Philosophical Quotes - Page 67

When you're young you try to be methodical and philosophical, but reality keeps breaking in.

The connection between our knowledge and the abyss of being is still real, and the explication must be not less magnificent.

Things bring their own philosophy with them, that is, prudence.

Aristotle and Plato are reckoned the respective heads of two schools. A wise man will see that Aristotle platonizes.

The new statement will comprise the skepticisms, as well as the faiths of society, and out of unbeliefs a creed shall be formed. For, skepticisms are not gratuitous or lawless, but are limitations of the affirmative statement, and the new philosophy must take them in, and make affirmations outside of them, just as much as must include the oldest beliefs.

The man who renounces himself, comes to himself.

I work in several different groups of pictures which act on and with each other - ranging from several abstracted manners to a form for the surreal. I have been called a preacher - but, in reality, I'm more generally philosophical. I have never made an abstracted photograph without content. An educated background in Zen influences all of my photographs. It has been said that my work resembles, more closely than any photographer, Le Douanier Rousseau - working in a fairly isolated area and feeding mostly on myself - I feel that I am a primitive photographer.

I have many times been praised for my lack of animosity towards the Germans. It's not a philosophical virtue. It's a habit of having my second reactions before the first.

Until philosophers hold power, neither states nor individuals will have rest from trouble.

When the religious principles, like the philosophical, are translated into reality, sometimes the reality forces violence on you, and there is no escape from it, and then I don't think it's something you should try to hide your face from.

To philosophical materialists God is no more than an idea in the human mind, and not a very important idea.

Give a small number of people the power to enrich themselves beyond everyone's wildest dreams, a philosophical rationale to explain all the damage they're causing, and they will not stop until they've run the world economy off a cliff.

Godshawk looked surprised, the way that people generally do when you ask them philosophical questions in shrubberies in the middle of the night.

In working towards ways of reading Mann, so that his own advances in suggesting new perspectives will become more vivid, I do some fairly standard philosophical analysis of ideas in Nietzsche and Schopenhauer.

One of the things I want to do in the book is to explore how philosophy can be done in literature. I start doing that in the first chapter, by introducing the idea of "philosophy by showing". What literature/philosophy shows is how to look at some important facets of life in a new way, thus changing the frame in which subsequent philosophical argument proceeds.

I suggest in my own discussion of this episode, Mann invites us to set the attempt to philosophize about his predicament in the context of Aschenbach's life. The literary presentation thus adds to the naked philosophical skeleton.

In the end, we learn about the most basic philosophical questions - like "How to live?" - from a broad mixture of sources, including literature and philosophy, history and anthropology. These sources can guide our reflections on our own experiences, as we explore and reconsider. Mann contributed to such explorations in a distinctive way, and I hope my book brings that out.

I have enormous respect for Derek Parfit, although he seems to me bound within an unfortunate philosophical tradition - rather like the extraordinarily brilliant exponents of Ptolemaic astronomy in the Middle Ages.

Both Ulysses and Finnegans Wake are inexhaustible. They are celebrations of the ordinary, compelling reactions to philosophical elitism about "the good life". I hope to examine both of them further, doing more justice to Joycean comedy than I did in my "invitation" to the Wake, and trying to understand how the extraordinary stylistic innovations, particularly the proliferation of narrative forms, enable Joyce to "see life foully" from a vast number of sides.

In elaborating how "philosophy by showing" works, and in defending the idea that literature and music can contribute to philosophical "showing", I am also doing something more standardly philosophical. But I view most of the book as an interweaving of philosophy and literary criticism. If that entails a broadening of a standard idea of philosophy, it's a broadening I'd like to see happen.

Mann was profoundly influenced by two philosophers, Schopenhauer and Nietzsche, who returned to the most ancient of all philosophical questions - "How to live?" - and whose writings offered novel perspectives for considering that question (much more perspective-offering than rigorous argument!)

As I read Mann in German for the first time, the full achievement - both literary and philosophical - of Death in Venice struck me forcefully, so that, when I was invited to give the Schoff Lectures at Columbia, the opportunity to reflect on the contrasts between novella and opera seemed irresistible.

I use biography, I use literary connections (as with Platen - this seems to me extremely helpful for appreciating the nuances of Mann's and Aschenbach's sexuality), I use philosophical sources (but not in the way many Mann critics do, where the philosophical theses and concepts seem to be counters to be pushed around rather than ideas to be probed), and I use juxtapositions with other literary works (including Mann's other fiction) and with works of music.

I was occupied by a range of questions, often different from those fashionable in the professional philosophy of the past half century, that have sometimes troubled philosophers in the past. It's taken me several decades to work out my own philosophical agenda, and it is wide.

Part of my methodological approach is made explicit when I discuss ways in which literature can have philosophical significance. Literature doesn't typically argue - and when it does, it's deadly dull. But literature can supply the frame within which we come to observe and reason, or it can change our frame in highly significant ways. That's one of the achievements I'd claim for Mann, and for Death in Venice.