Schopenhauer’s bifurcation between optimistic and pessimistic religions is made, so I argue here, by means of five criteria: to perceive of existence as punishment, to believe that salvation is not attained through ‘works’, to preach compassion so as to lead towards ascetics, to manifest an aura of mystery around religious doctrines and to, at some deep level, admit to the allegorical nature of religious creeds. By clearly showing what makes up the ‘pessimism’ of a ‘pessimistic religion’, Schopenhauer’s own philosophical pessimism (...) can be clarified since he posits a strict correlation between the truth of philosophy and religion. Accordingly, Schopenhauer’s pessimism is by means of this process clarified as non-radical and providing a genuine ‘highest good’ that is more than absolute denial. (shrink)

That Conrad was familiar with Schopenhauer’s philosophy has been proposed by literary scholars and seconded, in passing, by philosophers. This has resulted in one-way studies of literary influence. This thesis is instead a two-way study in the philosophy of literature. It shows how Schopenhauer’s philosophy can illuminate Conrad’s fiction and how the fiction can become an analytical tool for exploring the philosophy. There are two strands in Schopenhauer’s philosophy. One is uncompromisingly concerned with salvation and will-denial. The second focuses on (...) self-knowledge and character, which leads to self-fulfilment and accommodation with the world. It is the latter strand, with character at its core, where the interests of the philosopher and creative writer coincide. My methodology is different from previous studies in that I propose Conrad’s direct source for Schopenhauer was not The World as Will and Idea but his essays, which are directed more towards the worldly strand of his philosophy. I argue that the use by literary scholars of Schopenhauer’s magnum opus as Conrad’s direct source has diverted them from his main area of interest in the philosophy, namely its approach to self-knowledge and character, and that this misplaced focus has tended to distort interpretations of his fiction. (shrink)

In the present work, we will analyze the concept of intuition mainly in relation to the epistemological and the metaphysical theses of Schopenhauerian theory. In the first section, we will discuss the central axes of Schopenhauer’s metaphysical system, especially regarding the concept of will (Wille) and the relationship that this entails with his theory of knowledge. Then, we will examine the difference that the German philosopher establishes between representative —or mediated— rational knowledge and direct —or immediate— intuitive knowledge. Likewise, we (...) will trace at first the theses and the fundamental problems of the dualism of representation and we will furtherly establish the problem of the intuition of one’s own body. Finally, we will consider the scope and the limits of intuition, as well as its different variants: mainly aesthetic intuition and its culmination in mystical intuition. (shrink)

Preocupados por la salud, queremos examinar en esta puesta en escena el modo de metamorfosis y de liberación que experimentan el genio y el santo, como también el alcance de las mismas. Lo haremos desde la obra fundamental de Schopenhauer El mundo como voluntad y representación. Esta liberación solo puede entenderse como una toma de distancia, precisamente, del teatro del mundo y su rasgo distintivo: el tormentoso sufrimiento. De modo que analizaremos, en un primer momento, cómo está constituido el escenario, (...) es decir, cuáles son las dos caras del teatro, para responder a la pregunta fundamental qué es el mundo. Su posible respuesta nos arroja a considerar su anverso y reverso, la representación y la voluntad; a su vez, nos permite a analizar las caras impresas en ellas respectivamente, a saber, el genio y el santo. Es importante señalar que esta publicación es una lectura e interpretación de El mundo como voluntad y representación en clave teatral. Se trata entonces de una aproximación al pensamiento del filósofo a través de las figuras teatrales del genio y el santo. Lo anterior, le pemitirá al lector comprender la composición y los rasgos constitutivos de la obra del filósofo de Schopenhauer. (shrink)

Schopenhauer asserts that ‘the will, which is objectified in human life as it is in every appearance, is a striving without aim and without end’. The article rejects some recent readings of this claim, and offers the following positive interpretation: however many specific aims of my specific desires I manage to attain, none is a final aim, in the sense that none terminates my ‘willing as a whole’, none turns me into a non-willing being. To understand Schopenhauer’s claim we must (...) recognize his central contrast between happiness and will-lessness. Happiness is the satisfaction of individual desire, but no act of will that succeeds in satisfying individual desire is the attainment of a final aim, in that none brings about a conscious state in which the subject experiences no more unfulfilled desires. Such a state is the ultimate goal of existence, in Schopenhauer’s view, but happiness does not provide a route along which it can be attained. (shrink)