Gadamer, Schopenhauer, aesthetics

No constituye novedad alguna el hecho de que Schopenhauer trazó profundas conexiones entre el dominio ético y el estético respectivamente. Este aspecto no ha pasado desapercibido para sus comentaristas contemporáneos. Sin embargo, se ha fallado en reparar una conexión particular: la que une su teoría estética con su concepción del carácter adquirido. Robert Wicks posee el mérito de haber reparado en ello. Por esta razón, y tomando como punto de partida la interpretación de este autor, se intentará reflexionar  aquí sobre la mentada conexión. Dicha interpretación, con todo, es problemática y está sujeta a crítica. El objetivo de este trabajo es explicitar tales críticas y evaluar, finalmente, la plausibilidad de la propuesta de Wicks.

In der modernen Forschung zu Schopenhauer rücken methodologische und systematische Fragen immer mehr in den Vordergrund, mit besonderem Fokus auf perspektivistische und hermeneutische Momente seiner Philosophie. Michał Dobrzański geht in seinen Untersuchungen einem Problem nach, welches eine wichtige Grundlage für solche Deutungen verschafft – Schopenhauers Begriffslehre. In dem Buch wird sie aus zerstreuten Aussagen des Philosophen rekonstruiert, ausgewertet und dann um die Erörterung seines Philosophiekonzepts ergänzt. Dies bildet die Grundlage zur anschließenden vielseitigen Untersuchung von jenen Aspekten seiner Philosophie, in denen die Thesen seiner Begriffslehre besonders zum Tragen kommen. Spezieller Druck wird hier auf Schopenhauers Methode gelegt, zu deren vollem Bild sein rekonstruiertes Begriffsverständnis einen gehaltvollen Beitrag leistet.

Ongoing discussion of this paper here: https://www.academia.edu/s/cf13d33860?source=link
Philosophy – whether traditional or contemporary – has nothing to say about the human metaphysical predicament, and cannot even offer a basic phenomenology of the human condition. Part of the problem is the ongoing confusion as to what philosophy actually amounts to, and what it can achieve. It is necessary to demystify philosophy, and have it restricted to the discipline of critical thinking, and it should not be thought of as possessing any substantial theoretical content of its own. It is a method, a skillset, a series of techniques, not a repository of various highbrow theories, whether about mind, epistemology, ontology, cosmology, science, or anything else. Metaphysics is an entirely distinct and separate field of inquiry, and concerns the human predicament, and ultimate human fulfilment, and it is to this end that critical thinking skills can usefully be applied. The purpose of this short study is to give some help to those hoping to gain an insight into the metaphysical realms of their being, and who would like some guidance with regard to those formal and academic disciplines supposedly geared to dealing with that very subject.

This is a re-edited version of the original article on Schopenhauer's philosophy published in the 'Westminster Review' in 1853. The author of 'Iconoclasm in German Philosophy' has read a number of works by Arthur Schopenhauer - listed at the top of the article - which has enabled him to appreciate the Weltanschuung of this philosophical author. The article is an excellent achievement in encapsulating the complex thought of a deep thinker in effective English prose. The article is famous for the fact that it was single-handedly responsible for kickstarting the appreciation of Schopenhauer's philosophy in the United Kingdom, at a time when he had already become famous in Germany. Interestingly though, it took forty years for Schopenhauer (1788-1860) to gain fame in his own country and only during the last decade of his life did he become a widely appreciated author. In his own view this was because his own philosophy was at odds with the reigning philosophy of his day - Hegelianism - and he was never ready to dilute or deform his own thought-system in order to conform with the 'State Philosophy', as he called it. This article is an eye-opener and it should be borne in mind that Schopenhauer was a great Anglophile - he had attended public school in England (albeit briefly), read the English newspapers daily and held up as the finest master of prose the philosopher David Hume - and English fame was something that was a great honour for him.

La modernidad buscó desde su origen encontrar un estilo de expresión que se adaptara a su peculiar mezcla de individualidad, racionaidad y certidumbre. Gadamer aborda esa búsqueda moderna al revisar formas expresivas de los siglos XIX y XX, delimitándolas ante el "estilo oscuro" y el fragmentario, entre otras disposiciones discursivas. En este artículo se refieren las posiciones de Gadamer a la vista del recorrido largo de la modernidad dentro de la problematización del estilo y el discurso.

In the light of recent philosophy determined by critics on absolute truth,
Gadamerian philosophical hermeneutics that points out different possibilities
becomes very important. Gadamer’s approach which takes attention to the
fusion of horizons by a long way off seeking for method and claim for absolute
truth, provides that philosophical hermeneutics has taken part in today’s
philosophical discussions without breaking the connection with modern
epistemology. And Nietzsche’s effect on this approach is such significant, that
points out impossibility of seeing something without a perspective or viewpoint
of interpretation. According to this connection, the aim of this study is to focus
on Gadamer’s hermeneutics and to show Nietzsche’s effect on Gadamer’s
approach.

In several philosophical traditions, play is supposed to express a (methodological, ontological) state of non-foundedness by means of which foundational, metaphysical ways of thinking are reviewed or overcome. I retrace the philosophical function of play in the hermeneutic tradition as it has been developed by Ast, Boeckh, Schleiermacher, Dilthey, Heidegger, and Gadamer. I also refer to important parallels in Derrida and Wittgenstein. Those philosophers identify 'play' as a sort of 'style' that is not necessarily empirically present, but which can still be 'seen.' I contrast this intellectual model with Gehlen's anthropology of games. Play as an 'absent' (stylistic) concept is compared to the idea of the 'absent structure' in structuralism.

Das Lexikon stellt Arthur Schopenhauers Werk vor und erläutert die Grundbegriffe seiner Philosophie. Es bietet 200 Einträge von 76 Autorinnen und Autoren aus 18 Ländern. Der Überblick über Werke und zentrale Begriffe wird durch eine Darstellung der Wirkungsgeschichte abgerundet. Das Schopenhauer-Lexikon kann als vollständige Einführung gelesen oder als Nachschlagewerk verwendet werden.

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