By Lata S Bapat
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Finns godhet? Finns ondska? Finns det i så fall onda och goda människor eller enbart onda och goda handlingar?
Ann Heberlein undersöker och ifrågasätter våra föreställningar om ondskan. Hur ska guy kunna förstå personer som Anders Eklund, Marc Dutroux och Josef Fritzl som fullt medvetande begått avskyvärda handlingar mot barn? Hur ska guy se på barnen som själva blir förövare: Harris och Klebold från Columbine excessive eller Mary Bell? Hur var den institutionaliserade ondskan vi mötte i Abu Ghraib, det forna Jugoslavien eller Förintelsen överhuvudtaget möjlig?
Och vad är det med männen egentligen? Varför begås de flesta onda handlingar av män?
Många frågor. males Ann Heberlein hjälper oss också att formulera några av svaren. Hon menar att ondskan inte alls är obegriplig. Den är inte heller ett eget väsen. Snarare har den sitt ursprung i ojämlikhet och utsatthet och den hämtar näring ur människors rädsla och maktlöshet.
Det enda obegripliga är vår ovilja att göra mer för att stoppa den.
The Gospel in line with Renan offers a brand new and holistic interpretation of 1 of the non-fiction sensations of the 19th century: Ernest Renan's lifetime of Jesus (Vie de Jésus). released in 1863, Renan's booklet aroused huge, immense controversy via its declare to be a traditionally actual biography of Jesus.
This e-book examines intimately Ludwig Wittgenstein’s rules on suggestion, considering, will and purpose, as these rules constructed over his lifetime. It additionally places his principles into context through a comparability either with previous thinkers and with next ones. the 1st bankruptcy provides an account of the old and philosophical history, discussing such thinkers as Plato, Descartes, Berkeley, Frege and Russell.
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Additional info for Buddhist logic: A fresh study of Dharmakirti's philosophy
6 The ideal photograph, as I mentioned earlier, stands in a causal relation to its subject and ‘represents’ its subject by reproducing its appearance. In understanding something as an ideal photograph, we understand it as exemplifying this causal process, a process which originates in the subject ‘represented’ and which has as its end point the production of a copy of an appearance. 2005 6:41am Photography and Representation standing (the intentional object of sight) resembles as nearly as possible what is seen when such a person observes the subject itself from a certain angle at a certain point in its history.
He still might argue, however, that it is possible to be interested in a photograph as a photograph and find it, and not just its subject, beautiful. But what is it to be interested in a photograph as a photograph? 2005 6:41am Photography and Representation abstract aesthetic interest in a photograph as a construction of lines and shapes (as one is intended to appreciate Man Ray’s Rayogrammes, for example). One can have a purely abstract aesthetic interest in anything; photography is only a representational art if our interest in a photograph as a photographic ‘representation’ is a type of aesthetic interest.
16 Of course a photographer can aim to capture that fleeting appearance which gives the most reliable indication of his subject’s character. He may attempt to find in the momentary some sign of what is permanent. But there is a great difference between an image which is a sign of something permanent and an image which is an expression of it. To express the permanent is to give voice to a thought about its nature. To give a sign of the permanent is to create something from which its properties may be inferred.