Teun Tieleman surveys the history of the philosophical notion of the ‘art of life’, starting from its originator Socrates and his ancient successors down to its role among present-day philosophers. Apart from Socrates, special attention is given to the Stoics, Nietzsche and Foucault. The way in which the notion was defined and functioned throughout the history of philosophy reveals an exceptionally fruitful interplay between continuity and originality.

Philosophy is an art.--On right designation.--On the art of oratory.--The mystery of polarisation.--On concentration.--On polyphony.--Utopians and prophets.--Fruitful disorder.--The conflict between youth and age.--The individual and the spirit of the age.--The limited number of important cultural forms.--The significance of Chinese art.--Death and re-birth.--On the future of the Mediterranean civilisations.--Life is and art.--The culture of beauth.

"That the art of life is creative, imaginative, and individual does not mean... that it cannot be taught and learned or that individuals cannot improve their mastery of it. Teaching it proceeds by way of exemplary lives, and learning it consists in coming to appreciate what makes some lives exemplary.... That imitation here is impossible does not mean one cannot learn from examples. The question is, How can that be done reasonably; how can decisions about how one should live (...) escape being arbitrary, if they are left to individual creativity and imagination and are not governed by rules that apply to everyone living in a particular context?"—from The Art of Life The art of life, according to John Kekes, consists in living a life of personal and moral excellence. This art requires continuous creative effort, drawing on one's character, circumstances, experiences, and ideals. Since these conditions vary with times and places, Kekes says, there can be no single blueprint for the achievement of excellence. We must do it ourselves—but we can learn from those who have lived exemplary lives. Reflecting on lives of integrity and honor, Kekes formulates what we can learn from them and what we can do to adapt the ideals they represent to our personal circumstances. Avoiding both the abstractness that characterizes much moral thought and the relativism that recognizes no rational or moral limits, Kekes shows how serious philosophical thinking can be readable and helpful to those who struggle with the perennial problems of human existence. (shrink)

Kant’s Critique of Judgment and Schiller’s Letters on the Aesthetic Education of Man are generally recognized as crucial documents in the development of modern aesthetics away from rule-based conceptions of objectivity. This paper claims that they are also, in crucial ways, circular. In both Kant and Schiller, aesthetic taste turns out to be grounded in the realm of the social in a way that challenges the idealist notion that aesthetic evaluation and education would—or should—occur against the backdrop of humanity in (...) general, rather than of concrete communities. The threat of conceptual circularity, I claim, is thus directly tied to the ineradicable significance of social circles for the articulation of Kant’s and Schiller’s aesthetics. (shrink)

In his essay "What Is Enlightenment?" Foucault compares the role of modernity in the work of the decadent Parisian poet Charles Baudelaire with that of the austere Prussian philosopher Immanuel Kant. He claims that the relationship between these two strange bedfellows can be found in the value each writer accords to the present in contrast to the past and future. Each writer claims, in his own style, that each individual must render his or her existence meaningful by cultivating what Foucault (...) calls in this essay a philosophical ethos. This conception of the philosophical form of life forms the conceptual basis of Foucault's later work. I briefly interpret Foucault's discussion of Kant and Baudelaire in "What Is .. (shrink)

As a professional philosopher, I rarely feel that I have adequate time to read all the things I want or need to read, a feeling exacerbated by having to read many things I would rather not read, in my capacity as a teacher of undergraduates. Thus, it is extremely high praise for John Kekes’s latest monograph that I strongly recommend this book for your summer reading list. It is both an enjoyable and a useful tome. It is well written, accessible (...) and yet rigorous, appropriate for adoption in undergraduate courses; but also of interest to other philosophers, teachers, and scholars working in ethics or interested in the ancient question: Is there an art of life? Kekes writes for a generally educated audience and not primarily for specialists. Though the book features interesting discussions of many philosophers—classical and contemporary—it scrupulously avoids the pitfall of bogging down in pedantic scholarly quibbles. Kekes’s discussions of every philosopher’s relevant ideas are clearly and concisely presented, and hence they would be understandable even by those who have not read the philosophers he discusses. (shrink)

This chapter contains sections titled: Introduction The Art of Life and Morality Morality: Act‐ and Rule‐Utilitarianism Further Reading.

In this article I chart an indirect if not oblique path through my own theoretical formation as a social and feminist art historian, informed by Marxist cultural studies but deeply engaged with issues of difference and gender, to the response Zygmunt Bauman made to a book I gave him that I had reason to believe would resonate with his work. It did not. Indeed, my kind of theoretically informed visual and cultural analysis was indecipherable despite the influence of his writing (...) after 1989 on my work. Gender was not a topic for Bauman. Feminist theory remained an impenetrable territory. Art (as opposed to culture) was not to be theorized. Yet, in his later work on liquid modernity, Bauman incorporated the idea that we are all now artists of life. Here I recognized an oblique and unjustified if not misdirected dismissal of the working-class British artist Tracey Emin. My article concludes with my reading of her video work, Why I Never Became a Dancer, which poignantly and defiantly exposes the social violence and violations of class, race and gender in British society which she experienced. I seek to demonstrate how Bauman’s acute, but often academically devalued, attentiveness to the vernacular and quotidian forms of cultural experience and its ability to register and reveal changing social forms and forces should have enabled him to see Emin’s work as equally acute and culturally significant. (shrink)

The artist understands his work as intimately connected with the life and symbolism of plants. Art, thus, demands an attunement to life’s elemental operations, the thrust “into dimensions far removed from the conscious process.” The first part of the present essay aims at recovering what is implied in the imagery of trees, delving into ancient archives of dormant collective memories and immemorial imaginal stratifications. The second and third parts, deploying the re-energized figure of the tree, explore the theme (...) of the relation between art and life, indeed, what Klee calls the “art of life.” By reference to Klee’s 1924 Jena lecture and the artist’s diaries, the discussion addresses the intersecting themes of artistic formation, mindful self-formation, the vital importance of worldly roots, and the transcendent fragrance of flowers and fruits. (shrink)

Towards the end of A System of Logic, John Stuart Mill makes some intriguing, suggestive, and neglected claims about what he calls “The Art of Life”. Despite the comparatively little attention that the Art of Life has received in the extensive scholarly literature on Mill, it turns out to be extremely important to understanding his moral philosophy and his practical philosophy more generally. It reveals Mill to be a considerably more subtle philosopher than it would otherwise seem. It (...) also insulates him from many unwarranted criticisms. In this entry I proceed by picking out some elements of Mill's discussion of the Art of Life, explaining them and then examining their significance. These include the metaethical distinction between sciences and arts, the relation between the art of life and morality, and the significance of his art of life in understanding normative ethical views, such as those defended in Utilitarianism. (shrink)

우리는 예술을 통해 더 나은 삶으로 나아갈 수 있을까? 이 논문은 니체의 예술철학을 중심으로 우리가 예술가의 예술적 활동으로부터 배울 수 있는 삶의 실천, 즉 예술가의 삶의 예술을 제시하고자 한다. 여기에서는 예술가 중심의 예술 활동을 니체의.

This article focuses on how aesthetic values permeate Nietzsche’s philosophy. Artistry is not confined to the creation of conventional works of art but occurs in the form-giving that is essential to all human forms of life. Since Nietzsche was committed to the view that the world is in some basic sense chaotic and meaningless, he held that only by imposing forms can we create a cognizable world. This close association between the conditions of life itself and the aesthetic (...) activity of giving form belies that Kantian conception that any appreciation of aesthetic phenomena is essentially disinterested. (shrink)

What impact are we having on the environment around us? How can we limit the effect of human life on the natural world? These questions and more are considered in 'Advances in Sustainability and Environmental Justice' volume 13, which looks at environmental philosophy, humanity's place in the world, and how we can live in harmony with our planet.

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)

In this article I explore naturalism as a joyful science by focusing on how Nietzsche and Deleuze appropriate an Epicurean legacy. In the first section I introduce some salient features of Epicurean naturalism and highlight how the study of nature is to guide ethical reflection on the art of living. In the next section I focus on Nietzsche and show the nature and extent of his Epicurean commitments in his middle period writings. In the third and final main section my (...) attention shifts to Deleuze and to showing how he fruitfully demonstrates the intersection of physics and ethics in the Epicurean method of thinking. I am interested in Epicureanism since, as both Nietzsche and Deleuze show, it holds ethics to be central to philosophical inquiry and activity: we study nature not simply as an end in itself but as a way of better understanding how we can promote a flourishing life. Our being in the world is not to be guided by myths and illusions, especially of a supernatural kind, but rather by the affirmation of the positive power of an immanent and multiple nature and by the joy that results from recognizing the diversity of its elements. (shrink)

The intricate appearances produced by various lineages of biota have long been viewed as calling for a rational explanation. Biologists are capable of interpreting still just a relatively small part of the overall range of organismal forms and patterns. In fact, we can explain only those for which we find a functional role. Kalevi Kull’s current initiative, which aims at establishing biosemiotic foundations of aesthetics and introduction of concepts such as semiotic fitting, may help us elucidate various hitherto largely neglected (...) aspects of self-expressive domains of life. Given that organisms are active autonomous agents, I suggest that some cases of semiotic fitting may be facilitated by semiotic co-option, a process where a trait is newly interpreted as meaningful within the umwelt of a living being and further adopted for a particular role. Clarification of connections between semiotic co-option and semiotic fitting may aid our attempts to better understand the role of meaning-attributive processes via which the aesthetic faculties of animate things come into existence. (shrink)

The article examines Tischner’s views on the meaning of ethics in human life. Tischner opposes positions that treat ethics as a set of recommendations. He believes that such an approach amounts to a kind of training in which the final effect is most important and, what is more, imposed. According to Tischner, a man’s attitude towards his activity is what is important. Therefore, first we should ask who the person is and what his good is. Tischner does not give (...) precise answers to these questions. He notes that self-awareness is not given to man from the beginning but is shaped throughout his life. Its course is influenced by his upbringing, education and life circumstances. Tischner points out that the most important of those are interpersonal relations. In an encounter one man helps another to discover what is good. Ethics is precisely the art of accurate revelations of the good. It is also the art of planning and undertaking activities that ensure that the good is preserved. Ethics is also an art because every encounter is different and, therefore, unique. (shrink)

Learn to create personal harmony so that we are able to handle everyday situations gracefully with persons of the opposite sex, differing cultures, religions or opinions. This book is dedicated to those who respect and enjoy harmony in relationship with oneself and with other people of the world. Frank discussion about sex and celibacy, yin and yang, femininity and masculinity, fire and water, culture, history and government.

In this chapter I explore various facets of Addams' approaches to culture as art and as structures of life because they illuminate not only her struggles to reconcile competing perspectives and values, but also because these issues are recurring features in the development of feminist analyses of culture. -/- “This well-crafted collection of essays recognizes Jane Addams as the inspiring and occasionally provocative feminist she was. Connecting Addams’s pragmatism to social theory, political philosophy, queer theory, postcolonial theory, and more, (...) the book’s twelve authors sympathetically and critically explore Addams’s ongoing relevance to issues of art, culture, sexuality, prostitution, religion, cosmopolitanism, public/private divisions, and community organization. Scholarly experts on Addams, as well as those discovering her feminist pragmatism for the first time, will find this volume valuable.” -/- Although Jane Addams's Twenty Years at Hull-House is considered an American classic, her dozen books and hundreds of published articles have sometimes been thought of as quaint examples of an overly optimistic era. Beginning in the 1990s, feminist scholars rediscovered the vitality of Addams's social philosophy and challenged the marginalization of her ideas. Today, following a war-laden twentieth century and the failure of militarism and "get tough" approaches to solve domestic and global problems, Addams's social theorizing, which emphasizes cosmopolitan experiences and sympathetic connections, provides a provocative alternative to Western notions of individualism, transactional relations, and spectator epistemology. Feminist Interpretations of Jane Addams brings together many of the leading Addams scholars in North America to consider Addams's ongoing relevance to feminist thought. Aside from the editor, the contributors are Victoria Bissell Brown, Marilyn Fischer, Judith M. Green, Shannon Jackson, Katherine Joslin, Louise W. Knight, L. Ryan Musgrave Bonomo, Wendy Sarvasy, Charlene Haddock Seigfried, Eleanor J. Stebner, and Judy D. Whipps. (shrink)

With “slow living” as the newest incarnation of the simplicity movement, the search for fresh inspiration on ways to live a more authentic life is as pressing as ever. Turning to Eastern traditions, people are discovering the Japanese concept of wabi sabi. The perfect antidote to today’s frenzied, consumer-oriented culture, wabi sabi encourages slowing down, living modestly, and appreciating the natural and imperfect aspect of material culture. While defying definition, wabi sabi is best expressed in brief, evocative bites. In (...) The Little Wabi Sabi Companion, Diane Durston, a noted writer on Japanese art and culture, presents a collection of reflections, along with classic poetry and verse from both Eastern and Western traditions, that capture the wabi sabi moment, and inspire readers to do the same. The subtle beauty of nature, the simplicity of a found object, the impermanence of an autumnal flower arrangement, the solitude of a single fisherman in his boat are all celebrated and reflected upon in this easily browseable book. The text is complemented by photography and calligraphy inspired by the wabi-sabi spirit. This collection of simple, yet profound insights in an irresistable, hold-in-the-hand package offers readers the opportunity for integrating moments of contemplation and meditation into their daily lives, and to discover the essence of wabi sabi. (shrink)

How many citizens take part in moral and political decisions concerning the results obtained by the contemporary life sciences? Should they blindly follow skilled demagogues or false and deceptive leaders? Should they adhere to the voice of the majority, or should they take a different decisional path? Deliberative democracy answers these questions, but what is deliberative democracy? Can we really deliberate if we are completely ignorant of the relevant issue? What about ethical or political expertise, is it strictly necessary? (...) Finally, and most significantly, can a deliberative process take place if we ignore the techniques governing it; that is, the techniques required to be minimally skilled in rational argumentation? Giovanni Boniolo goes back to the historical and theoretical foundations of deliberation showing us, with some irony, that deliberation is a matter of competence, and not just a matter of a right to decide. His conclusion might not delight everyone: “anyone who is not sufficiently acquainted with the subject matter or lacks the sufficient deliberative competence ought not be admitted to deliberative discussions. This restriction makes both good deliberation and a proper deliberative democracy possible, otherwise debate degenerates into demagogy and hypocrisy”. (shrink)

Our purpose in this paper is to argue how the idea of affirmation of life embodies the practice of the art of life. The yes-saying attitude towards life can provide an enormous support for the self-formation practices. Our attempt, then, consists of demonstrating the subjective character of the aesthetic marked by pleasure, and especially a new approach to the relationship between “I” and the other. We comprehend that this sort of life is individually relative or subjective. (...) Meanwhile, there is a political reconfiguration of “I” and the other which ends in freedom. Politics becomes possible in a simultaneous caring for I and the other through the practices of self-constitution. In order to clarify our discussion further, this challenge is accompanied by a presentation of three real lives that are exemplary for us in the art of life; a way of being that stands for a political affirmation of life. (shrink)

A Pulitzer Prize–winning dance critic teaches us to appreciate—and enact—grace in every dimension, from the physical to the emotional. Grace has long been taught as essential to civilized living. The Three Graces—goddesses of charm, beauty, and creativity—exemplify ease and harmony with one another and the world around them. But what has happened to this simple, marvelous concept of being at ease in the world? With warmth, humor, and an ever-perceptive eye, Sarah L. Kaufman sifts the graceful from the graceless, celebrating (...) heart-catching moments of physical elegance in sports, movies, dance, fashion, and music; rare sightings of celebrity grace; the secrets of gracious hosts; and grace found unexpectedly, in the kitchen of a high-end restaurant and among strippers in a basement bar. Kaufman’s thought-provoking reflections on these physical and social acts of grace offer hope for even the clumsiest, most awkward among us. Guided by the muse of Cary Grant (with further inspiration from Smokey Robinson, Roger Federer, Nelson Mandela, Margot Fonteyn, Amy Purdy, Beyoncé, and others), Kaufman illuminates the importance of grace in the small moments of everyday life. In The Art of Grace, she inspires us to walk taller, spend time on unnecessary kindnesses, and celebrate the grace notes in our lives and those of others. (shrink)

The aim of this paper is to defend the position that aesthetics and ethics in sport are not two separate domains or aspects. In sport, the aesthetic and the ethical both arise from sport’s attractiveness or from the pleasure sport offers to its activists and consumers. To think about sport philosophically, we should find a link and a principle beyond this division as a source of both the aesthetic and the ethical in sport. The philosophy and philosophical sociology of Jean-Marie (...) Guyau is presented as a response to this problem. Two points of fundamental importance are considered critically here: his criticism of any reductionism, and life or the idea of life as key principle of a philosophical system which puts ethics and aesthetics together. (shrink)

Instead of simply following the current neoliberal mantra of proclaiming economic growth as the single most important factor for maintaining well-being, Education and Schmid's Art of Living revisits the idea of an education focused on personal development and the well-being of human beings. Drawing on philosophical ideas concerning the good life and recent research in positive psychology, Teschers argues in favour of shifting the focus in education and schooling towards a beautiful life and an art of living for (...) today's students. Containing a thorough discussion of the ideas of contemporary German philosopher Wilhelm Schmid, this book considers the possible implications of developing a more humanistic and life-centred approach to educational policy, research and practice, showing that Schmid's concept of Lebenskunst provides a firm philosophical basis for this endeavour. Among others, this book draws on analytical and continental traditions to challenge current views and assumptions in regard to education and the role of schooling for contemporary societies. As a result, Teschers' work is sure to spark a debate about the direction of educational policy and practice in the 21st century. Education and Schmid's Art of Living is essential reading for academics and students with an interest in education. Given the importance of such topics as the relationship between education and society, teacher education and how best to structure schools and learning environments, Teschers' work will appeal to academics and students in a diverse range of fields, including education, philosophy, sociology and psychology. (shrink)

"All life upon the stage"; the Theatrum Mundi. In this volume, a seventeenth century metaphor is revisited and is seen as applying to all art in all times. In the "magic mirror of art" the human being discerns the hidden spheres of human life and commemorates and celebrates its glorious victories and mourns its ignominious defeats. Let us rediscover Art as a witness to the human predicament as well as a celebrant of humanity's most sublime moments. This is (...) the invitation of this collection of studies by A-T. Tymieniecka, Hanna Scolnicov, Muella Erkilic, Matt Landrus, Patricia Trutty-Coohill, Monika Bakke, David Brubaker, Tammy Knipp, Howard Pearce, Ellen J. Burns, G. Backhaus, Ethan J. Leib, Lawrence Kimmel, Ingrid Scheibler, Gottfried Scholz, L.F. Werth, A. Carillo, M. Statkiewicz, K. O'Rourke, B. Meyler, H. Meltzer, Jiuan Heng, W.V. Davies. Art as mirror of life, human life as participating in a stage play, corresponds to the fervent search human being of the causes, reasons, puzzles of our existence which elude us in the concrete life. This XVII c. conception of Theatrum Mundi opens as this volume shows a fascinating field of investigation for our times. (shrink)

A multi-media artist and noted musician explores the value of improvisation in art, work, and relationships, illustrating his insights with personal experiences and quotes from great thinkers, past and present.

The Art of Living Consciously Is an Operating Manual for Our Basic Tool of Survival In The Art of Living Consciously, Dr. Nathaniel Branden, our foremost authority on self-esteem, takes us into new territory, exploring the actions of our minds when they are operating as our life and well-being require -- and also when they are not. No other book illuminates so clearly what true mindfulness means: * In the workplace * In the arena of romantic love * In (...) child-rearing * In the pursuit of personal development Today we are exposed to an unprecedented amount of information and an unprecedented number of opinions about every conceivable aspect of life. We are thrown on our own resources as never before -- and we have nothing to protect us but the clarity of our thinking. In The Art of Living Consciously, Branden gives us the tools with which to draw out the best within us. (shrink)

Although the creative impulse surges in revolt against everyday reality, breaking through its confines, it makes pacts with that reality’s essential laws and returns to it to modulate its sense. In fact, it is through praxis that imagination and artistic inventiveness transmute the vital concerns of life, giving them human measure. But at the same time art’s inspiration imbues life with aesthetic sense, which lifts human experience to the spiritual. Within these two perspectives art launches messages of specifically (...) human inner propulsions, strivings, ideals, nostalgia, yearnings prosaic and poetic, profane and sacral, practical and ideal, while standing at the fragile borderline of everydayness and imaginative adventure. Art’s creative perduring constructs are intentional marks of the aesthetic significance attributed to the flux of human life and reflect the human quest for repose. They mediate communication and participation in spirit and sustain the relative continuity of culture and history. (shrink)

In Foucault’s writing throughout the 1960s, in which he foregrounds the critical function of language and signification, works of art and literature – and works of avant-garde art and literature in particular – appear prominently and are the objects of sustained theoretical investment. In the 1970s, however, as Foucault moves away from his earlier concern with language’s capacity to dissolve “man” and begins to concentrate instead on the ways in which man is governed, works of art and literature no longer (...) possess the same political promise for him and drop out almost completely from his writing. Yet the question of aesthetics does not disappear for him entirely, and, in his final years, he returns to it, though with his analysis now directed at what he calls an “art” or “aesthetics of life.” In this paper, I examine these developments with the aim of drawing out the connections between Foucault’s changing view of aesthetics and the larger transformations that take shape within his overall project. Against this background, I argue that Foucault’s call for an art of life, in which the individual develops techniques for continually reinventing his or her existence, does not necessitate abandoning the avant-garde aesthetic practices that he had previously advocated. Rather, I assert, his conception of an art of life – when read in conjunction with his theorization of critique as a “permanent” questioning of the limits imposed on us – offers a new framework for reimagining both the function of those practices and their legacies in culture today. (shrink)

RésuméLes articles de ce volume célèbrent le travail de Steven Burns. Des versions de ces articles ont été présentées à l'origine lors de deux séances organisées en l'honneur de Burns lors de la réunion 2022 de l'Association régionale des philosophes de l'Atlantique (ARPA), tenue à l'Université Dalhousie à Halifax. Cette introduction présente une brève biographie universitaire et résume chacune des contributions. Les articles, rédigés par Michael Hymers, Robbie Moser et Darren Bifford, Alice MacLachlan, Jason Holt et Warren Heiti, abordent des (...) thèmes éternels en philosophie, tels que la connaissance de soi, l'attention, l'amitié, l'interprétation et le jugement. Le recueil se termine par quelques derniers mots de Burns lui-même. (shrink)

In conventional medicine, healing is effected mainly by treating the symptoms of the physical body disease, while in mind?body medicine the cure is performed by the mind itself (thoughts and emotions). In fact, the holographic mind theory claims that the mind could be either the healer or the slayer. Thus, this article is a contribution toward a more in-depth study of this theme of conventional medicine versus mind?body medicine, particularly to understand the gifts of quantum physics to life science (...) and the art of healing, so that we might find an integrative medicine model (a holistic approach to health) that could explain some ?incurable? diseases. (shrink)

How do the arts inform and cultivate our service to God? In this addition to an award-winning series, distinguished philosopher Bruce Ellis Benson rethinks what it means to be artistic. Rather than viewing art as practiced by the few, he recovers the ancient Christian idea of presenting ourselves to God as works of art, reenvisioning art as the very core of our being: God calls us to improvise as living works of art. Benson also examines the nature of liturgy and (...) connects art and liturgy in a new way. This book will appeal to philosophy, worship/liturgy, art, music, and theology students as well as readers interested in engaging issues of worship and aesthetics in a postmodern context, including Christian artists and worship leaders. (shrink)

The art of reading as a way of life: an introduction to Nietzsche's truth -- Experiments in creative reading: the Cambridge Nietzsche -- Nietzsche's passion in The gay science: an experiment in creative reading -- Nietzsche's book for all and none: the singularity of Thus spoke Zarathustra -- Ecce homo: Nietzsche's two natures -- Nietzsche's critical vortex: on the global tragedy of theoretical man.

The central aim of the present investigation is to shed light on Nietzsche’s understanding of happiness and a good life, starting from Nietzsche’s appropriation of Plato’s and Aristotle’s doctrine of a hierarchy of human beings and forms of life.

Perceptions are often merely regarded as the basic elements of knowledge. They have, however, a complex structure of their own and are far from being elementary. My paper will analyze two basic patterns of perception and some of the resulting medical implications. Most basically, all object perception is characterized by a mixture of knowledge and ignorance (Husserl). Perception essentially perceives with inner and outer horizons, brought about by the kinesthetic activity of the perceiving subject (Sartre). This first layer of perceptual (...) reality, the world of open perceptions, is the inescapable background for every rationality, every value, every existence (Merleau-Ponty). On an epistemological level a characteristic change of perceptual patterns in medicine was introduced by pathological anatomy (Foucault). The reference of medical perception to the dead body created the new possibility of absolute perception, allowing for more precise medical interventions, but at the same time coming into conflict with the open structures of ordinary, non-scientific perception patterns in everyday life. On the basis of these distinctions, an analysis of the different perceptual patterns in medicine becomes possible. Such an analysis would be the task of a sub-field in medical philosophy that could be called medical aesthetics having as its goal an art of perception understood as a technique of adequately applying different perceptual patterns in medical practice. (shrink)