Nietzsche and Adorno on Philosophical Praxis, Language, and Reconciliation: Towards an Ethics of Thinking offers a philosophical notion of an “ethics of thinking,” a kind of thinking that is receptive to the non-identical character of the world of human and non-human objects. Paolo A. Bolaños experiments with the ideas of Friedrich Nietzsche and Theodor W. Adorno, who are presented as contemporary proponents of the Frühromantik tradition. Bolaños offers a reconstruction of the respective philosophies of language of Nietzsche and Adorno, as well as a rehearsal of their critique of metaphysics and identity thinking, in order to develop a notion of philosophical praxis that is grounded in the ethical dimension of thinking. Via Nietzsche and Adorno, Bolaños argues that thinking’s performative participation in uncertainty broadens the domain of reason, thereby also broadening our conceptual capacities and our receptivity to new possibilities of thinking. As an ethical praxis, thinking guards itself from the error of solidification, thereby opening philosophy to a reconciliatory, as opposed to domineering, reception of the world.

This book experiments with Nietzsche and Adorno who are contemporary proponents of early German Romanticism. By reconstructing the philosophies of language of these thinkers, and their critique of metaphysics and identity thinking, this book develops a notion of philosophical praxis that is grounded in the ethical dimension of thinking.

This book analyses Kant’s assumptions about happiness and the implications they have for his moral, political, and legal thought. It provides a “map” of the different areas in which the concept of happiness appears in his practical philosophy and examines how it relates to the main themes of his practical philosophy.

What is philosophy? What can philosophy offer us? What brings us to think philosophically? Arthur Schopenhauer’s writings offer fascinating answers to these questions that have largely been overlooked until now. In Schopenhauer and the Nature of Philosophy, Jonathan Head explores the surprisingly rich and compelling metaphilosophy that underlies Schopenhauer’s work and argues that it offers a vital key to unlocking many of the mysteries that surround his ideas. Schopenhauer understands philosophy as grounded in a deep wonder about life and the world that is universal to the human experience, as well as meeting a fundamental need for both explanation and consolation. This account of the nature of philosophy leads to further important discussions concerning the relationship between philosophy and religion, the value of mysticism, and the possibility of social progress. Through examining Schopenhauer’s account of how and why philosophy is done, this book sheds crucial new light on a thinker whose ideas continue to both provoke and inspire.

In a letter from May 10, 1852, to Adam von Doß, Arthur Schopenhauer declared himself to be a Buddhist. From 1825 until his death, he never stopped searching for more information on Buddhism, with his thirst for knowledge of it growing over time. Schopenhauer’s Buddhism: A Historical-Philosophical Inquiry is the first study to do justice to Schopenhauer’s passion for Buddhism, reconstructing the notions of Buddhism he acquired through his readings on Buddhism as well as their influence on his thought. Laura Langone examines what Buddhism meant for Schopenhauer, what kind of Buddhism Schopenhauer had in mind, and how Buddhism shaped his philosophy. This book examines how the assimilation of Buddhist tenets through his Buddhist sources led him to incorporate the Buddhist concept of palingenesis into his philosophical system, which introduced a radically new metaphysical framework. Ultimately, Schopenhauer’s incorporation of Buddhist palingenesis illustrates how Buddhism deeply spurred him to develop new and innovative ideas previously unthinkable in Western philosophy.

This book reinterprets Friedrich Schelling's (1775–1854) positive philosophy as humanity's striving for truth. It presents truth in the context of the historical phenomena of mythology and religion and the anthropological categories of the soul, spirit, and personality.

In Kant’s Struggle for Autonomy: On the Structure of Practical Reason, Raef Zreik presents an original synoptic view of Kant’s practical philosophy, uncovering the relatively hidden architectonics of Kant’s system and critically engaging with its broad implications. He begins by investigating the implicit strategy that guides Kant in making the distinctions that establish the autonomous spheres: happiness, morality, justice, public order-legitimacy. The organizing principle of autonomy sets these spheres apart, assuming there is self-sufficiency for each sphere. Zreik then develops a critique of this strategy, showing its limits, its costs, and its inherent instability. He questions self-sufficiency and argues that autonomy is a matter of ongoing struggle between the forces of separation and unification. Zreik proceeds to suggest that we “read Kant backward,” reading early Kant in light of late Kant. This reading reveals Kant's strategy of both taking things apart and putting them together, focusing on the joints, transitions, and metastructures of the system. The image emanating from this account of Kant’s legal and moral philosophy is of an intimate yet tragic conflict within Kant’s thought—one that leaves us to our own judgment as to where to draw the boundaries between spheres, opening the door for politicizing Kant's practical philosophy.

Since Hegel, the idea of an end of art has become a staple of aesthetic theory. This book analyzes its role and its rhetoric in Hegel, Nietzsche, Benjamin, Adorno, and Heidegger in order to account for the topic's enduring persistence. In addition to providing a general overview of the main thinkers of post-Idealist German aesthetics, the book explores the relationship between tradition and modernity. For despite the differences that distinguish one philosopher's end of art from another's, all authors treated here turn the end of art into an occasion to thematize and to reflect on the very thing that modernism cannot or should not be: tradition. As a discourse, the end of art is one of our modern traditions.

Investigates the intellectual affinities of Adorno and Nietzsche, culminating in a discussion of their readings of Wagner, who serves as a medium and supplement for their critiques of modern culture.

Long before Wittgenstein drew attention to its complexities, the concept of play had captured the interest of theorists for millennia. How do games contribute to our knowledge of the world? Wherein lies their universal appeal? Play is usually associated with a certain blitheness and buoyancy - could it nevertheless be argued that playfulness is not quite as innocent as it might seem? Bence Kun draws on Adorno's writings to explore the relation between philosophical play (understood here as imaginative thought as well as experimental expression) and an experience of dread Adorno links to children's first encounter with death. By investigating his less familiar works, some of which have not yet been translated, Kun challenges the received view on Adorno's approach to metaphysics, the role of systematic inquiry and the modern condition. As he has Adorno say, the originary impression of shock at the heart of philosophical reflection can only be fully apprehended through an open-ended and defiantly creative intellectual practice.