Two models of human perfection proposed by Nietzsche and the Buddha are investigated. Both the overman and the arahant need practice and individual effort as key to their realization, and they share roughly the same conception of the self as a construction. However, there are also a number of salient differences. Though realizing it to be constructed, the overman does proclaim himself through his assertion of the will to power. The realization of the true nature of the self does not (...) lead the overman to seek the way to be released from saṃsara as does the arahant. On the contrary, he rejoices in the eternally recurring situation. The arahant, however, has totally relinquished any attachment to the self, constructed or otherwise. The arahant does not care about the Eternal Recurrence, as he only focuses on the present moment. Finally, they are both beyond good and evil, but in a substantively different way. (shrink)

This is a metaphysical and conceptual analysis of the concepts ‘change’ and ‘continuity’. The Buddhists are in agreement with Heraclitus that all are flowing and nothing remains. However, the Buddhists have a much more elaborate theory about change and continuity, and this theory is a key element in the entire Buddhist system of related doctrines, viz., that of karma and rebirth, the possibility of Liberation and others. Simply put, the Buddhist emphasizes that change is there in every aspect of reality. (...) According to a later developed form of the Buddhist teaching, change is absolutely pervasive, and even these particles are subject to change as they are nothing more than putative objects which are conceptualized to be such and such, and without the conceptualization they are ‘nothing’ at all.. Hence it seems that continuity is not possible. But in fact according to the later theory, change is not only possible, it is accepted as part and parcel of everyday life. The fact that nothing at all remains the same does not imply that continuity is not possible, since continuity does not always have to be that of an inherently existing object. A changing object can be continued also, in roughly the same sense as we say that an event, like a drama, continues even though everything in it is changing. The thread that ties the disparate elements of the event together in this case lies within our own conceptual imputation. This does not imply that everything is subjective, since the distinction between subject and object presupposes the idea of an absolutely existing individual self, which all Buddhist schools rejects. So in this later theory, absolute change is not possible because there is, ultimately speaking nothing to change, and when there is no change there is no continuation either. This is not to deny the empirical fact of changes and continuities that are present to us; things are there and they are indeed changing. What is being denied here is the belief that that there are essences to things which endure through all the changes. Since things are empty they can change, and continuity is only possible, not because there is something that exists and endures, but because there is change. A drama that does not move cannot be continued. The foregoing discussions of the Buddhist theories have many implications for the dialog between science and religion. One point is that science still seems to subscribe to the object/subject distinction. But if change and continuity are not real in the ultimate sense, then perhaps the distinction should be reconsidered. Another point concerns how to find continuity amidst all the change. But perhaps in some important sense continuity depends on us. (shrink)

The role and nature of imagination in Kant's Critique of Pure Reason is intensively examined. In addition, the text of Kant's Anthropology from a Pragmatic Point of View will also be considered because it helps illustrate this issue. Imagination is the fundamental power of the mind responsible for any act of forming and putting together representations. A new interpretation of imagination in Kant is given which recognizes its necessary roles as the factor responsible for producing space and time, as an (...) essential component in perception, as the mediator of concepts and intuitions, and as the synthesizing agent which groups together representations into categories. ;The work is divided basically into two parts. The first part looks at the imagination in the Transcendental Aesthetic. It will be shown that space and time themselves are products of imagination. As pure and a priori intuitions space and time are objects of thought and thus are conditioned by the synthetic power of imagination. Moreover, as forms of intuitions space and time are also conditioned by imagination; hence, imagination is a necessary factor in spatial and temporal perception. ;The second part of the thesis concerns the role of imagination in the Transcendental Analytic. Here the role of the imagination is more pervasive. In the Metaphysical Deduction the thesis argues that the imagination is responsible for uniting representations into twelve categories which are the conditions of thinking in general. Therefore the categories themselves owe their origins to imagination. This interpretation hinges on Kant's distinction between transcendental and general logic, which the thesis will discuss in detail. In the Transcendental Deduction the imagination is responsible for taking up representations in such a way that results in their belonging to a single framework of consciousness, thus showing that the categories apply to a posteriori representations. In the Schematism the imagination is necessary in forming the schemata, which join together concepts and intuitions so that both empirical and transcendental judgments are produced. Finally, a critique of Heidegger's idea on imagination as the "common root" of sensibility and understanding will be offered. (shrink)