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)

After a brief introduction to Krause’s life and work this article investigates the impression, based of the available sources, that Krause had an important influence on Schopenhauer’s philosophy. It then provides a concise systematic analysis of central elements of Krause’s and Schopenhauer’s thinking and thereby substantiates the claim that Krause did indeed have a significant influence on the development of the philosophy of Arthur Schopenhauer.

This paper (in Finnish) concerns the ontological status of categories of entities. I argue that categories are not be considered as further entities. Rather, it is suffcient for entities belonging to the same category that they are in exactly the same formal ontological relations and have the same general category features.

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)

The central undertaking of this project is to initiate a phenomenological theory of musical experience. The core views expressed are that musical rhythm is the most fundamental, and the only essential, component of the musical experience, and that the essence of musical experience lies in attending to rhythm as communicative of a sense of time. In the introduction I set out the general phenomenon of musical understanding and argue for the relevance of phenomenological description of basic musical experience for the (...) theory of musical understanding. I continue this work by considering Jerrold Levinson's concatenationist view, and indicate the need for a more adequate characterization of basic musical experience. I then discuss Roger Scruton's attempt to distinguish musical from nonmusical hearing in terms of metaphorical perception and acousmatic listening and conclude that neither provides an essential characteristic of musical hearing. I present the theory and method of phenomenology and trace out what I take to be phenomenologically adequate theories of sound and auditory experience. The heart of the work explores the notion of musical time along with the nature of the experience of rhythm and meter. The first part of the final chapter contains an historical and critical overview of philosophical accounts of the connection between music and the emotions, and the related issue of whether music possesses any "content" beyond sounds and their melodic, rhythmic, and harmonic organization. The second part considers attempts to pursue a theoretical analogy between music and language. (shrink)

Music has not been as prominent in philosophy or as influential in aesthetics as the visual arts, at least in the Western tradition. Reflecting on my years of experience as both a philosopher and a musician, I am increasingly intrigued by speculating if and how today’s aesthetic discourse might have taken a different direction if music been its central focus. It is tempting to wonder whether, in some cases, the musical art may indeed have had an influence, even if less (...) conspicuous than some other arts. (shrink)

In his work "The Religion of the Future," Unger categorizes various philosophical perspectives under the term "Overcoming the World" (hereafter referred to as OW). However, this approach presents a significant issue, as Unger puts forth several metaphysical and epistemological claims about OW without clearly specifying which of these distinct philosophies align with his arguments. Notably, Unger includes Vedānta under the umbrella of OW without distinguishing between two closely related yet distinct traditions within Vedānta: Advaita and Dvaita Vedāntas. This lack of (...) differentiation is problematic because Unger predominantly critiques the views of Advaita Vedānta, which, while sharing similarities with Buddhism, are not entirely synonymous. Dvaita Vedānta, on the other hand, holds positions that contradict many of Unger's assumptions about Vedānta. Consequently, Unger's presentation can mislead readers into assuming that Advaita and Dvaita Vedāntas are identical. While this paper will not delve into the motivations behind Unger's approach, it aims to introduce and elucidate some distinctive features within the Dvaita Vedānta tradition. These unique aspects shed light on why Unger's critique of Vedānta, in favor of his vision for a future religion, may be problematic and biased. (shrink)