By Andrew Cutrofello
Continental Philosophy: a modern creation seems to be on the improvement of the culture, tracing it again from Kant to the current day. Taking a thematic method, the e-book rigorously makes an attempt to set up the continental framework when it comes to the foremost, in addition to less-well recognized, thinkers.
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Additional info for Continental Philosophy: A Contemporary Introduction (Routledge Contemporary Introductions to Philosophy)
In the introduction to the first Critique, Kant alludes to the existence of such a “common but to us unknown root,” but he explicitly denies that we can have any insight into its nature (CPR A15/B29; cf. AFPPV 53). In the first draft of his introduction to the third Critique, the Critique of the Power of Judgment (Kritik der Urteilskraft, 1790), Kant criticizes those who seek to reduce the two stems of human cognition to a single faculty, claiming that “this attempt to bring unity into the multiplicity of faculties, although undertaken in a genuinely philosophical spirit, is futile” because “the powers of the mind constitute an aggregate and not a system” (CPJ 11).
In his 1935 lecture, “The Origin of the Work of Art” (Der Ursprung des Kunstwerkes)—a title that tacitly recalls that of The Birth of Tragedy—Hei-degger develops his own conception of what it means to say that truth is something that happens in works of art. The following year he devoted the first of a series of lecture courses on Nietzsche to the topic, “The Will to Power as Art” (1936–1937). Instead of focusing on The Birth of Tragedy, he concentrates on Nietzsche’s later works, especially the posthumously published fragments that supposedly were to have comprised a magnum opus with the title The Will to Power.
GS 264). Thus Kant ends up making the exact same mistake as Swedenborg, allowing the lines of direction of human understanding—and more importantly of human willing—to converge outside the world, that is, in nothing. In order to overcome this will to nothingness—what Nietzsche calls “nihilism”—it is not enough to recognize that “God is dead,” for this is simply a way of revealing the nihilistic character of the orientation toward transcendence (GS 167). To affirm new values, we must bend the lines of direction of the will back toward the will itself.