Christopher Janaway

This book brings together fourteen of the author’s essays on the philosophy of Schopenhauer and Nietzsche, all but one previously published in journals or scholarly collections. They illuminate central philosophical issues in Nietzsche and Schopenhauer—the death of God, the meaning of existence, suffering, compassion, the will, Christian values, the affirmation or negation of life. Some of the essays concern Schopenhauer in his own right, focusing on his concept of will to life, an underlying drive which constitutes our inner essence, but which traps us in self-centred desire, a wrong identification of our true self with the human individual, an egoistic conception of the good, conflict with other beings, and an existence pervaded by suffering. Opposed to the will to life stands everything of real value: art, morality, and the kind of redemption from suffering recognized by mystics from several of the world’s religions. Other essays discuss Nietzsche’s critical responses to Schopenhauer, and his own challenging views on related topics. For Nietzsche, morality is a questionable phenomenon and egoism is wrongly maligned; suffering is an enhancement of life, and the attempt to eliminate it is impoverishing; art is full, not drained, of willing; the world religions and the whole idea of being saved from our life are symptoms of a malaise from which modern culture has somehow to recover. The book also features discussions of the reception of Schopenhauer by two contemporaries of Nietzsche, Richard Wagner and the analyst of pessimism, Olga Plümacher.

In response to Michael Wreen, 'Once is Not Enough?' (British Journal of Aesthetics 1990), this article argues that the short story by Jorge Luis Borges, 'Pierre Menard, Author of the Quixote' supports Arthur Danto's account of the individuation of art works, according to which two verbally identical compositions can be two distinct works. Wreen argues that the Menard story is a case of copying. But the story is one of intentional coincidence of texts, not copying. Hence Wreen lacks a convincing case for denying that the the text of Borges' Menard constitutes a work distinct from Cervantes' Don Quixote.

The article argues that Schopenhauer seeks to defend art against Plato's critique, but that he does so by adopting two distinct strategies that to some extent conflect: a 'cognitivist strategy' according to which art provides the most objective knowledge of reality, and an 'aesthetic experience' strategy, in which there is a peculiarly aesthetic state of mind which gives our pleasure in art a value of its own. The truly unifying notion in Schopenhauer's aesthetic theory is that of tranquil, will-less contemplation, a state of non-identification with the striving, suffering, bodily individual that one is. The Ideas testify to the endurance of Schopenhauer's early Platonic ambitions, but they do not really produce a convincing theory. At one end of the spectrum, the Ideas are otiose: pleasure is in the tranquility of contemplation, which may well be of an empirical object. At the other end of the spectrum, apprehension of the Ideas serves an all-important cognitive function, but our pleasure cannot stem from our knowing the horrifying Idea of humanity per se. Rather, the key to the satisfaction we take in tragedy is, in Schopenhauer's account, the will-lessness of sublime resignation in face of the Idea.

The essay draws attention to some of the different uses made of Schopenhauer throughout Nietzsche's writings. Different roles for Schopenhauer coexist at all stages of Nietzsche's writing. He functions as an exemplar for European culture, but at the same time Nietzsche can find serious fault with his philosophical doctrines, as he does in early unpublished notes. In later writings Schopenhauer is assigned the role of Nietzsche's antipode, but even then Schopenhauer is paid the compliment of being Nietzsche's great and only teacher. The essay includes a commentary on Genealogy III:12 in which Nietzsche's conception of 'perspectival knowledge' is anti-Schopenhauerian, but can only be seen for what it is once an underlying Schopenhauerian structure is made explicit.

The article argues for the following interpretation of Plato's dialogue Ion. (1) the dialogue is designed primarily to refute Ion's claims to knowledge in his discourse about Homer—i.e. in his role as critic or eulogist of Homer; (2) as regards the rhapsode as performer and as regards the poet, it is especially the fineness of their output that cannot be explained by way of techne; and (3) Plato genuinely assumes the existence of poetic and rhapsodic technai. Points (2) and (3) are compatible. It is merely that excercising a techne is not the basis of artistic success (as we would now call it). The article argues that this reading gives the dialogue greater unity and philosophical plausibility than readings that deny any techne at all to either rhapsode or poet.

In this paper I juxtapose two well-known thought-experiments concerning duplicate art works, and point out that they appear to have directly conflicting results. I then make a proposal as to how to reconcile the two cases. The two cases are Borges' story of Pierre Menard, in which a text coinciding exactly with Cervantes' Don Quixote is nonetheless a distinct work from it, and Nelson Goodman's claim that a musical work cannot be forged, because anything complying with a work's notation is that work (or a performance of it), not anything distinct. Both claims seem correct, but how can they be reconciled? I suggest two factors that must be present for two indistinguishable works to be numerically distinct: divergent causal histories and distinct 'privileged interpretational instructions'. Notational equivalence of W and W1 plus the instruction to interpret W as W1 leads to the impossiblity of forgery. But in the absence of such instruction, W and W1 can constitute distinct works.

The paper argues on the basis of internal textual evidence that Nietzsche's statement that Essay 3 of On the Genealogy of Morality illustrates an aphorism has hitherto been misinterpreted. The aphorism in question is Section 1 of Essay 3 (which was in fact inserted a late stage of publication); the remainder of Essay 3 is the commentary on it. Those interpreters who have taken the short epigram concerning 'wisdom as a woman' to be the aphorism on which Essay 3 is the commentary have invented theories concerning what Nietzsche means by 'intepretation' that are rendered unnecessary by locating the correct aphorism.

This flexible introductory textbook explores several key themes in philosophy, and helps the reader learn to engage with the key arguments by introducing and analysing a selection of classic readings. Fully integrated introductory text with readings for beginning students of philosophy. Each chapter focusses on a core philosophical topic, and contains an introduction to the topic, 2 classic readings and interactive commentaries on the readings. An introductory book which doesn't merely _tell_ the reader about the subject, but requires them to engage philosophically with the text. A pedagogical resource developed in the classroom by the authors at the University of London

With the publication of Parerga and Paralipomena in 1851, there finally came some measure of the fame that Schopenhauer thought was his due. Described by Schopenhauer himself as 'incomparably more popular than everything up till now', Parerga is a miscellany of essays addressing themes that complement his work The World as Will and Representation, along with more divergent, speculative pieces. It includes essays on method, logic, the intellect, Kant, pantheism, natural science, religion, education, and language. The present volume offers a new translation, a substantial introduction explaining the context of the essays, and extensive editorial notes on the different published versions of the work. This readable and scholarly edition will be an essential reference for those studying Schopenhauer, the history of philosophy, and nineteenth-century German philosophy.

Arthur Schopenhauer's The Two Fundamental Problems of Ethics consists of two groundbreaking essays: 'On the Freedom of the Will' and 'On the Basis of Morals'. The essays make original contributions to ethics and display Schopenhauer's erudition, prose-style and flair for philosophical controversy, as well as philosophical views that contrast sharply with the positions of both Kant and Nietzsche. Written accessibly, they do not presuppose the intricate metaphysics which Schopenhauer constructs elsewhere. This is the first English translation of these works to re-unite both essays in one volume. It offers a new translation by Christopher Janaway, together with an introduction, editorial notes on Schopenhauer's vocabulary and the different editions of his essays, a chronology of his life, a bibliography, and a glossary of names.

This volume of translations unites three shorter works by Arthur Schopenhauer that expand on themes from his book The World as Will and Representation. In On the Fourfold Root he takes the principle of sufficient reason, which states that nothing is without a reason why it is, and shows how it covers different forms of explanation or ground that previous philosophers have tended to confuse. Schopenhauer regarded this study, which he first wrote as his doctoral dissertation, as an essential preliminary to The World as Will. On Will in Nature examines contemporary scientific findings in search of corroboration of his thesis that processes in nature are all a species of striving towards ends; and On Vision and Colours defends an anti-Newtonian account of colour perception influenced by Goethe's famous colour theory. This is the first English edition to provide extensive editorial notes on the different published versions of these works.