Arthur Schopenhauer

SCHOPENHAUER, Arthur: Prize Essay on the Freedom of the Will, Cambridge University Press 1999,

Cambridge Texts in the History of Philosophy, edited by Günter Zöllner, 100 S., Groß-Oktav, Ecken leicht bestoßen, sonst gutes Exemplar, Original-Broschur,

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Pothast, Ulrich: The Metaphysical Vision. Arthur Schopenhauer's Philosophy of Art and Life and Samuel Beckett's Own Way to Make Use of It. New York, Bern, Berlin: Peter Lang Vlg. 2008. ISBN: 978-1-4331-0286-8
The Metaphysical Vision: Arthur Schopenhauer's Philosophy of Art and Life and Samuel Beckett's Own Way to Make Use of It expands upon the ideas and theories set forth in the author's Die eigentlich metaphysische Tätigkeit: Über Schopenhauers Ästhetik und ihre Anwendung durch Samuel Beckett, published (in German) in 1982 and hailed by Catharina Wulf in her book The Imperative of Narration (1997) as an "excellent study" and "the most thorough enquiry into Beckett and Schopenhauer." In the last years of the twentieth century, new documents regarding Samuel Beckett's reading and thinking, especially important notebooks and letters, have become accessible to scholars. These documents show much more clearly than could ever be demonstrated previously that Beckett had a strong, lifelong interest in Schopenhauer's philosophy. There is no other philosopher to whom Beckett refers more often in his personal comments throughout the years of his writing up to his seventies; no other philosopher whose view of life and the world comes closer to the image of human existence we find in Samuel Beckett's literary work. The striking similarity in matters of world view and human life, and especially the evidence obtained from Beckett's previously unknown notebooks and letters, call for a close systematic study of the Beckett-Schopenhauer relationship. Due to its comprehensiveness and in-depth approach, The Metaphysical Vision is, and will be for many years to come, what its forerunner was for more than two decades: the most thorough enquiry into Beckett and Schopenhauer.

XIV, 246 pp. Hardback *neuwertig*

[KW: Philosophie; Philosophie, Religionen]

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Philosophie und Theologie.- Copleston, Frederick: Arthur Schopenhauer - Philosopher of Pessimism, Hethrop, Burns Oates & Washbourne Ltd., 1947

. 8°. 11 +216 S.. Originalleinwand, Rücken goldgepr.. Zweite Auflage. In englischer Sprache - in English. The Bellarmine Series II. Ebd. m. leichten Gebrauchsspuren, ansonsten sauber und in gutem Zustand - Cover bearing slight traces of use, other than that clean and in good condition

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LITERATUR-NOBELPREIS 1978 ROMAN ERZÄHLUNGEN B. SINGER JUDEN POLEN AUSWANDERUNG SCHICKSALE, JÜDISCHE Singer, Isaac Bashevis: Passions aus dem Nachlaß Gerhard Löwenthal, Penguin, London 1979

- OPbd. 280 S. guter Zustand aus dem Nachlaß Gerhard Löwenthal Collectible edition of this volume of 20 short stories by NOBEL PRIZE-WINNER SINGER, featuring tales of Jewish people. They were written in Yiddish and translated by Singer and others for whom he gives credit at the end of each story. A remarkable collection of stories truly fitting one of the greatest writers of the 20th-century. Isaac Bashevis Singer (November 21, 1902 (see notes below) - July 24, 1991) was a Jewish American author noted for his short stories. He was one of the leading figures in the Yiddish literary movement, and received the Nobel Prize in literature in 1978. ... Literary influences: Singer had many literary influences; besides the religious texts he studied there were the folktales he grew up with and worldly Yiddish detective-stories about "Max Spitzkopf" and his assistant "Fuchs"[3]; there was Dostoyevsky, whose Crime and Punishment he read when he was fourteen; and he writes about the importance of the Yiddish translations donated in book-crates from America, which he studied as a teenager in Bilgoraj: "I read everything: Stories, novels, plays, essays I read Rejsen, Strindberg, Don Kaplanowitsch, Turgenev, Tolstoy, Maupassant and Chekhov." He studied many philosophers, among them Spinoza., Arthur Schopenhauer, and Otto Weininger. Among his Yiddish contemporaries Singer himself considered his older brother to be his greatest artistic example; he was a life-long friend and admirer of the author and poet Aaron Zeitlin. Of his non-Yiddish-contemporaries he was strongly influenced by the writings of Knut Hamsun, many of whose works he later translated, while he had more critical attitude towards Thomas Mann, whose approach to writing he considered opposed to his own. Contrary to Hamsun's approach, Singer shaped his world not only with the egos of his characters, but also using the moral commitments of the Jewish tradition that he grew up with and that his father embodies in the stories about his youth. This led to the dichotomy between the life his heroes lead and the life they feel they should lead - which gives his art a modernity his predecessors do not evince. His themes of witchcraft, mystery and legend draw on traditional sources, but they are contrasted with a modern and ironic consciousness. They are also concerned with the bizarre and the grotesque. Another important strand of his art is intra-familial strife - which he experienced firsthand when taking refuge with his mother and younger brother at his uncles home in Bilgoraj. This is the central theme in Singer's big family chronicles - like The Family Moskat (1950), The Manor (1967), and The Estate (1969). Some are reminded by them of Thomas Mann's novel Buddenbrooks; Singer had translated Mann's Der Zauberberg (The Magic Mountain) into Yiddish as a young writer. Language: Singer always wrote and published in Yiddish - almost all of it in newspapers - and then edited his novels and stories for their American versions, which became the basis for all other translations; he referred to the English version as his "second original". This has led to an ongoing controversy whereby the "real Singer" can be found in the Yiddish original, with its finely tuned language and sometimes rambling construction, or in the more tightly edited American version, where the language is usually simpler and more direct. Many of Singer's stories and novels have not yet been translated. In the short story form, in which many critics feel he made his most lasting contributions, his greatest influences were Chekhov and Maupassant. From Maupassant, Singer developed a finely grained sense of drama. Like the French master, Singer's stories can pack enormous visceral excitement in the space of a few pages. From Chekhov, Singer developed his ability to draw characters of enormous complexity and dignity in the briefest of spaces. In the foreword to his personally selected volume of his finest short stories he describes the two aforementioned writers as the greatest masters of the short story form. ... wikipedia

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