Empfehlungen basierend auf "The Art of Dreaming"

Seneca's Letters to Lucilius are a rich source of information about ancient Stoicism, an influential work for early modern philosophers, and a fascinating philosophical document in their own right. This selection of the letters aims to include those which are of greatest philosophical interest, especially those which highlight the debates between Stoics and Platonists or Aristotelians in the first century AD, and the issue, still important today, of how technical philosophical enquiry is related to the various purposes for which philosophy is practised. In addition to examining the philosophical content of each letter, Brad Inwood's commentary discusses the literary and historical background of the letters and their relationship with other prose works by Seneca. Seneca is the earliest Stoic author for whom we have access to a large number of complete works, and these works were highly influential in later centuries. He was also a politically influential advisor to the Roman emperor Nero and a celebrated author of prose and verse. His philosophical acuity and independence of mind make his works exciting and challenging for the modern reader. CLARENDON LATER ANCIENT PHILOSOPHERS General Editors: Jonathan Barnes and A. A. Long This series is designed to encourage philosophers and students of philosophy to explore the fertile terrain of later ancient philosophy. The texts range in date from the first century BC to the fifth century AD, and will cover all the parts and all the schools of philosophy. Each volume contains a substantial introduction, an English translation, and a critical commentary on the philosophical claims and arguments of the text. The translations aim primarily at accuracy and fidelity; but they are also readable and accompanied by notes on textual problems that affect the philosophical interpretation. No knowledge of Greek or Latin is assumed.

From Kirkus Reviews ( Jolande Jacobi first met Carl Jung on a social occasion when she was thirty-eight; she then experienced a dream which she described to him, and he replied, ""Now you are caught, now you can't get away."" Dr. Jacobi's studies had been curtailed by marriage at nineteen; Jung insisted that she get her doctorate even though she was physically in danger in pre-World War II Vienna--a danger that became imminent for her husband and sons in Hungary, but saw her to safety in Switzerland, where her life today has, according to David Holt, an ""extraordinarily vivid quality, wounded yet inviolate."" This exposition of Jung's concept of individuation has importance, she feels, for present survival and for shaping the it deals with social, ethical, and religious problems through a growing self-awareness of the individual and society. The ""individuation process"" can be experienced in natural (occurring almost autonomously) or artificial form (aided for instance by analysis, developed by definite methods, and consciously experienced). Dr. Jacobi describes the two main phases of the transformation with the ""change of dominance"" in the second half; the stages of individuation; the relation of ego and Self; the finding of the ""individual way"" (what is needed is a vocation); conscious realization, the religious factor. A lucid presentation of a major if not dominant theorist which will appeal to a special, predisposed audience.

The Alchemical Body excavates and centers within its Indian context the lost tradition of the medieval Siddhas. Working from previously unexplored alchemical sources, David Gordon White demonstrates for the first time that the medieval disciplines of Hindu alchemy and hatha yoga were practiced by one and the same people, and that they can be understood only when viewed together. White opens the way to a new and more comprehensive understanding of medieval Indian mysticism, within the broader context of south Asian Hinduism, Buddhism, Jainism, and Islam."White proves a skillful guide in disentangling historical and theoretical complexities that have thus far bedeviled the study of these influential aspects of medieval Indian culture."—Yoga World"Anyone seriously interested in finding out more about authentic tantra, original hatha yoga, embodied liberation . . . sacred sexuality, paranormal abilities, healing, and of course alchemy will find White's extraordinary book as fascinating as any Tom Clancy thriller."—Georg Feuerstein, Yoga Journal

By closely following Goethe's explanations of the color phenomena, the reader may become so divorced from the wavelength theory—Goethe never even mentions it—that he may begin to think about color theory relatively unhampered by prejudice, ancient or modern.By the time Goethe's Theory of Colours appeared in 1810, the wavelength theory of light and color had been firmly established. To Goethe, the theory was the result of mistaking an incidental result for an elemental principle. Far from pretending to a knowledge of physics, he insisted that such knowledge was an actual hindrance to understanding. He based his conclusions exclusively upon exhaustive personal observation of the phenomena of color.Of his own theory, Goethe was supremely confident: “From the philosopher, we believe we merit thanks for having traced the phenomena of colours to their first sources, to the circumstances under which they appear and are, and beyond which no further explanation respecting them is possible.”Goethe's scientific conclusions have, of course, long since been thoroughly demolished, but the intelligent reader of today may enjoy this work on quite different grounds: for the beauty and sweep of his conjectures regarding the connection between color and philosophical ideas; for an insight into early nineteenth-century beliefs and modes of thought; and for the flavor of life in Europe just after the American and French Revolutions.The book does not have to be studied to be appreciated. Goethe's subjective theory of colors permits him to speak most persuasively of color harmony and aesthetics. In some readers these notions will evoke a positive response on their merits. Others may regard them as pure fantasy, but savor the grace and style of their exposition.The work may also be read as an accurate guide to the study of color phenomena. Goethe's conclusions have been repudiated, but no one quarrels with his reporting of the facts to be observed. With simple objects—vessels, prisms, lenses, and the like—the reader will be led through a demonstration course not only in subjectively produced colors, but also in the observable physical phenomena of color. By closely following Goethe's explanations of the color phenomena, the reader may become so divorced from the wavelength theory—Goethe never even mentions it—that he may begin to think about color theory relatively unhampered by prejudice, ancient or modern.

The most comprehensive best-selling anthology of its kind, the second volume in this two-part survey enables readers to choose among the most important canonical and less-familiar texts of the Western literary tradition in Europe and the Americas. It offers complete texts whenever possible, uses the best translations of foreign-language material, and, when appropriate, presents more than one text by each author. Volume Two provides detailed historical and biographical notes and introductions to the later literary periods including Neoclassicism and Romanticism; Realism and Naturalism; and Modern and Contemporary. Individuals interested in a comprehensive look at Western literature through the ages.

Mikhail Bakhtin was one of the twentieth century's most influential literary theorists. This accessible introduction to his thought begins with the questions 'Why Bakhtin?' and 'Who was Bakhtin?', before dealing in detail with his ideas on authorship and subjecthood, language, dialogism, heteroglossia and the novel, the chronotope, and the carnivalesque. True to their dialogic spirit, these ideas are presented not as a fixed body of knowledge, but rather as living and evolving entities, as ways of approaching not only the most persistent questions of language and literature, but also issues that are relevant across the full range of Humanities disciplines. Bakhtin emerges in the process as a key thinker for the Humanities in the twenty-first century.

The self-portrait has become a model of what art is: the artwork is the image of its maker, and understanding the work means recovering from it an original vision of the artist. In this ground-breaking work, Joseph Leo Koerner analyzes the historical origin of this model in the art of Albrecht Durer and Hans Baldung Grien, the first modern self-portraitist and his principal disciple. By doing so, he develops new approaches to the visual image and to its history in early modern European culture. Koerner establishes the character of German Renaissance art by considering how Durer's and Baldung's pictures register changes in the status of the self during the sixteenth century. He contends that Durer's self-portrait of 1500, modeled after icons of Christ, reinvented art for new conditions of piety, labor, patronage, and self-understanding at the eve of the Reformation. So foundational is this invention to modern aesthetics, Koerner argues, that interpreting it takes us to the limits of traditional art-historical method. Self-portraiture becomes legible less through a history leading up to it, or through a sum of contexts that occasion it, than through its historical sight-line to the present. After a thorough examination of Durer's startlingly new self-portraits, the author turns to the work of Baldung, Durer's most gifted pupil, and demonstrates how the apprentice willfully disfigured Durer's vision. Baldung replaced the master's self-portraits with some of the most obscene and bizarre pictures in the history of art. In images of nude witches, animated cadavers, and copulating horses, Baldung portrays the debased self of the viewer as the true subject of art. The Moment of Self-Portraiturethus unfolds as passages from teacher to student, artist to viewer, reception, all within a culture that at once deified and abhorred originality. Koerner writes a new, philosophical art history in which the visual image is both document of history and living vehicle of thought. He demonstrates the extent to which novel ideas about self and interpretation invented by Renaissance artists and Reformation thinkers informed modern hermeneutics and helped to found our deepest assumptions about art and its messages.

In recent years scholars have begun to acknowledge that the occult sciences were not marginal enterprises but an integral part of the worldview of many of our ancestors. Astrology was one of the many intellectual tools--along with what we consider to be the superior tools of social and political analysis--that Renaissance thinkers used to attack practical and intellectual problems. It was a coherent body of practices, strongly supported by social institutions. And alchemy was not viewed primarily as a spiritual pursuit, an idea popularized by nineteenth-century occultists, but as a part of natural philosophy. It was often compared to medicine. Many Renaissance writers suggested links between astrology and alchemy that went beyond the use of astrological charts to determine the best time to attempt alchemical operations. Secrets of Nature shows the many ways in which astrology (a form of divination) and alchemy (an artisanal pursuit concerned with the technologies of minerals and metals) diverge as well as intersect. Overall, it shows how an appreciation of the role of the occult opens up new ways of understanding the past. Topics include the career of Renaissance astrologer Girolamo Cardano and his work on medical astrology, the astrological thinking of Johannes Kepler and Galileo Galilei, the history of the Rosicrucians and the influence of John Dee, the work of medical alchemist Simon Forman, and an extended critique of the existing historiography of alchemy.

Written over 350 years ago, The Pocket Oracle and the Art of Prudence is a charming collection of 300 witty and thought-provoking aphorisms. From the art of being lucky to the healthy use of caution, these elegant maxims were created as a guide to life, with further suggestions given on cultivating good taste, knowing how to refuse, the foolishness of complaining and the wisdom of controlling one's passions. Baltasar Gracian intended that these ingenious aphorisms would encourage each reader to challenge themselves both in understanding and applying each axiom.

Thomas Aquinas (1224/6-1274) lived an active, demanding academic and ecclesiastical life that ended while he was still comparatively young. He nonetheless produced many works, varying in length from a few pages to a few volumes. The present book is an introduction to this influential author and a guide to his thought on almost all the major topics on which he wrote. The book begins with an account of Aquinas's life and works. The next section contains a series of essays that set Aquinas in his intellectual context. They focus on the philosophical sources that are likely to have influenced his thinking, the most prominent of which were certain Greek philosophers (chiefly Aristotle), Latin Christian writers (such as Augustine), and Jewish and Islamic authors (such as Maimonides and Avicenna). The subsequent sections of the book address topics that Aquinas himself discussed. These include metaphysics, the existence and nature of God, ethics and action theory, epistemology, philosophy of mind and human nature, the nature of language, and an array of theological topics, including Trinity, Incarnation, sacraments, resurrection, and the problem of evil, among others. These sections include more than thirty contributions on topics central to Aquinas's own worldview. The final sections of the volume address the development of Aquinas's thought and its historical influence. Any attempt to present the views of a philosopher in an earlier historical period that is meant to foster reflection on that thinker's views needs to be both historically faithful and also philosophically engaged. The present book combines both exposition and evaluation insofar as its contributors have space to engage in both. This Handbook is therefore meant to be useful to someone wanting to learn about Aquinas's philosophy and theology while also looking for help in philosophical interaction with it.