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1名無しさん@おーぷん:2016/12/17(土)19:53:43 ID:L6M()
Even despotism does not produce its worst effects, so
long as individuality exists under it; and whatever
crushes individuality is despotism, by whatever
name it may be called, and whether it professes to
be enforcing the will of God or the injunctions of men.”

2名無しさん@おーぷん :2016/12/17(土)19:55:15 ID:L6M()
injunctions of menがよくわからん
3名無しさん@おーぷん :2016/12/17(土)19:57:18 ID:L6M()
“War is an ugly thing, but not the ugliest of things: the decayed
and degraded state of moral and patriotic feeling which thinks that nothing
is worth a war, is much worse. When a people are used as mere human instruments
for firing cannon or thrusting bayonets, in the service and for the selfish purposes
of a master, such war degrades a people. A war to protect other human beings
against tyrannical injustice; a war to give victory to their own ideas of right and
good, and which is their own war, carried on for an honest purpose by their free
choice, — is often the means of their regeneration. A man who has nothing which
he is willing to fight for, nothing which he cares more about than he does about his
personal safety, is a miserable creature who has no chance of being free, unless made
and kept so by the exertions of better men than himself. As long as justice and injustice
have not terminated their ever-renewing fight for ascendancy in the affairs of mankind,
human beings must be willing, when need is, to do battle for the one against the other.”
4名無しさん@おーぷん :2016/12/19(月)19:17:26 ID:3FU()
That's the paradox: the only time most people feel alive is when they're suffering, when something
overwhelms their ordinary, careful armour, and the naked child is flung out onto the world. That's
why the things that are worst to undergo are best to remember. But when that child gets buried away
under their adaptive and protective shells—he becomes one of the walking dead, a monster.”

Ted Hughes
5名無しさん@おーぷん :2016/12/23(金)16:27:51 ID:Tjb()
As the management of light is a matter of importance in
architecture, it is worth inquiring, how far this remark is
applicable to building. I think then, that all edifices calculated to
produce an idea of the sublime, ought rather to be dark and
gloomy, and this for two reasons; the first is, that darkness itself
on other occasions is known by experience to have a greater
effect on the passions than light. The second is, that to make an
object very striking, we should make it as different as possible
from the objects with which we have been immediately
conversant; when therefore you enter a building, you cannot pass
into a greater light than you had in the open air; to go into one
some few degrees less luminous, can make only a trifling change;
but to make the transition thoroughly striking, you ought to pass
from the greatest light, to as much darkness as is consistent with
the uses of architecture. A night the contrary rule will hold, but
for the very same reason; and the more highly a room is then
illuminated, the grander will the passion be.
6名無しさん@おーぷん :2016/12/23(金)19:33:18 ID:Tjb()
A Philosophical Inquiry Into The Origin Of Our Ideas
Of The Sublime And Beautiful
With Several Other Additions
Edmund Burke
7名無しさん@おーぷん :2016/12/24(土)16:04:55 ID:neH()
We have to a considerable extent, given up thinking of this life as merely
a preparation for another life. Very largely, however, we think of some parts
of this life as merely preparatory to other later stages of it. It is so very
largely as to the process of education; and if I were asked to name the most needed
of all reforms in the spirit of education, I should say: 'Cease conceiving of
education as mere preparation for later life, and make it the full meaning of the
present life.' And to add that only in this case does it become truly a preparation
for after life is not the paradox it seems. An activity which does not have worth
enough to be carried on for its own sake cannot be very effective as a preparation
for something else. By making the present activity the expression of the full meaning
of the case, that activity is, indeed, an end in itself, not a mere means to something beyond
itself; but, in being a totality, it is also the condition of all future integral action.
It forms the habit of requiring that every act be an outlet of the whole self, and it
provides the instruments of such complete functioning.

John Dewey
8名無しさん@おーぷん :2016/12/24(土)23:17:48 ID:neH()
Pluralism lets things really exist in the each-form or distributively. Monism thinks that the all-form
or collective-unit form is the only form that is rational. The all-form allows of no taking up and
dropping of connexions, for in the all the parts are essentially and eternally co-implicated. In the
each-form, on the contrary, a thing may be connected by intermediary things, with a thing with which
it has no immediate or essential connexion. It is thus at all times in many possible connexions which
are not necessarily actualized at the moment. They depend on which actual path of intermediation it may
functionally strike into: the word "or" names a genuine reality. Thus, as I speak here, I may look
ahead or to the right or to the left, and in either case the intervening space and air and ether enable
me to see the faces of a different portion of this audience. My being here is independent of any one set
of these faces.If the each-form be the eternal form of reality no less than it is the form of
temporal appearance, we still have a coherent world, and not an incarnate incoherence, as is charged by
so many absolutists.

9名無しさん@おーぷん :2016/12/27(火)21:01:43 ID:o6q()
The rigour with which he pursued his speculations also led him to a belief in predestination,
a step too far for the Catholic church, which never adopted the idea, but one which was embraced by Calvinism.

10名無しさん@おーぷん :2017/01/21(土)00:26:58 ID:AOU()
We know what it is to get out of bed on a freezing morning in a room without a fire, and
how the very vital principle within us protests against the idea. Probably most persons have
lain on certain mornings for an hour at a time unable to brace themselves to the resolve. We
think how late we shall be, how the duties of the day will suffer; we say, “I must get up,
this is ignominious,” and so on. But still the warm couch feels too delicious, and the cold
outside too cruel, and resolution faints away and postpones itself again and again just as it
seemed on the verge of the decisive act. Now how do we ever get up under such circumstances? If
I may generalize from my own experience, we more often than not get up without any struggle or
decision at all. We suddenly find that we have got up. A fortunate lapse of consciousness occurs, we
forget both the warmth and the cold; we fall into some reverie connected with the day’s life, in the
course of which the idea flashes across us, “Hollo! I must lie here no longer” – an idea which at that
lucky instant awakes no contradictory or paralyzing suggestions, and consequently produces immediately
its appropriate motor effects. It was our acute consciousness of both the warmth and the cold during
the period of struggle which paralyzed our activity. This case seems to me to contain in miniature
form the data for an entire psychology of volition.

William James
11名無しさん@おーぷん :2017/01/22(日)11:00:21 ID:rlX()
Life, on the Schopenhauerian view, is a constant state of striving or willing—a state of dissatisfaction.
Attaining that for which one strives brings a transient satisfaction, which soon yields to some new desire.
Were striving to end, the result would be boredom, another kind of dissatisfaction.³⁶
Striving is thus an unavoidable part of life. We cease striving only when we
cease living.
12名無しさん@おーぷん :2017/02/05(日)23:21:33 ID:7hA()
SOME People are subject to a certain delicacy of passion,1 which makes them
extremely sensible to all the accidents of life, and gives them a lively joy upon
every prosperous event, as well as a piercing grief, when they meet with misfortunes
and adversity. Favours and good offices° easily engage their friendship; while the smallest
injury provokes their resentment. Any honour or mark of distinction elevates them above measure;
but they are as sensibly touched with contempt.° People of this character have, no doubt, more
lively enjoyments, as well as more pungent° sorrows, than men of cool and sedate tempers: But,
I believe, when every thing is balanced, there is no one, who would not rather be of the latter
character, were he entirely master of his own disposition. Good or ill fortune is very little at
our disposal: And when a person, that has this sensibility° of temper, meets with any misfortune,
his sorrow or resentment takes entire possession of him, and deprives him of all relish in the common
occurrences of life; the right enjoyment of which forms the chief part of our happiness. Great
pleasures are much less frequent than great pains; so that a sensible temper must meet with fewer
trials in the former way than in the latter. Not to mention, that men of such lively passions are apt to be
transported beyond all bounds of prudence and discretion, and to take false steps in the conduct of life, which
are often irretrievable.
13名無しさん@おーぷん :2017/03/04(土)12:21:42 ID:C22()
INFINITY, though of another kind, causes much of our pleasure in agreeable, as well as of our delight in sublime,
images. The spring is the pleasantest of the seasons; and the young of most animals, though far from being completely
fashioned, afford a more agreeable sensation than the full-grown; because the imagination is entertained with the
promise of something more, and does not acquiesce in the present object of the sense. In unfinished sketches of
drawing, I have often seen something which pleased me beyond the best finishing; and this I believe proceeds from
the cause I have just now assigned.
14名無しさん@おーぷん :2017/08/06(日)16:17:21 ID:Ins()
IT is one thing to make an idea clear, and another to make it affecting to the imagination.
If I make a drawing of a palace, or a temple, or a landscape, I present a very clear idea
of those objects; but then (allowing for the effect of imitation, which is something) my
picture can at most affect only as the palace, temple, or landscape would have affected in
the reality. On the other hand, the most lively and spirited verbal description I can give
raises a very obscure and imperfect idea of such objects; but then it is in my power to raise
a stronger emotion by the description than I could do by the best painting. This experience
constantly evinces. The proper manner of conveying the affections of the mind from one to
another, is by words; there is a great insufficiency in all other methods of communication;
and so far is a clearness of imagery from being absolutely necessary to an influence upon
the passions, that they may be considerably operated upon, without presenting any image at
all, by certain sounds adapted to that purpose; of which we have a sufficient proof in the
acknowledged and powerful effects of instrumental music. In reality, a great clearness helps but
little towards affecting the passions, as it is in some sort an enemy to all enthusiasms whatsoever.

so farはso that構文かな
15名無しさん@おーぷん :2017/09/18(月)13:57:51 ID:UuC
Were men led into the apprehension of invisible, intelligent power by a contemplation
of the works of nature, they could never possibly entertain any conception but of one
single being, who bestowed existence and order on this vast machine, and adjusted all
its parts, according to one regular plan or connected system. For though, to persons
of a certain turn of mind, it may not appear altogether absurd, that several independent
beings, endowed with superior wisdom, might conspire in the contrivance and execution
of one regular plan; yet is this a merely arbitrary supposition, which, even if allowed
possible, must be confessed neither to be supported by probability nor necessity. All
things in the universe are evidently of a piece. Every thing is adjusted to every
thing. One design prevails throughout the whole. And this uniformity leads the mind
to acknowledge one author; because the conception of different authors, without any
distinction of attributes or operations, serves only to give perplexity to the imagination,
without bestowing any satisfaction on the understanding. The statue of Laocoon, as we learn
from Pliny, was the work of three artists: But it is certain, that, were we not told so, we
should never have imagined, that a groupe of figures, cut from one stone, and united in one
plan, was not the work and contrivance of one statuary. To ascribe any single effect to the
combination of several causes, is not surely a natural and obvious supposition.


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