role that religious singing plays in promoting the vocal arts. (shrink)

The notions of well-being and happiness are widely used today in a range of disciplines, areas of research, educational practice and daily life. However, these terms have to be considered critically, and careful reflection on their meaning is needed in each context where they are used. One reflection in the context of education has been conducted in relation to positive psychology as well as philosophical concepts and questions such as how to live a good life, the art of living (...) and especially Schmid’s concept of Lebenskunst or ‘art of living’. Still, the research undertaken to connect these concepts with the area of early childhood education in particular has been rather limited. The current paper is one step to bridge this gap by exploring how the concept of the art of living relates to early childhood education and the notion of well-being as it is used in the New Zealand early childhood curriculum Te Whāriki. It is proposed that early childhood educators can support the development of children’s abilities to enable them to engage actively in shaping their own lives and developing their own art of living earlier rather than later in their lives. Further, suggestions are made for teaching practice about ways early childhood educators can support young children to become reflective, autonomous and knowledgeable human beings, who are able to take responsibility for their own lives. (shrink)

Liberal education prior to St. Augustine -- Education in Augustine's moral theology -- Perils of skepticism -- Liberal arts curriculum -- Pedagogy and liberal learning -- Authority and illumination -- Purposes of liberal education.

The primary use of such terms as "sadness" and "joy" is to refer to the mental states of people. In such cases, the claim that someone is sad is equivalent to the claim that they feel sad. However, our use of emotion terms is broader than this; a funeral is a sad occasion, a wedding is a happy event. In such cases, a justification can be given for the use of the word. For example, it is part of what is (...) meant by "sadness" that events such as funerals are an appropriate object for such emotions and the epithet is transferred. Sometimes in criticism a similar justification can be given; it explains, for example, why the death of Little Nell is sad. On other occasions such a justification is not available. A poem can express sadness without representing a sad state of affairs. More obviously, to take a medium that is not representational, a piece of music can be sad. What we need is some way of making sense of these uses of the emotion terms. (shrink)

The 'Art of Life' is John Stuart Mill's name for his account of practical reason. In this volume, eleven leading scholars elucidate this fundamental, but widely neglected, element of Mill's thought. Mill divides the Art of Life into three 'departments': 'Morality, Prudence or Policy, and Æsthetics'. In the volume's first section, Rex Martin, David Weinstein, Ben Eggleston, and Dale E. Miller investigate the relation between the departments of morality and prudence. Their papers ask whether Mill is a rule utilitarian and, (...) if so, whether his practical philosophy must be incoherent. The second section contains papers by Jonathan Riley and Wendy Donner, who explore the relation between the departments of morality and aesthetics. They discuss issues ranging from supererogation to aesthetic pleasure and humanity's relationship with nature. -/- The papers in the third section consider the Art of Life's axiological first principle, the principle of utility. Elijah Millgram contends that Mill's own life refutes his claim that the Art of Life has a single axiological first principle. Philip Kitcher maintains that Mill has a dynamic axiology requiring us to continually refine our conception of the good. In the final section, three papers address what it means to put the Art of Life into practice. Robert Haraldsson locates an 'Art of Ethics' in On Liberty that is in tension with the Art of Life. Nadia Urbinati plumbs the classical roots of Mill's view of the good life. Finally, Colin Heydt develops Mill's suggestion that we regard our own lives as works of art. (shrink)

M.H.L. is a theatrical production dedicated to the first Slovak professional female director Magda Husáková-Lokvencová, which combines documentary theatre and performance. Sláva Daubnerová wrote the script and scene concept and is director and plays the sole character in the play. She portrays the private and professional life of M.H.L. in a chronologically sequenced and mosaic-like fashion. M.H.L. is portrayed as an educated, broad-minded and intelligent woman who knows her own mind. She graduated in law and then took up theatre direction. (...) Her private and professional life represented a series of ups and downs. Initially happy at the side of her husband, Gustáv Husák—successful early on as a politician, and flourishing in the theatre, she later had to struggle to survive and make a comeback to the theatre. Performer Daubnerová, enhanced the performance by using video art and sound design as important elements in the production. (shrink)

Claude Mediavilla brings to the Greek text his training as both a painter and calligrapher, marrying modern variants of both medium and style with classical forms in a way that brings Epictetus’ words to life with beauty and startling immediacy. Calligraphy (from the Greek for "beautiful writing") is an art where word and image meet, where the artist strives to give visual expression to the meaning of words in a way that transcends the text while remaining completely faithful to it. (...) It is a discipline that has been invested with spiritual significance wherever it has arisen--and it has arisen throughout the world in every age, in virtually every language, culture, and religion. The Shambhala Calligraphy series is a collection of books devoted to contemporary expressions of this "art of the word," featuring contemporary calligraphers' striking new interpretations of texts that have been traditional subjects for calligraphic interpretation. Whether in Arabic, Greek, Hebrew, Latin, or Chinese pictographs, the characters, words, and sentences are brought to life anew here in a choreography of mind, hand, and heart by which letter and spirit fuse in a single stroke. (shrink)

Continuing work begun by previous scholars, New Directions in Boethian Studies brings together recent studies from the diverse perspective of recent scholarship published during the first decade of Carmina Philosophiae: Journal of the International Boethius Society, a journal which seeks to make sound editions of texts and commentaries, both Latin and vernacular, more readily available to scholars. The book is divided into five sections according to the following areas of study: 1) aspects of Boethius's Latin De Consolatione Philosophiae, 2) vernacular (...) translations of the Consolatio, 3) multidisciplinary perspectives on Boethius in art and literary history, 4) multidisciplinary perspectives on Boethius in art and literary history, and 5) ongoing efforts to find and edit unpublished translations and major studies of Boethius's works. The study of Boethius, his works, and his influence continues to expand as scholars turn their attention to interdisciplinary and heretofore neglected areas of research. The essays and the critical edition presented in this collection represent the ongoing discussions of established and emerging scholars who are drawn to Boethius, undeniably one of the most central and seminal thinkers in the Western tradition. (shrink)

The well-known Kantian passage on misology in the Foundations of the Metaphysics of Morals starts making fuller sense when located within the framework of Kant writings on philosophy of history where he contrasts civilization with moralization as two different phases in the growth of humankind. In this context, the growth of commerce and manufactures plays a distinctive role, namely that of means of fostering civilization, while pursuing a deceptive goal, namely happiness. Deception plays a basic role in the growth (...) of mankind, in so far as it allows for a hidden twofold teleology in human action. Men, while following the dictates of self-love, are systematically mistaken about the results they actually contribute in bringing about. Commerce brings different peoples into mutual relationship and thus paves the way to a cosmopolitan society. The growth of the arts and sciences provides preconditions for the growth of learned institutions, a free press, and a public opinion that are the basis on which reason may start being used in its critical capacities. This, that is Enlightenment, is a preliminary step to moralization, that is the jump of individuals from a state of minority to a state where they are masters of themselves. The twofold teleology of human action makes room for a system of "pragmatic" ends, and of laws connected to the former, that may be studied rationally in themselves and yet are connected to the higher ends established by reason in its "practical" capacities. (shrink)

Before 1250, even with a statutorily restricted field of research, the Arts masters of Paris included in their teaching a certain number of philosophical disciplines. Courses imposed on Arts masters included ethics, using Aristotle’s Nicomachean Ethics. Commenting on this text, Arts masters would interpret it and teach their own doctrine of “happiness”, involving concepts not always in agreement with those of the theologians. Taking into account the controversial context of the University of Paris, we focus in this paper on (...) the opinions of Arts masters in both their differences and their agreements with the theologians, regarding the concept of happiness. Résumé Avant 1250, même avec un champ d’études statutairement restreint, les maîtres ès arts de Paris abordaient un certain nombre de disciplines philosophiques. Parmi les enseignements prescrits à ces maîtres se trouvait l’éthique, étudiée dans l’Éthique à Nicomaque d’Aristote. En interprétant ce texte, les maîtres ès arts enseignaient ce qu’ils comprenaient comme « bonheur » en utilisant un réseau de concepts pas toujours en accord avec celui des théologiens. Autour du concept de bonheur, nous tentons ici d’observer les différences et les ressemblances dont témoignent — dans le contexte controversé de l’Université de Paris — les ouvrages pertinents des maîtres ès arts par rapport à l’opinion des théologiens. (shrink)

The cluster account, one of the best attempts at art classification, is guilty of ahistoricism. While cluster theorists may be happy to limit themselves to accounting for what art is now rather than how the term was understood in the past, they cannot ignore the fact that people seem to apply different clusters when judging art from different times. This paper shows that while allowing for this kind of historical relativity may be necessary to save the account, doing so could (...) result in incorporating an essentially institutional component or making the theory extremely complex and virtually impossible to use. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Arthur Efland's and Richard Siegesmund's Reviews of The Arts and the Creation of MindElliot W. Eisner, Lee Jacks Professor of Education and Professor of ArtWhen I was invited by the Editor of The Journal of Aesthetic Education to respond to two unidentified reviews of my latest book, The Arts and the Creation of Mind, I thought that I would encounter a bevy of negatively critical comments, which (...) would give me the opportunity to respond equally as critically to theirs. Fortunately — perhaps unfortunately — the reviews prepared by Arthur Efland and Richard Siegesmund are not in the least bit negative. This, of course, is a boon to the book's author, but a bane to the creation of lively debate. I am happy to say that though their purposes differ, both Efland and Siegesmund got it essentially right. Efland's comments put my work in a historical context, particularly the emergence of interest in cognition and, in general, in the higher mental processes as they were called during the 1960s, 1970s, and 1980s. It is true that interest in cognition was in the air at that time, in the field of philosophy, and in the fields of linguistics and psychology as well. My own work is a part of that particular zeitgeist in the twentieth century.I was not aware at the time that I was being influenced by such a broad movement, but, alas or alack, I was. In some ways, the writing that John Dewey did during the early and mid 1930s, particularly his work on art as rendered in Art as Experience, presaged the interest linguists, psychologists, and philosophers developed in the conditions of communication and its relationship to symbolic systems and thought.1 Dewey has been a major influence on my thinking as have Susanne Langer and later Nelson Goodman.2 [End Page 96] The historical perspective that Efland provides is a useful accounting of where ideas about cognition were and where they are now. I do not know whether I have extended the thinking that is being done on cognition, but I certainly have tried to provide a fulsome account of the connections between cognition and the educational mission of the arts, especially the visual arts. Efland's historical portrayal is a useful picture of the period and, I would say, the significance of this way of thinking for education.Siegesmund pushes farther than Efland, in my view, into the sources of human understanding, particularly the function of somatic knowledge in grasping, or better yet, framing meaning. His notion of what might perhaps best be called visual reasoning marries two concepts that are seldom related; the visual and the reasonable. Reason is often associated with matters of logic, and matters of logic pertain to connections between language in its formal sense and with the relationships among numbers within numerical systems. Qualitative relationships are not typically regarded as manifestations, even at their best, of rational forms of thinking. Emotional, yes. Rational, no. As readers of my works know, I reject that conception of the limits of human rationality and Siegesmund does as well. His focus on embodied knowledge, or what is sometimes called somatic knowledge, is a promising conception of the sources of choice and judgment. There is, after all, more known than what can be told, to paraphrase Michael Polayni.3What pleases me most about Siegesmund's account of my work is its receptivity to the students he teaches. The ultimate educational test of any piece of writing is the extent to which people see meaning in it and apparently, at least for the students that Siegesmund teaches, meaning for most is there. I am pleased. What I have always tried to do in my work is to avoid prescribing recipes or formulaic procedures because I do not believe either works very well when one is working with human beings, but rather to provide concepts through which the educational world can be viewed, practice reflected upon, options identified, and action taken. Apparently these aims are being met in some university classrooms in which The Arts and the Creation of Mind is being used. One caveat.Although it is true, as... (shrink)

In Āryadevapāda’s Skhalitapramathanayuktihetusiddhi we find a problematic passage in which some Cārvāka theories are expounded. The problem here lies in the fact that, according to Āryadevapāda, the Cārvākas—who did not admit rebirth—would have upheld that happiness in this life can be gained by worshipping gods and defeating demons. As the Cārvākas were materialists, the reference to gods and demons does not fit so much with their philosophical perspective. In this paper, by taking into account several passages from Pāli and (...) Sanskrit Buddhist sources, I have tried to demonstrate that Āryadevapāda is here probably following the Laṅkāvatārasūtra, where mention is made of some Lokāyatikas who are said to have been able to infatuate gods and demons. In both the Pāli Canon and the Mahāyāna sūtras, however, the term lokāyata does not refer to “materialism”. It rather conveys the meaning of “art of disputation”, and is generally used in the description of brāhmaṇas well versed in the Vedas, in the recitation of mantras and in dialectic methods in general. It is the Laṅkāvatārasūtra that introduces the idea—corroborated also by a passage from the Mahābhārata—that these brāhmaṇas, skilled in lokāyata, would have indulged in some materialistic tenet. When the two terms, Cārvāka and Lokāyata, came both to mean “materialism”, around the IV century CE, it is highly probable that non-Cārvāka thinkers and commentators—as could be the case of Āryadevapāda—had in some occasion assimilated and integrated certain points of view, originally belonging to the ancient lokāyata perspective (for instance, the references to gods and demons), into what they believed Cārvāka philosophy had to be. (shrink)

This paper aims to study Bentham’s utility and its meaning of moral education. To compute pleasures and pains in Bentham is not a simple calculation. As seen in this paper, his concern of pleasures and pains is toward the community based on the pursuit of happiness by a private individual. For the greatest happiness, he does not have to have the excessive interest in the community, because of the simple feature that the community consists of private individuals and (...) each action in their lives is under the nature of the production of pleasure and of the avoidance of pain. The key to complete Bentham’s plan in IPML is to get the conception of the art of ethics. In Bentham, ethics is the art of directing men’s actions to produce the greatest happiness. Important in his definition is that he distinguishes it into two sections: private and legislation. He recognizes private sections that do not have to be intervened by legislation. A private individual has to control a motive and actions of self-regarding in the course of expressing his duty to himself for his neighbors. The action of the individual is not necessary to be the same of legislation, while the art of legislation is always to control happiness in the results of their performances. That is the art of ethics. More important, subsequently, is the art of moral education. In Bentham, the moral part of education is to cultivate a lot of affections. In fact, he emphasizes the importance of considering a motive as the springs of actions in calculating pleasures and pains. In his view, different actions have the same motive, so that the greatest happiness can be controlled from the beginning of the actions. Therefore, the art of moral education is to deal with a motive in terms of its expected pleasures and pains, in the process of performing an individual’s duty to himself, that is, of expressing his duty toward his neighbors. This paper would utilize his scheme of the art of moral education by drawing a questionnaire in the areas of moral sensitivity, judgement, motivation and practice. (shrink)

This is a book about time--about one's own journey through it and, more important, about enlarging the pleasure one takes in that journey. It's about memory of the past, hope and fear for the future, and how they color, for better and for worse, one's experience of the present. Ultimately, it's a book about freedom--freedom from despair of the clock, of the aging body, of the seeming waste of one's daily routine, the freedom that comes with acceptance and appreciation of (...) the human dimensions of time and of the place of each passing moment on life's bounteous continuum. For Robert Grudin, living is an art, and cultivating a creative partnership with time is one of the keys to mastering it. In a series of wise, witty, and playful meditations, he suggests that happiness lies not in the effort to conquer time but rather in learning "to bend to its curve," in hearing its music and learning to dance to it. Grudin offers practical advice and mental exercises designed to help the reader use time more effectively, but this is no ordinary self-help book. It is instead a kind of wisdom literature, a guide to life, a feast for the mind and for the spirit. (shrink)

Helpful and thorough as an introduction to Santayana's aesthetic theory, Ashmore's presentation is an exposition of Santayana's views; he does not judge these views or attempt to develop them further. According to Ashmore, Santayana held a single aesthetic theory all his life, the nucleus of which was contained in his early poetry. However, he developed different aspects of this theory at different stages of his life. During the first stage, Santayana emphasizes aesthetic experience. In considering this topic Ashmore discusses aesthetic (...) value, and the psychological analysis that Santayana gives of this value. Next Santayana focuses on poetry and its criticism. Thus Ashmore examines topics such as the relation between poetry and religion, the relation between poetry and philosophy, and Santayana's formulation of a scale for judging poetry. The chapter entitled "Rational Art" presents the third major stage of Santayana's development; here Ashmore considers Santayana's construction of a theory of art. For Santayana, art, as distinct from fine art, is a rational activity in the pursuit of happiness. Ashmore concludes with a discussion of Santayana's final work, considering the additions to and modifications of his earlier views.—E. M. (shrink)

In the Nicomachean Ethics Aristotle begins his investigation by exploring the nature of the end of all action. In the very first sentence of the work he says: "Every art and every enquiry and similarly every action and pursuit is thought to aim at some good and for this reason the good has rightly been declared to be that at which all things aim". It is easy, says Aristotle, to find verbal agreement between people regarding that good because they all (...) consider it to be happiness. Aristotle says: " Let us resume our inquiry and state in view of the fact that all knowledge and every pursuit aims at some good, what it is that we say that Political Science aims at and what is the highest of all good achievable by action. Verbally, there is very general ageement; for both the general run of men and people of superior refinement say that it is happiness, arrd identify living well and doing well with being happy". But there is no agreement between people with regard to what the good is. Some think it is pleasure, others wealth, others honour and so on, for each what happens to be most desirable to them. As is well known Aristotle's general method of approach to a new subject relies on the endoxrg namely the respected opinions of society. But in this case, as he informs us, there is much and radical disagreement on the accepted even the respected positions within society on the subject of what eudaimonia is. For this reason, far from finding the truth in the respected opinions of society, Aristotle cannot use them even as his starting point. Thus we'find him turning to argument, a metaphysical one at that, in order to be assisted in his endeavour to determine the nature of the good at which human action aims. This is the well known function argument. My concern in the present article is to study the steps of this. (shrink)