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SCHOPENHAUER DIE WELT ALS WILLE UND VORSTELLUNG PDF

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Volltext von»Die Welt als Wille und Vorstellung«. Arthur Schopenhauer. Zürcher Ausgabe. Werke in zehn Bänden. Band 1, Zürich , S. 5. Download PDF Einleitung in Schopenhauers Welt als Wille und Vorstellung Schopenhauers Kunstund Musikphilosophie im dritten Buch der Welt als Wille. Arthur Schopenhauer: Die Welt als Wille und Vorstellung. [Arthur Schopenhauer: The World as Will and Representation]. Ed. by Hallich, Oliver / Koßler, Matthias.


Schopenhauer Die Welt Als Wille Und Vorstellung Pdf

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The style of “Die Welt als Wille und Vorstellung” is sometimes loose and Schopenhauer's ipsissima verba has accordingly been preferred. The World as Will and Representation is the central work of the German philosopher Arthur Original title, Die Welt als Wille und Vorstellung Although English publications about Schopenhauer played a role in the recognition of .. Einstein as a Philosopher of Science" (PDF), Physics Today, American Institute of Physics. Schopenhauer himself has stated that his philosophy is the natural . the French and Italian versions of Die Welt als Wille and Vorstellung. The word "idea".

Although the principle of sufficient reason might seem to be self-evident, it does yield surprising results. For example, we can appeal to this principle to argue that there can be no two individuals exactly alike, because there would otherwise be no sufficient reason why one of the individuals was in one place, while the other individual was in another.

The principle also supports the argument that the physical world was not created at any point in time, since there is no sufficient reason why it would be created at one point in time rather than another, since all points in time are qualitatively the same.

Schopenhauer observed as an elementary condition, that to employ the principle of sufficient reason, we must think about something specific that stands in need of explanation.

This indicated to him that at the root of our epistemological situation, we must assume the presence of a subject that thinks about some object to be explained.

From this, he concluded that the general root of the principle of sufficient reason is the distinction between subject and object that must be presupposed as a condition for the very enterprise of looking for explanations The Fourfold Root, Section 16 and as a condition for knowledge in general. Kant characterized the subjective pole of the distinction as the contentless transcendental unity of self-consciousness and the objective pole as the contentless transcendental object, that corresponds to the concept of an object in general CPR, A He associates material things with reasoning in terms of cause and effect; abstract concepts with reasoning in terms of logic; mathematical and geometrical constructions with reasoning in reference to numbers and spaces; and motivating forces with reasoning in reference to intentions, or what he calls moral reasoning.

In sum, he identifies the general root of the principle of sufficient reason as the subject-object distinction in conjunction with the thought of necessary connection, and the fourfold root of the principle of sufficient reason as the specification of four different kinds of objects for which we can seek explanations, in association with the four independent styles of necessary connection along which such explanations can be given, depending upon the different kinds of objects involved.

If we begin by choosing a certain style of explanation, then we immediately choose the kinds of object to which we can refer. Conversely, if we begin by choosing a certain kind of object to explain, we are obliged to use the style of reasoning associated with that kind of object.

It thus violates the rationality of explanation to confuse one kind of explanation with another kind of object. We cannot begin with a style of explanation that involves material objects and their associated cause-and-effect relationships, for example, and then argue to a conclusion that involves a different kind of object, such as an abstract concept.

Likewise, we cannot begin with abstract conceptual definitions and accordingly employ logical reasoning for the purposes of concluding our argumentation with assertions about things that exist. His frequent condemnation of German Idealism was advanced in light of what he considered to be sound philosophical reasons, despite his ad hominem attacks on Fichte, Schelling and Hegel.

Schulze, who authored in , a text entitled Aenesidemus, that contains a criticism of the Kantian philosopher, Karl Leonhard Reinhold — Schulze shares this criticism of Kant with F. Schopenhauer concurs that hypothesizing a thing-in-itself as the cause of our sensations amounts to a constitutive application and projection of the concept of causality beyond its legitimate scope, for according to Kant himself, the concept of causality only supplies knowledge when it is applied within the field of possible experience, and not outside of it.

Schopenhauer therefore denies that our sensations have an external cause in the sense that we can know there is some epistemologically inaccessible object — the thing-in-itself — that exists independently of our sensations and is the cause of them. Schopenhauer maintains instead that if we are to refer to the thing-in-itself, then we must come to an awareness of it, not by invoking the relationship of causality — a relationship where the cause and the effect are logically understood to be distinct objects or events since self-causation is a contradiction in terms — but through another means altogether.

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His position is that Will and representations are one and the same reality, regarded from different perspectives. They stand in relationship to each other in a way that compares to the relationship between a force and its manifestation e.

This is opposed to saying that the thing-in-itself causes our sensations, as if we were referring to one domino striking another. Schopenhauer further comprehends these three and for him, interdependent principles as expressions of a single principle, namely, the principle of sufficient reason, whose fourfold root he had examined in his doctoral dissertation.

In The World as Will and Representation, Schopenhauer often refers to an aspect of the principle of sufficient reason as the principle of individuation principium individuationis , linking the idea of individuation explicitly with space and time, but also implicitly with rationality, necessity, systematicity and determinism.

He uses the principle of sufficient reason and the principle of individuation as shorthand expressions for what Kant had more complexly referred to as space, time and the twelve categories of the understanding viz. For as one is a part of the universe as is everything else, the basic energies of the universe flow through oneself, as they flow through everything else. Among the most frequently-identified principles that are introspectively brought forth — and one that was the standard for German Idealist philosophers such as Fichte, Schelling and Hegel who were philosophizing within the Cartesian tradition — is the principle of self-consciousness.

With the belief that acts of self-consciousness exemplify a self-creative process akin to divine creation, and developing a logic that reflects the structure of self-consciousness, namely, the dialectical logic of position, opposition and reconciliation sometimes described as the logic of thesis, antithesis and synthesis , the German Idealists maintained that dialectical logic mirrors the structure not only of human productions, both individual and social, but the structure of reality as a whole, conceived of as a thinking substance or conceptually-structured-and-constituted entity.

As much as he opposes the traditional German Idealists in their metaphysical elevation of self-consciousness which he regards as too intellectualistic , Schopenhauer philosophizes within the spirit of this tradition, for he believes that the supreme principle of the universe is likewise apprehensible through introspection, and that we can understand the world as various manifestations of this general principle.

Having rejected the Kantian position that our sensations are caused by an unknowable object that exists independently of us, Schopenhauer notes importantly that our body — which is just one among the many objects in the world — is given to us in two different ways: we perceive our body as a physical object among other physical objects, subject to the natural laws that govern the movements of all physical objects, and we are aware of our body through our immediate awareness, as we each consciously inhabit our body, intentionally move it, and feel directly our pleasures, pains, and emotional states.

We can objectively perceive our hand as an external object, as a surgeon might perceive it during a medical operation, and we can also be subjectively aware of our hand as something we inhabit, as something we willfully move, and of which we can feel its inner muscular workings.

From this observation, Schopenhauer asserts that among all the objects in the universe, there is only one object, relative to each of us — namely, our physical body — that is given in two entirely different ways. It is given as representation i. One of his notable conclusions is that when we move our hand, this is not to be comprehended as a motivational act that first happens, and then causes the movement of our hand as an effect.

He maintains that the movement of our hand is but a single act — again, like the two sides of a coin — that has a subjective feeling of willing as one of its aspects, and the movement of the hand as the other. More generally, he adds that the action of the body is nothing but the act of Will objectified, that is, translated into perception.

At this point in his argumentation, Schopenhauer has established only that among his many ideas, or representations, only one of them viz. When he perceives the moon or a mountain, he does not under ordinary circumstances have any direct access to the metaphysical inside of such objects; they remain as representations that reveal to him only their objective side.

Schopenhauer asks, though, how he might understand the world as an integrated whole, or how he might render his entire field of perception more comprehensible, for as things stand, he can directly experience the inside of one of his representations, but of no others.

To answer this question, he uses the double-knowledge of his own body as the key to the inner being of every other natural phenomenon: he regards — as if he were trying to make the notion of universal empathy theoretically possible — every object in the world as being metaphysically double-aspected, and as having an inside or inner aspect of its own, just as his consciousness is the inner aspect of his own body.

This precipitates a position that characterizes the inner aspect of things, as far as we can describe it, as Will. Hence, Schopenhauer regards the world as a whole as having two sides: the world is Will and the world is representation. A subsequent, but often highlighted inspiration is from the Upanishads c.

Schopenhauer also probably met at the time, Julius Klaproth — , who was the editor of Das Asiatische Magazin. As the records of his library book withdrawals indicate, Schopenhauer began reading the Bhagavadgita in December or very soon thereafter, and the Upanishads in March Krause was not only a metaphysical panentheist see biographic segment above ; he was also an enthusiast of South Asian thought.

When anthropomorphically considered, the world is represented as being in a condition of eternal frustration, as it endlessly strives for nothing in particular, and as it goes essentially nowhere. It is a world beyond any ascriptions of good and evil. Like these German Idealists, however, Schopenhauer also tries to explain how the world that we experience daily is the result of the activity of the central principle of things.

As the German Idealists tried to account for the great chain of being — the rocks, trees, animals, and human beings — as the increasingly complicated and detailed objectifications of self-consciousness, Schopenhauer attempts to do the same by explaining the world as objectifications of Will. For Schopenhauer, the world we experience is constituted by objectifications of Will that correspond first, to the general root of the principle of sufficient reason, and second, to the more specific fourfold root of the principle of sufficient reason.

This generates initially, a two-tiered outlook viz. The general philosophical pattern of a single world-essence that initially manifests itself as a multiplicity of abstract essences, that, in turn, manifest themselves as a multiplicity of physical individuals is found throughout the world.

It is characteristic of Neoplatonism c. According to Schopenhauer, corresponding to the level of the universal subject-object distinction, Will is immediately objectified into a set of universal objects or Platonic Ideas. These constitute the timeless patterns for each of the individual things that we experience in space and time.

In these respects, the Platonic Ideas are independent of the specific fourfold root of the principle of sufficient reason, even though it would be misleading to say that there is no individuation whatsoever at this universal level, for there are many different Platonic Ideas that are individuated from one another.

Schopenhauer refers to the Platonic Ideas as the direct objectifications of Will, and as the immediate objectivity of Will. When Will is objectified at this level of determination, the world of everyday life emerges, whose objects are, in effect, kaleidoscopically multiplied manifestations of the Platonic forms, endlessly dispersed throughout space and time.

To that extent, Schopenhauer says that life is like a dream. As a condition of our knowledge, Schopenhauer believes that the laws of nature, along with the sets of objects that we experience, we ourselves create in way that is not unlike the way the constitution of our tongues invokes the taste of sugar. At this point, what Schopenhauer has developed philosophically is surely interesting, but we have not yet mentioned its more remarkable and memorable aspect.

Before the human being comes onto the scene with its principle of sufficient reason or principle of individuation there are no individuals. It is the human being that, in its very effort to know anything, objectifies an appearance for itself that involves the fragmentation of Will and its breakup into a comprehensible set of individuals. The result of this fragmentation, given the nature of Will, is terrible: it is a world of constant struggle, where each individual thing strives against every other individual thing.

Adding to this, Schopenhauer maintains in The World as Will and Representation that we create the violent state of nature, for his view is that the individuation we impose upon things, is imposed upon a blind striving energy that, once it becomes individuated and objectified, turns against itself, consumes itself, and does violence to itself. His paradigm image is of the bulldog-ant of Australia, that when cut in half, struggles in a battle to the death between its head and tail.

Our very quest for scientific and practical knowledge creates — for Schopenhauer sinfully and repulsively — a world that feasts nightmarishly upon itself. The image of Sisyphus expresses the same frustrated spirit. His view is that with less individuation and objectification, there is less conflict, less pain and more peace.

One way to achieve a more tranquil state of consciousness is through aesthetic perception. In this form of perception, we lose ourselves in the object, forget about our individuality, and become the clear mirror of the object. During the aesthetic perception of an individual apple tree, for example, we would perceive shining through the tree, the archetype of all apple trees i.

The kind of perception involved compares, for example, to the traditional portrait artist who discerns the shapes that nature intended to realize in a face, but that were not ideally realized. The painter consequently removes in the artistic portrait, the little hairs, warts, wrinkles and such, to present a more idealized, angelic, timeless, and perfected facial presentation, as we might see in a wedding or religious portrait.

Since Schopenhauer assumes that the quality of the subject of experience must correspond to the quality of the object of experience, he infers that in the state of aesthetic perception, where the objects are universalistic, the subject of experience must likewise assume a universalistic quality WWR, Section Aesthetic perception thus transforms an individually-oriented state of consciousness to a universally-oriented state of consciousness, or what Schopenhauer calls a pure will-less, painless, and timeless subject of knowledge WWR, Section Few people supposedly have the capacity to remain in such an aesthetic state of mind for very long, and most are denied the transcendent tranquillity of aesthetic perception.

Only the artistically-minded genius is naturally disposed to and can supposedly remain at length in the state of pure perception, and it is to these individuals Schopenhauer believes we must turn — as we appreciate their works of art — to obtain a more concentrated and knowledgeable glimpse of the Platonic Ideas i. The artistic genius contemplates these Ideas, creates a work of art that presents them in a manner more clear and accessible than is usual, and thereby communicates a universalistic vision to those who lack the idealizing power to see through, and to rise above, the ordinary world of spatio-temporal objects.

As constituting art, he has in mind the traditional five fine arts minus music, namely, architecture, sculpture, painting, and poetry. These four arts he comprehends in relation to the Platonic Ideas — those universal objects of aesthetic awareness that are located at the objective pole of the universal subject-object distinction at the root of the principle of sufficient reason. As a counterpart to his interpretation of the visual and literary arts, Schopenhauer develops an account of music that coordinates it with the subjective pole of the universal subject-object distinction.

Separate from the other traditional arts, he maintains that music is the most metaphysical art and is on a subjective, feeling-centered level with the Platonic Ideas themselves. Just as the Platonic Ideas contain the patterns for the types of objects in the daily world, music formally duplicates the basic structure of the world: the bass notes are analogous to inorganic nature, the harmonies are analogous to the animal world, and the melodies are analogous to the human world.

The sounding of the bass note produces more subtle sonic structures in its overtones; similarly, inanimate nature produces animate life. In the structure of music, Schopenhauer discerns a series of analogies to the structure of the physical world that allow him to claim that music is a copy of Will itself.

His view might seem extravagant upon first hearing, but it rests on the thought that if one is to discern the truth of the world, it might be advantageous to apprehend the world, not exclusively in scientific, mechanical and causal terms, but rather in aesthetic, analogical, expressive and metaphorical terms that require a sense of taste for their discernment. If the form of the world is best reflected in the form of music, then the most philosophical sensibility will be a musical sensibility.

With respect to the theme of achieving more peaceful and transcendent states of mind, Schopenhauer believes that music achieves this by embodying the abstract forms of feelings, or feelings abstracted from their particular everyday circumstances. By expressing emotion in this detached way, music allows us to apprehend the nature of the world without the frustration involved in daily life, and hence, in a mode of aesthetic awareness akin to the tranquil philosophical contemplation of the world.

This deficiency motivates a shift from musical, or aesthetic, awareness to moral awareness.

Indeed, he states explicitly that his views on morality are entirely in the spirit of Christianity, as well as being consistent with the doctrines and ethical precepts of the sacred books of India WWR, Section Among the precepts he respects are those prescribing that one treat others as kindly as one treats oneself, that one refrain from violence and take measures to reduce suffering in the world, that one avoid egoism and thoughts directed towards revenge, and that one cultivate a strong sense of compassion.

Such precepts are not unique to Christianity; Schopenhauer believes that they constitute most religiously-grounded moral views. Far from being immoralistic, his moral theory is written in the same vein as those of Immanuel Kant — and John Stuart Mill — , that advocate principles that are in general accord with Christian precepts. Within the moral realm, this quest for transcendence leads him to maintain that once we recognize each human as being merely an instance and aspect of the single act of Will that is humanity itself, we will appreciate that the difference between the tormentor and the tormented is illusory, and that in fact, the very same eye of humanity looks out from each and every person.

According to the true nature of things, each person has all the sufferings of the world as his or her own, for the same inner human nature ultimately bears all of the pain and all of the guilt.

Thus, with the consciousness of humanity in mind, a moral consciousness would realize that it has upon and within itself, the sins of the whole world WWR, Sections 63 and Not only, then, does the specific application of the principle of sufficient reason fragment the world into a set of individuals dispersed through space and time for the purposes of attaining scientific knowledge, this rationalistic principle generates the illusion that when one person does wrong to another, that these two people are essentially separate and private individuals.

Just as the fragmentation of the world into individuals is necessary to apply the relationship of causality, where A causes B and where A and B are conceived to be two independent objects, this same cognitive fragmentation leads us to conceive of the relationships between people on a model where some person P acts upon person Q, where P and Q are conceived as two independent individuals.

The conditions for scientific knowledge thus have a negative moral impact, because they lead us to regard each other as individuals separate and alien to one another. By compassionately recognizing at a more universal level that the inner nature of another person is of the same metaphysical substance as oneself, one arrives at a moral outlook with a more concrete philosophical awareness.

It is to feel directly the life of another person in an almost magical way; it is to enter into the life of humanity imaginatively, such as to coincide with all others as much as one possibly can. It is to imagine equally, and in full force, what it is like to be both a cruel tormentor and a tormented victim, and to locate both opposing experiences and characters within a single, universal consciousness that is the consciousness of humanity itself.

Just as music embodies the emotional tensions within the world in an abstracted and distanced manner, and thus affords a measure of tranquillity by presenting a softened, sonic image of the daily world of perpetual conflict, a measure of tranquillity also attends moral consciousness.

Negatively considered, moral consciousness delivers us from the unquenchable thirst that is individuated human life, along with the unremitting oscillation between pain and boredom. One becomes like the steadfast tree, whose generations of leaves fall away with each passing season, as does generation after generation of people Homer, Iliad, Book VI. This fatalistic realization is a source of comfort and tranquillity for Schopenhauer, for upon becoming aware that nothing can be done to alter the course of events, he finds that the struggle to change the world quickly loses its force see also WWR, Section Schopenhauer denies the common conception that being free entails that, for any situation in which we acted, we could always have acted differently.

According to Schopenhauer, the entire world is the representation of a single Will, of which our individual wills are phenomena. In this way, Schopenhauer's metaphysics go beyond the limits that Kant had set, but do not go so far as the rationalist system-builders who preceded Kant. Other important differences are Schopenhauer's rejection of eleven of Kant's twelve categories, arguing that only causality was important. Matter and causality were both seen as a union of time and space and thus being equal to each other.

Schopenhauer frequently acknowledges drawing on Plato in the development of his theories and, particularly in the context of aesthetics, speaks of the Platonic forms as existing on an intermediate ontological level between the representation and the Will. Development of the work[ edit ] The development of Schopenhauer's ideas took place very early in his career — and culminated in the publication of the first volume of Will and Representation in This first volume consisted of four books — covering his epistemology, ontology , aesthetics and ethics, in order.

Much later in his life, in , Schopenhauer published a second edition in two volumes, the first a virtual reprint of the original, and the second a new work consisting of clarifications to and additional reflections on the first. His views had not changed substantially. His belated fame after stimulated renewed interest in his seminal work, and led to a third and final edition with more pages in , one year before his death.

In the preface to the latter, Schopenhauer noted: "If I also have at last arrived, and have the satisfaction at the end of my life of seeing the beginning of my influence, it is with the hope that, according to an old rule, it will last longer in proportion to the lateness of its beginning. Schopenhauer's philosophy holds that all nature, including man, is the expression of an insatiable will to life. It is through the will that mankind finds all their suffering.

Desire for more is what causes this suffering. He argues that only aesthetic pleasure creates momentary escape from the Will. The concept of desire has strong parallels in Buddhist thought.

Buddhism identifies the individual's pervasive sense of dissatisfaction as driving craving, roughly similar to what Schopenhauer would call the will to life. Both assert that remedies for this condition include contemplative activities. Epistemology Book 1 [ edit ] As mentioned above, Schopenhauer's notion of the will comes from the Kantian thing-in-itself, which Kant believed to be the fundamental reality behind the representation that provided the matter of perception, but lacked form.

Kant believed that space, time, causation, and many other similar phenomena belonged properly to the form imposed on the world by the human mind in order to create the representation, and these factors were absent from the thing-in-itself.

Schopenhauer pointed out that anything outside of time and space could not be differentiated, so the thing-in-itself must be one and all things that exist, including human beings, must be part of this fundamental unity.

Our inner-experience must be a manifestation of the noumenal realm and the will is the inner kernel of every being.

The World as Will and Idea (Vol. 1 of 3) by Arthur Schopenhauer

All knowledge gained of objects is seen as self-referential, as we recognize the same will in other things as is inside us. Ontology Book 2 [ edit ] In Book 2, electricity and gravity are described as fundamental forces of the will.

Knowledge is something that was invented to serve the will and is present in both human and non-human animals. It is subordinate to the demands of the will for all animals and most humans. The fundamental nature of the universe and everything in it is seen as this will. Schopenhauer presents a pessimistic picture on which unfulfilled desires are painful, and pleasure is merely the sensation experienced at the instant one such pain is removed.

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However, most desires are never fulfilled, and those that are fulfilled are instantly replaced by more unfulfilled ones. Aesthetics Book 3 [ edit ] Like many other aesthetic theories, Schopenhauer's centers on the concept of genius. Genius, according to Schopenhauer, is possessed by all people in varying degrees and consists of the capacity for aesthetic experience.

An aesthetic experience occurs when an individual perceives an object and understands by it not the individual object itself, but the Platonic form of the object. The individual is then able to lose himself in the object of contemplation and, for a brief moment, escape the cycle of unfulfilled desire by becoming "the pure subject of will-less knowing".

Those who have a high degree of genius can be taught to communicate these aesthetic experiences to others, and objects that communicate these experiences are works of art. Based on this theory, Schopenhauer viewed Dutch still-life as the best type of painting, because it was able to help viewers see beauty in ordinary, everyday objects. However, he sharply criticized depictions of nude women and prepared food, as these stimulate desire and thus hinder the viewer from the aesthetic experience and becoming "the pure subject of will-less knowing".

Music also occupies a privileged place in Schopenhauer's aesthetics, as he believed it to have a special relationship to the will. Where other forms of art are imitations of things perceived in the world, music is a direct expression and articulation of the will.

Ethics Book 4 [ edit ] Schopenhauer claims in this book to set forth a purely descriptive account of human ethical behavior, in which he identifies two types of behavior: the affirmation and denial of the will. According to Schopenhauer, the Will the great Will that is the thing-in-itself , not the individual wills of humans and animals, which are phenomena of the Will conflicts with itself through the egoism that every human and animal is endowed with.The rousing appeals to the German nation which Fichte had thundered forth with fearless energy in the winter of , during the French occupation of Berlin, bore fruit now that the first chance of success dawned.

His melancholy increased, his letters abounded with invectives on his blighted fate.

Like many other aesthetic theories, Schopenhauer's centers on the concept of genius. It is desire that is creating all this. An assortment of photographs of Schopenhauer was taken during his final years, and although they reveal to us an old man, we should appreciate that Schopenhauer completed his main work, The World as Will and Representation, by the time he had reached the age of thirty. By asceticism, the ultimate denial of the will, one can slowly weaken the individual will in a way that is far more significant than violent suicide, which is, in fact, in some sense an affirmation of the will.