This book provides an account of the unity of Immanuel Kant’s early metaphysics, including the moment he invents transcendental idealism. Matthew Rukgaber argues that a division between “two worlds”—the world of matter, force, and space on the one hand, and the world of metaphysical substances with inner states and principles preserved by God on the other—is what guides Kant’s thought. Until 1770 Kant consistently held a conception of space as a force-based material product of monads that are only virtually present in nature. As Rukgaber explains, transcendental idealism emerges as a constructivist metaphysics, a view in which space and time are real relations outside of the mind, but those relations are metaphysically dependent on the subject. The subject creates the simple “now” and “here,” thus introducing into the intrinsically indeterminate and infinitely divisible continua of nature a metric with transformation rules that make possible all individuation and measurement.
Nietzsche in Hollywood offers a compelling and startling history of Hollywood film in which the German philosopher Friedrich Nietzsche and his idea of the Übermensch looms large. Though Nietzsche's philosophy was attacked as egoistic and a sociopathic version of Darwinism in films from the 1910s, it undergoes a series of cinematic and philosophical transformations in the 1920s and 1930s under the eye and pen of some of the most significant names in early Hollywood, including Erich von Stroheim, Josef von Sternberg, Ben Hecht, Howard Hawks, and Ernst Lubitsch. In addition to establishing historical connections between Nietzsche's philosophy and these filmmakers, the book provides philosophical readings of many Hollywood films through the lens of the Nietzschean ideas of "perspectivism" and the critique of morality. Offering a new history of classic Hollywood films as well as a new approach to film philosophy, Nietzsche in Hollywood reveals a reading of the philosopher in American culture that has largely been ignored.
Nietzsche in Hollywood offers a compelling and startling history of Hollywood film in which the German philosopher Friedrich Nietzsche and his idea of the Übermensch looms large. Though Nietzsche's philosophy was attacked as egoistic and a sociopathic version of Darwinism in films from the 1910s, it undergoes a series of cinematic and philosophical transformations in the 1920s and 1930s under the eye and pen of some of the most significant names in early Hollywood, including Erich von Stroheim, Josef von Sternberg, Ben Hecht, Howard Hawks, and Ernst Lubitsch. In addition to establishing historical connections between Nietzsche's philosophy and these filmmakers, the book provides philosophical readings of many Hollywood films through the lens of the Nietzschean ideas of "perspectivism" and the critique of morality. Offering a new history of classic Hollywood films as well as a new approach to film philosophy, Nietzsche in Hollywood reveals a reading of the philosopher in American culture that has largely been ignored.
This book provides an account of the unity of Immanuel Kant’s early metaphysics, including the moment he invents transcendental idealism. Matthew Rukgaber argues that a division between “two worlds”—the world of matter, force, and space on the one hand, and the world of metaphysical substances with inner states and principles preserved by God on the other—is what guides Kant’s thought. Until 1770 Kant consistently held a conception of space as a force-based material product of monads that are only virtually present in nature. As Rukgaber explains, transcendental idealism emerges as a constructivist metaphysics, a view in which space and time are real relations outside of the mind, but those relations are metaphysically dependent on the subject. The subject creates the simple “now” and “here,” thus introducing into the intrinsically indeterminate and infinitely divisible continua of nature a metric with transformation rules that make possible all individuation and measurement.
Is Harpo Free? is a lively appreciation of film and television's ability to artistically explore concepts typical of philosophical metaphysics, such as free will, causality, and personal identity. Rather than using films and television programs as vehicles for philosophical arguments, the book instead celebrates the artistic ways in which they give life to various metaphysical concepts and how the artistic expression of these concepts and ideas helps us understand ourselves, the world, and our place within it. Through close analysis of a varied selection of works and their use of narrative, form, and style, Is Harpo Free? exemplifies a novel approach to appreciating the philosophical substance of films and television programs. Films and television programs discussed include A Night at the Opera; Run, Lola, Run; Shane; Harvey; Three Colours: Blue; The Americans; Dark; and Fargo.
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