Christopher Janaway

This series of lectures was originally scheduled to include a talk on Schopenhauer by Patrick Gardiner. Sadly, Patrick died during the summer, and I was asked to stand in. Patrick must, I am sure, have been glad to see this series of talks on German Philosophy being put on by the Royal Institute, and he, probably more than anyone on the list, deserves to have been a part of it. Patrick Gardiner taught and wrote with unfailing integrity and quiet refinement in the Oxford of the 1950s, '60s, '70s and '80s, when the changing fashions in philosophy, and Oxford philosophy in particular, were quite remote from his own central interests. He went his own way, radically but quite undemonstratively. His book on Schopenhauer, originally published in 1963, was a beacon in the night as far as English-language publications on that philosopher are concerned. It is still a leader in the field, and I am pleased to say it has been re-issued just this year after being out of print for too long. Patrick worked in aesthetics, on Kant, and on the German Idealists, showing an expertise and a fondness for Fichte which now seem well ahead of their time. He also contributed well known books on Kierkegaard and on the philosophy of history. I am honoured to be invited as Patrick's replacement. He was a true pioneer, whom all of us working in these several fields that have now grown more fashionable and more populated should pause to salute

The article argues against various proposals to treat the term 'beauty' as standing for a single, generic concept of aesthetic value, which has application both to natural objects and to art. It argues that in Kant's aesthetic theory 'beauty' must be treated as ambiguous because in the case of art, but not in that of nature, part of beauty is the expession of aesthetic ideas. This gives rise to the dilemma: either beauty is always the ultimate aesthetic value of any thing, in which case there is no single account of beauty to be had that covers both art and nature, or being beautiful is the same for both art and nature, but must constitute only part of the aesthetic value of art. It is argued that certain late twentieth century theories of beauty do not overcome this problem.

Schopenhauer defends the view that emotions impair cognition, while Nietzsche apparently replies that they are ineliminable from cognition, and that they enhance it. Schopenhauer argues that human individuals are naturally disposed to comprehend their environment in affective terms. At the same time, his evaluative position concerning this relation is negative: cognition is spoiled, warped, or tainted by its inability to shake off the emotions, desires, or drives that belong to human nature. Human individuals are not cut out for cognition proper, unless they become ‘pure subject of cognition’ in aesthetic experience, or in total self-negation of the will. Nietzsche accepts something analogous to Schopenhauer’s descriptive position: the self is a complex of drives and it is primarily these drives and their associated affects that interpret the world. But he firmly rejects Schopenhauer’s evaluative stance. He denies the possibility of a pure, objective, affect-free cognition. Nietzsche argues for a reversal of Schopenhauer’s evaluative stance: cognition is improved by affect, and by multiplying affects. This is a key point in Nietzsche’s so-called perspectivism im Genealogy III, 12. The view that Nietzsche regards affects as necessary for cognition has been challenged as either trivial or implausible by recent commentators. The essay addresses these challenges, arguing that it is quite plausible for Nietzsche to be holding such a view, and that it can be construed in ways that make it a more attractive view in itself.

With the publication of the 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', the 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 his 'Aphorisms on the Wisdom of Life', reflections on fate and clairvoyance, trenchant views on the philosophers and universities of his day, and an enlightening survey of the history of philosophy. 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.

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.

This original new book argues for a reassessment of Plato's challenge to the arts. Plato was the first great figure in Western philosophy to assess the value of the arts; he argued in the Republic that traditionally accepted forms of poetry, drama, and music are unsound. While this view has been widely rejected, Janaway argues that Plato's hostile case is a more coherent and profound challenge to the arts than has sometimes been supposed. Denying that Plato advocates "good art" in any modern sense, Janaway seeks both to understand Plato's critique in the context of his own philosophy and to locate him in today's philosophy of art, showing how issues in aesthetics arise from responses to his charges.

Arthur Schopenhauer is something of a maverick figure in the history of philosophy. He produced a unique theory of the world and human existence based upon his notion of will. This collection analyses the related but distinct components of will from the point of view of epistemology, metaphysics, philosophy of mind, aesthetics, ethics, and the philosophy of psychoanalysis. This volume explores Schopenhauer's philosophy of death, his relationship to the philosophy of Kant, his use of ideas drawn from both Buddhism and Hinduism, and the important influence he exerted on Nietzsche, Freud, and Wittgenstein.

Nietzsche's aims and targets -- Reading Nietzsche's preface -- Naturalism and genealogy -- Selflessness : the struggle with Schopenhauer -- Nietzsche and Paul Rée on the origins of moral feelings -- Good and evil : affect, artistry, and revaluation -- Free will, autonomy, and the sovereign individual -- Guilt, bad conscience, and self-punishment -- Will to power in the Genealogy -- Nietzsche's illustration of the art of exegesis -- Disinterestedness and objectivity -- Perspectival knowing and the affects -- The ascetic ideal, meaning, and truth -- Beyond selflessness.

Schopenhauer is considered to be the most readable of German philosophers. This book gives a succinct explanation of his metaphysical system, concentrating on the original aspects of his thought, which inspired many artists and thinkers including Nietzsche, Wagner, Freud, and Wittgenstein. Schopenhauer's central notion is that of the will--a blind, irrational force that he uses to interpret both the human mind and the whole of nature. Seeing human behavior as that of a natural organism governed by the will to life, Schopenhauer developed radical insights concerning the unconscious and sexuality which influenced both psychologists and philosophers.

In On What Matters, Derek Parfit argues that Nietzsche does not disagree with central normative beliefs that ‘we’ hold. Such disagreement would threaten Parfit’s claim that normative beliefs are known by intuition. However, Nietzsche defends a conception of well-being that challenges Parfit’s normative claim that suffering is bad in itself for the sufferer. Nietzsche recognizes the phenomenon of ‘growth through suffering’ as essential to well-being. Hence, removal of all suffering would lead to diminished well-being. Parfit claims that if Nietzsche understood normative concepts in Parfit’s objectivist sense, he would not disagree with the claim that suffering is bad in itself – that intrinsic facts about suffering count in favour of our not wanting it. I argue that Nietzsche would disagree. Suffering for Nietzsche is not merely instrumentally necessary for psychological growth, nor is it easy to construe it as something bad in itself that contributes value as part of a good whole. Suffering that can be given meaning through growth is something we have reason to want. Suffering that remains brute and uninterpreted is something we have reason not to want. But for Nietzsche, suffering as such has no invariant value across all contexts.

Nietzsche is well known for stating that there is 'only a perspectival "knowing"'. What has been less remarked is the extent to which he thereby stands in radical opposition to a common philosophical position concerning the relationship between knowledge and the affects. This article argues that in Genealogy III: 12 Nietzsche makes the following two claims: (1) That it is impossible for there to be any knowing that is free of all affects, and (2) That multiplying different affects always improves knowing. The article examines the plausibility of this reading of Nietzsche, and its links with the his treatment of drives, freedom and self.

Nietzsche is concerned with what he calls ‘affirmation of life’, or ‘saying Yes to life’. This article examines attitudes or processes that Nietzsche describes as ‘affirmation’ or ‘Yes-saying’ (Bejahung, Jasagen). Nietzsche often speaks of something other than an individual as the locus of affirmation. Surveying Nietzsche’s uses from the period of Daybreak onwards, we find Bejahung, Jasagen and cognates with a variety of grammatical subjects, referring to human individuals, cultural products and practices such as art forms and value-systems, and sub-personal items such as instincts and drives. This raises the question how he conceives the attitude or process of ‘Yes-saying’. Taking a distinction made by Ken Gemes, between ‘naïve affirmation’ and ‘reflective affirmation’, the article argues that Nietzsche gives priority to affirmation that is the direct expression of instincts or drives in action. However, many drives or instincts are culturally acquired, for Nietzsche. Dispositions to action, feeling and thought can become drives or instincts through cultural transmission, and operate outside conscious control to influence culture in turn. The notion that a drive ‘in us’ says Yes to life and the notion that a surrounding culture says Yes to life do not conflict but are two sides of the same coin.

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.

Plato's writings about the arts play a foundational role in the history of aesthetics, not simply because they are the earliest substantial contribution to the subject. The arts are a central, rather than a marginal topic for Plato, and for him the whole of culture must reflect and inculcate the values that concern him. His philosophy of art (as we would call it) is closely integrated with his metaphysics, ethics and politics. We shall examine in outline the major issues that a reading of Plato is likely to raise for modern aesthetics.

In their recent book The Soul of Nietzsche’s Beyond Good and Evil, Maudemarie Clark and David Dudrick claim that Nietzsche takes Plato’s theory of the soul to be ‘a hypothesis, which his own psychology is an attempt to refine’. This essay accepts that claim, but argues for a more streamlined account of the relation between Nietzsche and Plato than Clark and Dudrick give. There is no justification for their suggestion that Nietzsche diagnoses an ‘atomistic need’ as responsible for what he objects to in Plato’s model. The claim that ‘reason’ is a motivationally inert set of cognitive capacities is not necessarily a point of disagreement with Plato. Nietzsche’s psychology does not require a generalized ‘will to value’ as a counterpart to the will to truth. Clark and Dudrick fail to recognize the Platonic soul-elements as drives, and that the element which for Plato should govern in the best of souls can be interpreted as closely analogous to Nietzsche’s will to truth

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.

Against the claim that Nietzsche’s early and late views on confronting the truth about human existence differ widely, this article argues that in The Birth of Tragedy tragic art is affirmative of life and not limited to beautifying illusion, while later works still contain the idea that artistic production of beauty is a falsification necessary to make existence bearable for us. Nietzsche did not start with the view that art’s value lies in sheer illusion, nor end with the view that truth should be confronted wholly without illusion, but is ambivalent on this issue throughout