Roy Perrett

Questions about the meaning of life have traditionally been regarded as being of particular concern to philosophers. It is sometimes complained that contemporary analytic philosophy fails to address such questions, but there do exist illuminating recent discussions of these questions by analytic philosophers.1Perhaps what lurks behind the complaint is a feeling that these discussions are insufficiently close to actual living situations and hence often seem rather thin and bland compared with the vivid portrayals of such situations in autobiography or fiction. I therefore want to focus on two works by Tolstoy—one autobiographical, one fictional—and try to see what philosophical lessons can be learned from them, particularly with regard to questions about the relation of death to the meaning of life.

There is an apparent tension between two familiar platitudes about the meaning of life: (i) that 'meaning' in this context means 'value', and (ii) that such meaning might be ineffable. I suggest a way of trying to bring these two claims together by focusing on an ideal of a meaningful life that fuses both the axiological and semantic senses of 'significant'. This in turn allows for the possibility that the full significance of a life might be ineffable not because its axiological significance is ineffable, but because its semantic significance is ineffable in virtue of the signification relation itself being unsignifiable. I then explore to what degree this claim about signification can be adequately defended

Our present actions can have effects on future generations - affecting not only the environment they will inherit, but even perhaps their very existence. This raises a number of important moral issues, many of which have only recently received serious philosophical attention. I begin by discussing some contemporary Western philosophical perspectives on the problem of our obligations to future generations, and then go on to consider how these approaches might relate to the classical Indian philosophical tradition. Although the Indian commitment to pre-existence and rebirth precludes the arising of the Non-Identity Problem, this does not mean that there is not still a problem about justifying our obligations to future generations. The Indian Non-Reductionists about personal identity have difficulties with this that are comparable to the difficulties of their Western counterparts, but the Indian Buddhist Reductionists offer some provocative arguments for impartiality and the rationality of altruism.

Traditional Western conceptions of immortality characteristically presume that we come into existence at a particular time , live out our earthly span and then die. According to some, our death may then be followed by a deathless post-mortem existence. In other words, it is assumed that we are born only once and die only once; and that – at least on some accounts – we are future-sempiternal creatures. The Western secular tradition affirms at least ; the Western religious tradition – Christianity, Judaism, Islam – generally affirms both and . The Indian tradition, however, typically denies both and . That is, it maintains both that we all have pre-existed beginninglessly, and that we have lived many times before and must live many times again in this world. The Indian picture, then, is that we have died and been reborn innumerable times previous to this life and we will be reborn many times in the future. This is sometimes called the Indian belief in reincarnation. The difficulty with this usage is that the term ‘reincarnation’ suggests a belief in an immortal soul that transmigrates or reincarnates. However Buddhism, while affirming rebirth, specifically denies the existence of an eternal soul. Thus the term ‘rebirth’ is preferable for referring to the generally espoused Indian doctrine

This anthology examines Love's Labours Lost from a variety of perspectives and through a wide range of materials. Selections discuss the play in terms of historical context, dating, and sources; character analysis; comic elements and verbal conceits; evidence of authorship; performance analysis; and feminist interpretations. Alongside theater reviews, production photographs, and critical commentary, the volume also includes essays written by practicing theater artists who have worked on the play. An index by name, literary work, and concept rounds out this valuable resource.