The musings are based upon Kashmiri Shaivist Abhinavagupta’s concept of Santa Rasa (10th Century AD) and my Advait beliefs stemmed from the Upanishads.

This paper aims at an analytical explanation of the distinctive nature of music, as it has been formulated in perhaps one of the world's very first works on the subject, namely the ‘Sangeet Ratnakar’ of Pandit Sarangadeva, a 13th century musicologist of India. He, in the first chapter of the work defines music ('sangeet' in Sanskrit and Hindi) as a composite of singing or 'Gita', instrumental music or 'vadan' and dancing or ‘nrittam’. In addition, he also holds singing to be (...) the most important component of music. These two ideas are not only unquestionably acceptable , as the analysis in the paper will show, but give to Indian music , in its difference from western music, its distinctively spiritual character, making it a path to liberation or Moksha (Muktidayakam na tu ranjakam). Sarangadeva's reason, here, is not rational but empirico-inductive. It is that mainly by virtue of its 'gitam’ (singing component), which, like the Yoga system of exercise, needing only one's body as its instrument, music too needing only one’s voice is as self-sufficient and autonomous as the ultimate Reality itself (Swayamev Rajate). In the hierarchy (a distinctively ancient Indian insistence) of arts, singing is the highest and unique because in spite of being heard by the auditory sense, it affects our 'reflective sensibility' and transports us to the virtual world of melodic and rhythmic forms. Forms, as against their particular illustrations, are abstract universals. Ultimate Reality is also a Form-all comprehensive and internally harmonious. However, pure Form, whether melodic or religious or even rational like that of triangularity, is almost impossible to concentrate on. Realizing this practical difficulty, Indian scriptures and the world's first Grammarian-linguist, Acharya Panini, framed a composite sound as the manifestation of the ultimate musical Form. This purely formal-because devoid of all meaning, sound is that of 'om', spelt, in Sanskrit as a conjunction (sandhi) of 'a'+'u'+'m'. For Indian musicologists and musicians, ‘om’ is the perfect manifestation of the Sound-God or ‘Nada-Brahman’ because, 1. Its composite nature resembles God, as a harmony of 'sat', 'chit', and 'ananda'; and 2. The composite sound is self-existent as its all three components-two vowels, i.e. ‘a’, ‘u’, and one consonant i.e. ‘m’, can be and are pronounced just as they originally are, -un-elongated and un-vitiated and therefore pure. This is the reason why every recital of Indian classical vocal music is begun with an elaborate rendering of 'om' as an invocation to Sound-God or ‘Nada-Brahman’. Scholarly and authentic, this ancient Indian approach to music, is undoubtedly the earliest and original. My observation is that its main contentions like Sharang Dev’s insistence that of the three components of music, ‘gitam’ or singing is the highest, have only been translated and never argued for. In this presentation my good intention is to provide much needed rational support for making these key statements in this unparalleled Indian text, indubitable and unquestionable. (shrink)

American Indian Thought is a contemporary collection of twenty-two essays written by Indigenous persons with Western philosophical training, all attempting to formulate, and/or contribute to a sub-discipline of, a Native American Philosophy. The contributors come from diverse tribal, educational, philosophical, methodological, etc., backgrounds, and there is some tension among aspects of the collection, but what is more striking is the harmony and the singularity of the collection’s intent. Part of this singularity may derive from the solidarity among its (...) authors. In addition to the fact that all belong to Indigenous tribes, there is also a striking sensitivity to the interconnection between distinct Western disciplines—particularly between philosophy and poetry. I take the latter to be a thread which can be strategically woven into the center of the anthology’s weave. In this book discussion, I aim to draw out the poetic aspects of five of the anthology’s essays, which deal with philosophy, metaphysics, epistemology, ethics and aesthetics, respectively. In this way, I hope to illuminate a poetic quality at the heart of the collection, and thus also of the burgeoning field of Native American or Indigenous philosophy in general. In the process, I will also consider ways in which Indigenous philosophy resonates with the Western philosophical traditions of phenomenology and American pragmatism. With the latter tradition in particular this connection has become more fully appreciated, especially through the work of Bruce Wilshire and Scott Pratt. (shrink)

This paper discusses the concept of Dána or charity as the foundation of Indian Social life. Dána has been in vogue in India since the Vedic times, but it was codified by the smritis which prescribe do’s and don’ts of the life of the individual. Limiting its scope to Yagnavalkya smriti the paper analyses the significance of Dána as a regulative principle of accumulation of wealth.

The paper aims at critical reconsideration of a motif popular in Indian literary, ritual, and pictorial traditions – a tree goddess (yakṣī, vṛkṣakā) or a woman embracing a tree (śālabhañjīkā, dohada), which points to a close and intimate bond between women and trees. At the outset, I present the most important phases of the evolution of this popular motif from the ancient times to present days. Then two essential characteristics of nature recognized in Indian visual arts, literature, religions (...) and philosophy will be distinguished: (1) a dynamic, creative, self-sufficient and inexhaustible power, and (2) a passive, merely reproductive or vegetative, and dependent field of potentiality. The paper is to demonstrate the interdependence of the popular concepts of nature identified with femininity, and their iconic representations circulating for centuries in Indian culture, with a specific line of argument repeatedly used in social practices and public debates. While doing so, I consider the semiotic function of a cultural topos which proves to be an effective instrument for construing and supporting the gender roles and gender identities. As a modern example illustrating vitality and persuasive power of the motif of yakṣī and śālabhañjīkā, I refer to the Chipko Movement, a group of rural women based in the Garhwal Himalayas (state Uttarakhand), who fought against the mass cut of trees in the 1970s. They were involved in the wide-spread environmental campaign which significantly affected the ecological policy of the local and state authorities. Thus, a traditional motif of the visual arts has been revived and re-elaborated by the activists of this ecofeminist movement through converting the symbolic potential of yakṣī/śālabhañjīkā into social and political power. (shrink)

The authors included in this anthology of historical texts on aesthetics and philosophy of art, address the big questions. They attempt to place art within experience generally or within the life of a community; or they attempt to understand the nature of the aesthetic and its role within experience. Topics include mimesis, the relation between art and truth, the metaphysics of beauty, the function of art, and the ontology of art. All of the extracts included were written prior (...) to the middle of this century. The only aspect of this anthology which suggests that it was published recently is the inclusion of three Chinese pieces and one Indian piece. (shrink)

As a guide to source material, the book will be useful to readers already somewhat familiar with Vaiśeṣika, and as a reference guide, the book’s lists of categories (padārthas) and other related concepts will also be handy for the same. However, the book is less satisfactory for readers wishing for a general introduction to the study of Vaiśeṣika, given its organization, coupled with its heavy use of untranslated Sanskrit and assumption that readers are already familiar with Indian philosophy. (...) Philosophically speaking, the book is useful in sketching out the commitments of Vaiśeṣikas and their interlocutors, more on which below, but is sparse when it comes to developing the nuances of the sustained arguments and objections throughout the lengthy history of Vaiśeṣika influence on Indian thought. (shrink)

CATEGORY: Philosophy play; historical fiction; comedy; social criticism. -/- STORYLINE: Katherine, a neurotic American lawyer, meets Christianus for a philosophy session at The Late Victorian coffee shop in London, where they also meet Wendy the waitress and Baldy the player. Will Katherine be able to overcome her deep depression by adopting some of Christianus’s satisfactionist ideas? Or will she stay unsatisfied and unhappy by stubbornly sticking to her own neti-neti nothingness philosophy? And what roles do Baldy, Wendy, (...) and the Okefenokee Man-Monster have in this connexion? -/- TOPICS: In the course of this philosophy play, Katherine and Christianus discuss many things: friendship, a Renoir painting, global warming, elephant conservation, freemasons, Prince of Wales and his tiger-hunting experience in Nepal, Victorian Chartism and a Kennington Common daguerreotype, a Mortality Proof, and, last but not least, Baldy, Wendy, and the gory plot of the Okefenokee Man-Monster. -/- NOTES: This work features elaborate footnotes and comments (including full bibliographical references) by the author, to enhance the reader's experience of the play and its philosophizing characters. (shrink)

The study of the arts in philosophy has often concentrated on the role that emotions (and affective responses more generally) play in art’s creation and value. Philosophical theories of art have sometimes even defined art in terms of its capacity to elicit or express emotions. Philosophers have debated such questions as what it is to express an emotion in art; whether emotions form part of the value of an artwork; whether the emotions involved in art appreciation are of the (...) same kind as those that we experience in real life, or of a different, even sui generis kind (i.e., aesthetic emotions); whether it is rational or appropriate to experience emotions in response to art; and what value, if any, there is in art that evokes unpleasant emotions. Although the focus here will be on what, to a first approximation, can be characterized as the “Western mainstream philosophical tradition,” discussion of the role of emotions in art can also be found in different approaches and traditions of thought: from Indian philosophy to cognitive science, to so-called Continental philosophy. (shrink)

Edward Said pointed to the problem of Orientalism that develops when the West creates a fictitious imagined version of Eastern religion and culture. Said’s notion of Orientalism focuses on the general distorted representation of Eastern religion and culture by the West. Homi Bhabha extends Said’s notion of Orientalism to reveal the tension of the inevitable hybridity between the East and the West. Here, cultural practices develop in the space of hybridity with the intention to promote a feeling of coherence as (...) opposed to with the objective to deform or distort religion and culture. Thus, the intention in a space of hybridity is often not to engage in Orientalism. Instead, the goal is to develop something new in a hybrid form. An opportunity arises in philosophy of education to adequately confront the problem of Orientalism that may develop in a space of hybridity. The author proposes a philosophical postcolonial framework that engages in a creative process that does not further Orientalism but rather develops something new with an ethic of hybrid responsibility for religion and culture. To illustrate this, the author uses Kuchipudi Indian Classical Hindu dance as an example. (shrink)

Cinema is neither neutral nor a universal medium. Particularly in African contexts, cinema contributes to European exceptionalism, imposes European values as the norm, and acts as an instrument of cultural and psychological control. It seems that African cinema is ontologically, politically, and aesthetically Eurocentric. By introducing an intercultural philosophical approach to the realm of cinema, we aim to move away from Eurocentrism in African cinema towards a more intercultural and dialogical orientation as an input for the liberation of humanity. Based (...) on findings from a dramaturgical analysis of five films, we argue that African cinema shows a deficiency in communicating liberation and it often fails to portray African people’s values, will, and interests as it has been alienated from its nature and purpose. Overall, African cinema seems to be either in a state of assimilation or confusion. By exploring aesthetics of liberation in African cinema and art (as described in African and intercultural philosophy,) we search for alternative film aesthetics and a mode of filmmaking that seeks to liberate the image and the minds of the filmmakers and spectators of African cinema. Inspired by Kimmerle’s aesthetic-ethic alternative ‘Living (with) art’, we propose an alternative for critical filmmaking based on aesthetics of liberation with an intercultural orientation: Living cinema. Living cinema is a dialogical and liberational cinema with aesthetics of liberation at its core. Based on aesthetic-ethic principles of African philosophy and interculturality, the liberating function of living cinema can be found in reconnecting the aesthetics and filmmaking with African values. Simultaneously, it might be contributing to the liberation of world cinema as it has an impact on both the hegemonic and the suppressed cinema. (shrink)

What is the aim of philosophy? There may be too many philosophical branches, traditions, practices, and programs to admit of a single overarching aim. Here I focus on a fairly traditional philosophical project that has recently received increasingly sophisticated articulation, especially by Frank Jackson (1998) and David Chalmers (2012). In §1, I present the project and suggest that it is usefully thought of as ‘total axiomatics’: the project of attempting to axiomatize the total theory of the world. In §2, (...) I raise a problem for the project that I call the ‘problem of multiple axiomatizations.’ I consider some initially alluring but ultimately unpromising approaches to this problem in §3. In §4, I defend a surprising approach to the problem, according to which competing axiomatizations of the total theory of the world are effectively evaluated for their aesthetic virtues. (shrink)

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic (...) concepts, and imagination, as well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

Contemporary Indian Philosophy is related to contemporary Indian thinkers and contains the proceedings of First Session of Society for Positive Philosophy and Interdisciplinary Studies (SPPIS) Haryana. It is neither easy nor impossible to translate into action all noble goals set forth by the eminent thinkers and scholars, but we might try to discuss and propagate their ideas. In this session all papers submitted electronically and selected abstracts have been published on a website especially develop for this (...) session. In this volume we included some papers from this session and also from open sources and contributors include teachers, research scholars and students etc. This volume is divided into two parts. First part contains papers on Swami Vivekananda and second part contains papers of B. G. Tilak, Sri Aurobindo, Mahatma Gandhi, Jawaharlal Nehru, Saheed Bhagat Singh and Dr. B.R. Ambedkar etc. It is the general intention of the Centre to produce informative as well as positive literature to inspire and motivate the students and the general readers. (shrink)

This book sheds new light on the fascinating -- at times dark and at times hopeful -- reception of classical Yoga philosophies in Germany during the nineteenth century. Written for non-specialists, Indian Philosophy and Yoga in Germany will be of interest to students and scholars working on 19th-century philosophy, Indian philosophy, comparative philosophy, Hindu studies, intellectual history, and religious history.

The present work is an attempt to show that ‘important and original philosophy was written in English, in India, by Indians’ from the late 19th c through the middle of 20th c. (xiv). In fact, it tells us that these works ‘sustained the Indian philosophical tradition and were creators of its modern avatar.’ (xiv) The authors of these works ‘pursued Indian philosophy in a language and format that could render it both accessible and acceptable to the (...) Anglophone world abroad.’ (xiv). (shrink)

This paper attempts to articulate certain inadequacies that are involved in the traditional way of categorizing Indian philosophy and explores alternative approaches, some of which otherwise are not explicitly seen in the treatises of the history of Indian Philosophies. By categorization, I mean, classifying Indian philosophy into two streams, which are traditionally called as astica and nastica or orthodox and heterodox systems. Further, these different schools in the astica Darsanas and nastica Darsanas are usually numbered (...) into six and three respectively. Nyaya - Vaisesika, Sankhya -Yoga and Purva & Uttara Mimamsa are identified as astica darsanas and Carvaka, Buddhism and Jainism are identified as nastica darsanas (6+3). It is my endeavor to critically analyze the usual astica-nastica distinction of 6+3 classification of Indian philosophy so as to find out the meaning of such a rationale in this categorization. This general consensus is contested in this paper. What I am intended to support and strengthen such a critical analysis and exploration is to discuss these systems of India’s philosophy within the general intellectual milieu of Indian cultural traditions, its orientations, presuppositions and preferences. In order to carry out such a task, I shall be taking recourse to the theories of different scholars, both traditional and modern, in approaching and appropriating Indian Philosophy from different perspectives and their critical-creative approaches shall be scrutinized. (shrink)

Arthur Schopenhauer's “The World as Will and Representation” is a continuation and completion of the Kantian philosophical project. Schopenhauer proposes that rather than causality being an empirical consequence, as Kant implies in his Critique of Pure Reason, causality is an a priori phenomenon, happening independent of any knowledge of causality itself. Therefore, he challenges Kantian rationalism with pessimism. To begin this work stating the stark contrast between Kant’s epistemology and Schopenhauer’s, I note the few yet crucial characteristics to consciously consider (...) from Schopenhauer’s aesthetics: (1) there is no rationality to nature; (2) there is no ‘purposeness’ in life; and (3) human beings are not fundamentally rational. These each are expanded upon and discussed in unison with Kant's sentiments. In describing Schopenhauer's philosophy of the human experience, it is useful to refer to his interest in Indian philosophies and religions, which is briefly mentioned in this work by way of the famous paradox proposed by Nāgārjuna. The major point of divergence, it appears, between the two great minds reveals itself in their conception of the human experience and perception. Kant describes a reality consisting of mental representations whose nature is suggested to be a posteriori, Schopenhauer understands reality to be noumenal and its perception by sentient life to be indirect, subject-dependent, and consequently a priori. (shrink)

The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying what I mean (...) by aesthetics (to be contrasted with philosophy of art) and by philosophy of perception, it may be easier to accept. (shrink)

This is a brief review of the Rasa theory of Indian aesthetics and the works I have done on the same. A major source of the Indian system of classification of emotional states comes from the ‘Natyasastra’, the ancient Indian treatise on the performing arts, which dates back to the 2nd Century AD (or much earlier, pg. LXXXVI: Natyasastra, Ghosh, 1951). The ‘Natyasastra’ speaks about ‘sentiments’ or ‘Rasas’ (pg.102: Natyasastra, Ghosh, 1951) which are produced when certain ‘dominant (...) states’ (sthayi Bhava), ‘transitory states’ (vyabhicari Bhava) and ‘temperamental states’ (sattvika Bhava) of emotions come together (pgs.102, 105: Natyasastra, Ghosh, 1951). This Rasa theory, which is still widely followed in classical Indian performing arts, classifies eight Rasas or sentiments which are: Sringara (erotic), Hasya (comic), Karuna (pathetic), Raudra (furious), Vira (heroic), Bhayanaka (terrible), Bibhatsa (odious) and Adbhuta (marvellous). There was a later addition of the ninth sentiment or Rasa called Santa (peace) in later Sanskrit poetics (pg.102: Natyasastra, Ghosh, 1951). According to ancient Indian aesthetics (especially in the context of Bharatas’ ‘Natyasastra’, Anandavardhana’s ‘Dhvanyaloka’ and Abhinavagupta’s ‘Abhinavabharati’), ‘Rasa’ is the relishable state of elemental human emotions called ‘Bhavas’. Bharata’s ‘Natyasastra’ originally spoke of eight Rasas. The concept of the 9th Rasa was a later interpolation by the Kashmiri Shaivist Abhinavagupta (10th Century AD) and also his predecessor Anandavardhana (9th Century AD). Abhinavagupta extends the eight Rasas by adding the concept of the Santa Rasa which he regards as the essence of all Rasas. It is this 9th Rasa which according to Abhinavagupta lets the Rasika attain the aesthetic detachment and savour the essences of all other Rasas and therefore the true aesthetic delight. The introduction of 9th Rasa integrates the concepts of Bharata’s Rasasutra and Patanjali’s Yoga theory – the detachment necessary to introspect inwards into the inherent state of freedom and bliss (aesthetic consciousness). (shrink)

During the past few decades, everyday aesthetics has established itself as a new branch of philosophical aesthetics alongside the more traditional philosophy of art. The Paths from Philosophy of Art to Everyday Aesthetics explores the intimate relations between these two branches of contemporary aesthetics. The essays collected in this volume discuss a wide range of topics from aesthetic intimacy to the nature of modernity and the essence of everydayness, which play important roles both in the philosophy (...) of art and everyday aesthetics. With these essays, the writers and editors of this volume wish to commemorate professor Arto Haapala on his 60th birthday. -/- This collection of articles is intended for scholars and students working in the fields of aesthetics, philosophy, and art studies. (shrink)

In this paper, I attempt to formulate an Ingardenian conception of the literary work’s aesthetic value. Following Mitscherling’s lead, I attempt to place Ingarden’s aesthetics within his overall phenomenological-ontological project. That is, I argue that Ingarden’s aesthetics can only be properly fathomed in the context of his ontological deliberations, since, as he himself often enunciated, all his philosophical investigations constitute a realist rejoinder to Husserl’s turn toward transcendental idealism. To this end, I bring together insights from his aesthetics and (...) ontology to establish a coherent account of values, where artistic and aesthetic values are analyzed as they manifest themselves in the literary work of art. By attending to the ontology of its aesthetic (and artistic) values, I argue, the literary work’s stratified formation becomes more explicit. Keywords: Roman Ingarden, aesthetic value, artistic value, the literary work of art, ontology, aesthetics. (shrink)

Joseph T. O’Connell drew attention to the relative scarcity of academic work on religion in South Asia, and o ered as a plausible explanation for this state of a airs the tension between secular and religio‐political communal interests. This paper explores the potential role of phi‐ losophy as an established academic discipline within this situation, in the context of India. It argues that objective study, including evaluation, of the truth claims of various religious traditions is an important aspect of academic (...) as opposed to confessional engagement with religion, and that philosophy in India is especially well suited to undertake such re ection and to provide corresponding education. Unlike Western countries, philosophy and religion were never clearly separated in India and did not evolve in tension with one another. The history of Indian philosophy therefore includes and is included within the history of its ‘religions’, in a way that makes philosophical examination of the truth claims of Indian religions internal to those religions themselves. By tracing this history, the discipline of philosophy can help to unsettle the idea of religion as a matter of xed dogma. It can also continue the procedure of interpreting and evaluating metaphysical and epistemological theses that has been an intrinsic component of Indian religious thought for most of its history. (shrink)

Experimental philosophy offers an alternative mode of engagement for public philosophy, in which the public can play a participatory role. We organized two public events on the aesthetics of coffee that explored this alternative mode of engagement. The first event focuses on issues surrounding the communication of taste. The second event focuses on issues concerning ethical influences on taste. -/- In this paper, we report back on these two events which explored the possibility of doing experimental philosophical aesthetics (...) as public philosophy. We set the stage by considering the significance and current state of efforts in public philosophy, and by introducing the emerging sub-discipline of experimental philosophical aesthetics. Then, we discuss the research and outreach aspects of the two events on the aesthetics of coffee. Finally, we conclude by reflecting on the prospects and potential pitfalls of experimental philosophy as public philosophy. (shrink)

This is an excerpt from a report on the workshop on mind and attention in Indian philosophy at Harvard University, on September 21st and 22nd, 2013, written by Kevin Connolly, Jennifer Corns, Nilanjan Das, Zachary Irving, and Lu Teng, and available at http://networksensoryresearch.utoronto.ca/Events_%26_Discussion.html This portion of the report explores the question: Are there cross-cultural philosophical themes?

This introduction concerns the place that Indian philosophical literature should occupy in the history of philosophy, and the challenge of championing pre-modern modes of inquiry in an era when philosophy, at least in the anglophone world and its satellites, has in large measure become a highly specialized and technical discipline conceived on the model of the sciences. This challenge is particularly acute when philosophical figures and texts that are historically and culturally distant from us are engaged not (...) only exegetically but also with a view to recruiting their topics and arguments for contemporary philosophical debates. (shrink)

Maria Gołaszewska (1926–2015) was a Polish philosopher associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the post-war and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for the perspective (...) of gender, and which in this sense should be acknowledged as having anticipated the main postulates of contemporary feminist philosophy. In the article I present Gołaszewska’s philosophy as a cognitively valuable response to the search of feminist aesthetics for a suitable description of women’s experiences related to art and aesthetic perception. In accordance with this aim, I discuss Gołaszewska’s theory of the aesthetic situation, a framework within which she proposed solutions similar to feminist standpoint theories. These theories were developed chiefly on the basis of the feminist philosophy and feminist epistemology (Elizabeth Anderson, Donna Haraway, Sandra Harding, Elizabeth Potter). In recent years they have also found creative applications in feminist aesthetics (Anne Eaton). (shrink)

In modern Anglo-European philosophy there is a distinct progression from the metaphysical realism of ancient and classical philosophy towards a type of scepticism that eventually leads towards nihilism. Interestingly this progression also appears in the doctrines of the Classical schools of Indian Buddhism that pre-date modern European philosophy by well over six centuries. This progression stems from the application of the same types of logical and philosophical reasoning to the problems of metaphysics. The movement from metaphysical (...) realism to representationalism to idealism and finally towards nihilism, which is seen within both the classical Indian Buddhist tradition and Modern Anglo-European philosophy, are products of a coherent and wholly logical progression from the acceptance of certain metaphysical principles. The fact that these same movements occur in two philosophical traditions that are separated by vast chasms in space, time and culture seems to point to an underlying commonality underlying human philosophical enquiry, whether this is a result of a common intelligible reality, an essential and universal human nature or both is a philosophical question we must continue to pursue. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express (...) are ‘mock thoughts’ (Schiengedanken). The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model (‘picture’) states of affairs whereas works of art are objects we perceive sub specie aeternitatis (1961, 83). By the 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model (picture) the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful (gelungene) or ‘good’ works of art (ibid.), in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’ (1980, 36). (shrink)

In contemporary Western analytic philosophy, the classic analogical argument explaining our knowledge of other minds has been rejected. But at least three alternative positive theories of our knowledge of the second person have been formulated: the theory-theory, the simulation theory and the theory of direct empathy. After sketching out the problems faced by these accounts of the ego’s access to the contents of the mind of a “second ego”, this paper tries to recreate one argument given by Abhinavagupta (Shaiva (...) philosopher of recognition) to the effect that even in another’s body, one must feel and recognize one’s own self, if one is able to address that embodied person as a “you”. The otherness of You does not take away from its subjectivity. In that sense, just as every second person to whom one could speak is, first, a person, she is also a first person. Even as I regret that I do not know exactly how some other person is feeling right now, I must have some general access to the subjective experience of that other person, for otherwise what is it that I feel so painfully ignorant about? My subjective world is mine only to the extent that I recognize its continuity with a sharable subjective world where other I-s can make a You out of me. (shrink)

In this paper I will discuss some issues related to a recent trend in experimental philosophy (or x-phi), and try to show the reasons of its late (and scarce) involvement with aesthetics, compared to other areas of philosophical investigation. In order to do this, it is first necessary to ask how an autonomous experimental philosophy of aesthetics could be related to the long-standing tradition of psychological experimental aesthetics. After distinguishing between a “narrow” and a “broad” approach of experimental (...) philosophy, I will then make a distinction between topics in aesthetics pertaining to perceptual and cognitive processes, and traditional issues involved in the analysis of general and culturally-laden concepts. The narrow program of experimental philosophy, focused on the investigation of folk intuitions, is particularly effective only when two general conditions are met: the use of hypothetical scenarios (testing of thought experiments) and the heuristic role of folk intuitions in drawing philosophically relevant conclusions. I will argue that, when aesthetics is concerned, these requirements are not easily met. These difficulties notwithstanding, I will support a pluralistic view where aesthetics is revealed as an instructive example of how experimental approaches and traditional “armchair” philosophy integrate, and enrich each other. (shrink)

© The Author 2016. Published by Oxford University Press on behalf of The Scots Philosophical Association and the University of St Andrews. All rights reserved. For permissions, please e-mail: [email protected] Nanay provides an original and interesting discussion of the connections between aesthetics and the philosophy of perception. According to Nanay, many topics within aesthetics are about experiences of various kinds. Aesthetics is not philosophy of perception, but there are important questions within aesthetics that we can address in an (...) interesting way by using the conceptual apparatus of the philosophy of perception.The main theme of this book is the role of attention in those perceptual experiences that are relevant for aesthetics. Nanay claims that in some paradigmatic examples of aesthetic experiences our attention is exercised in the way of being distributed across properties. He argues that various versions of distributed attention can explain our experiences of aesthetic... (shrink)

In contrast to a stereotypical account of Indian philosophy that are entailments of the interpreter’s beliefs (an approach that violates basic standards of reason), an approach to Indian philosophy grounded on the constraints of formal reason reveals not only a wide spread disagreement on dharma (THE RIGHT OR THE GOOD), but also a pervasive commitment to the practical foundation of life’s challenges. The flip side of this practical orientation is the criticism of ordinary experience as erroneous (...) and reducible to the agent’s mental states. If we ignore the background practical orientation in Indian philosophy, this seems not like an error theory, that I call Ironic Idealism, but as a defense of idealism. I consider salient candidates for Indian Idealism (Advaita Vedānta, Yogācāra Buddhism, Kāśmīra Śaivism and the Yogavāsiṣṭha) and note that these positions continue a theme in Indian philosophy of articulating Ironic Idealism. Ironic Idealism depends upon the very Indian distinction between ultimate and provisional truth, and Ironic Idealism criticizes the mundane, provisional sort of "truth" as psychological and mental --- and ultimately false. Interpretation, the common approach to the study of Indian philosophy, is an example of what Ironic Idealism criticizes. This explains why authors incorrectly find Idealism everywhere in Indian thought. (shrink)

“A Survey on Study and Research in Philosophy in India” is a multivoloume series. It is an attempt to present an overview about status of teaching and research in Philosophy in India. Present volume aims to serve two basic purposes: (1) To provide aid to prospective researcher to refer already carried out works in the area. This is helpful to save time, energy and money of a researcher and making him/her aware of existing works so that he/she could (...) forego further in the area. Conversely, it avoids duplication in research work. (2) To present an overview of the Ph.D. research areas, where neglected area or over pursued area may be observed and planning and support may be implemented. So far, there has been no attempt to gauge the research trends in the area of Philosophy in our country. This is partly because of unavailability of database involving long correspondences and poor responses and partly because of lack of methodology for analyzing the trends. A novel concept of ‘research inclination’ and innovative methodology for measuring the trends, have been developed in this book, which may be helpful for analyzing the status/trends in Ph.D. researches in other subjects also. (shrink)

The title of the present paper might arouse some curiosity among the minds of the readers. The very first question that arises in this respect is whether India produced any logic in the real sense of the term as has been used in the West. This paper is centered only on the three systems of Indian philosophy namely Nyāya, Buddhism and Jainism. We have been talking of Indian philosophy, Indian religion, Indian culture and (...) class='Hi'>Indian spirituality, but not that which are of more fundamental concepts for any branch of knowledge whether it is social sciences or humanities. No aspect of human life and the universe has been left unexamined by Indian philosophers, and this leads to a totality of vision in both philosophical and psychological fields. In this paper we will discuss the main thinkers, sources and main concepts related to Indian Logic. (shrink)

This interdisciplinary study explores the philosophical evolution of John Keats' poetics, integrating insights from philosophy, cognitive science, psychology, and literary hermeneutics to unravel the complex interplay between aesthetics and epistemology in Romantic literature. The research traces Keats' intellectual journey from solipsistic idealism to naturalistic humanism, analyzing his conceptualization of truth, beauty, and imagination through the lens of both Continental philosophy and analytical logic.

There are some tantalizing suggestions that Pyrrhonian skepticism has its roots in ancient India. Of them, the most important is Diogenes Laertius’s report that Pyrrho accompanied Alexander to India, where he was deeply impressed by the character of the “naked sophists” he encountered (DL IX 61). Influenced by these gymnosophists, Pyrrho is said to have adopted the practices of suspending judgment on matters of belief and cultivating an indifferent composure amid the vicissitudes of ordinary life. Such conduct, and the attitudes (...) that it embodied, became inspirations to later skeptical thinkers. It is a fact that practices of the sort attributed to Pyrrho are richly evident in a number of ancient Indian philosophical and ascetic movements. On this basis, attempts have been made to determine the identity of these gymnosophists and, further, to pinpoint the dialectical tropes within Pyrrhonism that may have their basis in Indian thought. But despite these attempts, and in the absence of any new discoveries, these suggestions will likely remain just that. The paucity of the historical data and the problematic nature of the data itself prevent us from reconstructing a solid bridge between ancient India and Greek skepticism that may serve as the basis of robust historical theorizing. Classical India does, however, lay claim to a sophisticated and diverse culture of epistemological reflection, which includes a number of innovative skeptical thinkers deserving study on their own merits. This chapter is meant to provide such a study, or perhaps more accurately, a prolegomena for such. After some initial ground-laying, I will discuss three leading Indian skeptics and situate them historically and conceptually within the network of competing schools that comprise classical Indian philosophy. They are Nāgārjuna (c. 150 CE), the founder of Madhyamaka Buddhism, Jayarāśi (c. 800), associated with the Indian materialist tradition, and Śrīharṣa (c. 1150), a thinker connected to the school of Nondual (Advaita) Vedānta. (shrink)

This paper undertakes textual exegesis and rational reconstruction of Mukula Bhaṭṭa’s Abhidhā-vṛttta-mātṛkā, or “The Fundamentals of the Communicative Function.” The treatise was written to refute Ānandavardhana’s claim, made in the Dhvanyāloka, that there is a third “power” of words, vyañjanā (suggestion), beyond the two already accepted by traditional Indian philosophy: abhidhā (denotation) and lakṣaṇā(indication).1 I argue that the explanation of lakṣaṇā as presented in his text contains internal tensions, although it may still be a compelling response to Ānandavardhana.

Feminist philosophy has taken too long to engage seriously with aesthetics and has been even slower in confronting natural beauty in particular. There are various possible reasons for this neglect, including the relative youth of feminist aesthetics, the possibility that feminist philosophy is not relevant to nature aesthetics, the claim that natural beauty is not a serious topic, hesitation among feminists to perpetuate women's associations with beauty and nature, and that the neglect may be merely apparent. Discussing each (...) of these possibilities affords a better understanding of, but none justify the neglect of natural beauty in feminist aesthetics. (shrink)

Based on the premise that an aesthetic experience is inevitably a human one, this paper considers a non-anthropocentric ecological aesthetic experience through the lens of Indian aesthetics. It does so by problematizing the beautiful in the aesthetic. Rasa in Indian aesthetics refers to the essence of emotion felt in an aesthetic experience. The adbhuta rasa refers to the experience of wonder through astonishment. I argue that what we might find amazing in nature is not (...) only the picturesque, but rather the ecological interconnectedness of nature. Through Indian aesthetics, we recognize in this paper, the criterion for a sensitive, receptive and responsive subject presenting themselves to an engulfment, as important for a non-othered ecological aesthetic experience. It is recognized that there might be an aesthetic allowance in ecological design, realized by placing importance on a sensory immersion in the natural world that allows an engulfment in it. While not neglecting a cognitive reflexive analysis of such a relishing of the adbhuta, we conceive of an experience that finds aesthetic value and appreciation beyond the instrumental and commodified value placed on natural environments. The paper concludes with key questions that a rasa anubhuti raises for emerging eco-aesthetic theories and a summary of the unique hermeneutical and epistemological contributions this approach could make to the field. (shrink)

This is an open-access book which is devoted to rediscovering the early history of phenomenology in confrontation with the legacy of Franz Brentano by discussing Leopold Blaustein’s philosophy. It offers a unique perspective on the history of the phenomenological movement by presenting the development of Blaustein’s theory. Blaustein was a philosopher educated by Kazimierz Twardowski in Lvov, but he also held research stays in Freiburg im Breisgau (where he studied under Edmund Husserl) and in Berlin (where he met Carl (...) Stumpf). Blaustein’s work is usually classified as phenomenology yet some scholars question this by claiming that Blaustein was radically critical of Husserl’s phenomenology. This text addresses these divergent opinions by claiming that Blaustein was both a descriptive psychologist and a phenomenologist. Moreover, the book shows that these two motives were intertwined in Blaustein’s writings and require a reference to other traditions such as the Gestalt theory of Stumpf, and the humanistic psychology of Dilthey. This volume examines sources, context, and applications of the methods used by Blaustein in his original philosophy. It appeals to philosophers, especially phenomenologists, epistemologies, and historians. The more specialized chapters are also relevant to historians of the phenomenological movement and the Brentanian tradition. (shrink)

This research looks at the various interpretations of "Mind" found in the Astika Darshanas, which cover the six main schools of Indian philosophy. At the same time, it looks into the profound East Asian Buddhist doctrine of One Mind as presented by Wonhyo, a great Korean Buddhist monk. This study seeks to identify the interesting similarities and differences that lie at the nexus of various philosophical domains by travelling through the complex landscape of different intellectual traditions. By using (...) a comparative approach, it aims to clarify the connections and distinguishing characteristics that form the conception of 'Mind' in both Korean Buddhist philosophy and the six schools of Indian philosophy, thereby advancing our understanding of the various philosophical currents that have influenced the intellectual fabric of these traditions. Focusing on the transmission and assimilation of Indian philosophical ideas into Buddhist philosophies, the research explores how these concepts were adapted and evolved as Buddhism spread across East Asian cultures. This research seeks to bridge these dissimilar contexts in order to reveal the interconnections of Indian and Korean philosophical traditions, contributing to a better understanding of the universal threads that connect these landscapes and highlighting the enduring resonance of fundamental concepts in the pursuit of enlightenment. (shrink)

The Indian banking system evolved from an exclusive private enterprise controlled by a few wealthy families and trusts, leaving the majority reliant on high-interest private lenders, perpetuating economic disparity. Nationalization of 21 banks under Indira Gandhi aimed to rectify this, aligning with India's constitutional goal of equitable wealth distribution. However, globalization and privatization reshaped the landscape, emphasizing profit-seeking and catering to the corporate sector and affluent classes. The marginalized rural and small business sectors suffered in this pursuit, evident in (...) neglected rural branch postings. To address this, an ethical foundation merging Marxist economics and Shariah banking principles is proposed, seeking inclusivity and ethical grounding. Shariah principles, rooted in Islamic law, extend beyond religious boundaries, while Marxist values amplify voices of the marginalized. By combining these principles, a more inclusive, morally anchored, and holistic Indian banking system can be envisioned. The priority sector's Non-Performing Assets challenge can be addressed without jeopardizing inclusivity. (shrink)

This chapter considers the literature associated with explorations of consciousness in Indian philosophy. It focuses on a range of methodological and conceptual issues, drawing on three main sources: the naturalist theories of mind of Nyaya and Vaisesika, the mainly phenomenological accounts of mental activity and consciousness of Abhidharma and Yogacara Buddhism, and the subjective transcendental theory of consciousness of Advaita Vedanta. The contributions of Indian philosophers to the study of consciousness are examined not simply as a contribution (...) to intellectual history, but rather with a view to evaluating their relevance to contemporary issues, specifically to the mind-body problem. The presence of dualist positions with strong naturalist undercurrents in Indian philosophy, especially in the Nyaya and Samkhya traditions, rules out the possibility of treating the mind-body problem as an idiosyncratic feature of Cartesian metaphysics. (shrink)

In this paper, I will try to look at Leibniz from the topos of Indian philosophy. François Jullien called such a strategy “dépayser la pensée” – to withdraw an idea from its familiar environment and to see it through the lens of a different culture. “Read Confucius to better understand Plato.” I am referring to Indian philosophy, especially to some Buddhist systems, in order to highlight certain aspects of Leibniz’s mode of thinking, that I define as (...) “atomistic approach”. (shrink)

The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities. Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts. However, aesthetic judgements are not objective in the sense that the experience justifies their objectivity. By analysing Monroe C. Beardsley's theory of the (...) objectivity of aesthetic qualities, I examine whether there are really beautiful and ugly persons in the world. I will criticize the way analytic philosophers judge people and art from an aesthetic perspective. If there are no aesthetic qualities in the world, nobody can judge someone beautiful or ugly without oppression. Aesthetic judgement is exercise of power. (shrink)