A Philosophy Of The Essay

"For millennia, idleness and laziness have been regarded as vices. We're all expected to work to survive and get ahead, and devoting energy to anything but labor and self-improvement can seem like a luxury or a moral failure. Far from questioning this conventional wisdom, modern philosophers have worked hard to develop new reasons to denigrate idleness. In Idleness, the first book to challenge modern philosophy's portrayal of inactivity, Brian O'Connor argues that the case against an indifference to work and effort is flawed--and that idle aimlessness may instead allow for the highest form of freedom. Idleness explores how some of the most influential modern philosophers drew a direct connection between making the most of our humanity and avoiding laziness. Idleness was dismissed as contrary to the need people have to become autonomous and make whole, integrated beings of themselves (Kant); to be useful (Kant and Hegel); to accept communal norms (Hegel); to contribute to the social good by working (Marx); and to avoid boredom (Schopenhauer and de Beauvoir). O'Connor throws doubt on all these arguments, presenting a sympathetic vision of the inactive and unserious that draws on more productive ideas about idleness, from ancient Greece through Robert Burton's Anatomy of Melancholy, Schiller and Marcuse's thoughts about the importance of play, and recent critiques of the cult of work. A thought-provoking reconsideration of productivity for the twenty-first century, Idleness shows that, from now on, no theory of what it means to have a free mind can exclude idleness from the conversation."--Provided by publisher

It’s a platitude – which only a philosopher would dream of denying – that whereas words are connected to what they represent merely by arbitrary conventions, pictures are connected to what they represent by resemblance. The most important difference between my portrait and my name, for example, is that whereas my portrait and I are connected by my portrait’s resemblance to me, my name and I are connected merely by an arbitrary convention. The first aim of this book is to defend this platitude from the apparently compelling objections raised against it, by analysing depiction in a way which reveals how it is mediated by resemblance. It’s natural to contrast the platitude that depiction is mediated by resemblance, which emphasises the differences between depictive and descriptive representation, with an extremely close analogy between depiction and description, which emphasises the similarities between depictive and descriptive representation. Whereas the platitude emphasises that the connection between my portrait and me is natural in a way the connection between my name and me is not, the analogy emphasises the contingency of the connection between my portrait and me. Nevertheless, the second aim of this book is to defend an extremely close analogy between depiction and description. The strategy of the book is to argue that the apparently compelling objections raised against the platitude that depiction is mediated by resemblance are manifestations of more general problems, which are familiar from the philosophy of language. These problems, it argues, can be resolved by answers analogous to their counterparts in the philosophy of language, without rejecting the platitude. So the combination of the platitude that depiction is mediated by resemblance with a close analogy between depiction and description turns out to be a compelling theory of depiction, which combines the virtues of common sense with the insights of its detractors.

Andr Cossette's Humanism and Libraries is a concise but rigorous investigation into the foundations of librarianship-its definition and its aims. Philosophical and logical in its approach, it is intended to provide solid ground and unity for professional practice. Though the work was originally published in French in 1976 in Quebec by ASTED, Library Juice Press has found it to have enduring relevance and value, and has therefore made this English translation. The book includes a preface that makes the case for reading a work from the 1970s on library philosophy, and a set of "questions for reflection" following the text.

Writing Philosophy: A Student's Guide to Reading and Writing Philosophy Essays, Second Edition, is a concise, self-guided manual that covers how to read philosophy and the basics of argumentative essay writing. It encourages students to master fundamental skills quickly--with minimal instructor input--and provides step-by-step instructions for each phase of the writing process, from formulating a thesis, to creating an outline, to writing a final draft, supplementing this tutorial approach with model essays, outlines, introductions, and conclusions. Writing Philosophy is just $5 when packaged with any Oxford University Press Philosophy text. Contact your Oxford representative for details and package ISBNs.

This is the long-awaited publication of a set of writings by the British philosopher, historian, and archaeologist R.G. Collingwood on critical, anthropological, and cultural themes only hinted at in his previously available work. At the centre of the book are six chapters of a study of folktale and magic, composed by Collingwood in the mid-1930s and intended for development into a book. Here Collingwood applies the principles of his philosophy of history to problems in thelong-term evolution of human society and culture. This is preceded, in Part I, by a range of contextualizing material on such topics as the relations between music and poetry, the nature of language, the value of Jane Austen's novels, the philosophy of art, and the relations between aesthetic theory andartistic practice. Part III of the volume consists of two essays, one on the relationship between art and mechanized civilization, and the second, written in 1931, on the collapse of human values and civilization leading up to the catastrophe of armed conflict. These offer a devastating analysis of the consequences that attend the desertion of liberal principles, indeed of all politics as such, in the ultimate self-annihilation of military conquest.The volume opens with three substantial introductory essays by the editors, authorities in the fields of critical and literary history, social and cultural anthropology, and the philosophy of history and the history of ideas; they provide their explanatory and contextual notes to guide the reader through the texts. The Philosophy of Enchantment brings hitherto unrecognized areas of Collingwood's achievement to light, and demonstrates the broad range of Collingwood's intellectualengagements, their integration, and their relevance to current areas of debate in the fields of philosophy, cultural studies, social and literary history, and anthropology.

Preface Sources 1 Death 2 The absurd 3 Moral luck 4 Sexual perversion 5 War and massacre 6 Ruthlessness in public life 7 The policy of preference 8 Equality 9 The fragmentation of value 10 Ethics without biology 11 Brain bisection and the unity of consciousness 12 What is it like to be a bat? 13 Panpsychism 14 Subjective and objective Index.

The late 20th century saw great movement in the philosophy of language, often critical of the fathers of the subject--Gottlieb Frege and Bertrand Russell--but sometimes supportive of (or even defensive about) the work of the fathers. Howard Wettstein's sympathies lie with the critics. But he says that they have often misconceived their critical project, treating it in ways that are technically focused and that miss the deeper implications of their revolutionary challenge. Wettstein argues that Wittgenstein--a figure with whom the critics of Frege and Russell are typically unsympathetic--laid the foundation for much of what is really revolutionary in this late 20th century movement. The subject itself should be of great interest, since philosophy of language has functioned as a kind of foundation for much of 20th century philosophy. But in fact it remains a subject for specialists, since the ideas are difficult and the mode of presentation is often fairly technical. In this book, Wettstein brings the non-specialist into the conversation (especially in early chapters); he also reconceives the debate in a way that avoids technical formulation. The Magic Prism is intended for professional philosophers, graduate students, and upper division undergraduates.