Compassionate Socrates: Readings on Wisdom across the Cultures and Disciplines takes the form of an interdisciplinary dialogue on human experiences in religion, art, science, and philosophy. With the Socratic method serving as a basis for exploration and examination, the carefully curated readings in this anthology help students better understand what we as humans assume, believe, favor, and hope. Throughout, students are encouraged to discover how questioning as a philosophical method opens a path to critical reasoning.In Unit I, readings help students make sense of religion through the examination of Hinduism, Buddhism, Islam, and Christianity. Unit II focuses on art with discussion of Greek drama, the metaphor of the body in painting, music for contemplative enjoyment, and the theme of the absurd in Camus' The Stranger. Units III and IV features articles on science and philosophy, respectively, offering a bird's eye view on significant upheavals in human intellect. The final unit invites students to read selections about the nature of humanity, including ancient wisdom on changes, the goals of human life, the concepts of economic alienation, and the primordial Tao.Designed to inspire critical thought and meaningful reflection, Compassionate Socrates is an ideal textbook for introductory courses in philosophy.

Employing the modern aesthetics of Burke and Kant, as well as Lyotard’s postmodern interpretation, this book delineates the elements of sublime experience through exploring the enigmatic cinematic design of Chris Marker’s film La Jetée. There is a striking similarity between remembrance and the sublime in psychological structures and processes. When we remember, we sort out the images of the past in a way to evoke the idea of the irreversible time, and when we experience the sublime, we reflect on the distance from the threat of life in a way to remind us of our vulnerability to death. To scrutinize the sublime as an aesthetic concept, Jung Kwon draws on literature from modern and postmodern philosophy, film studies, philosophy of mind and cognitive science, and Zhuangzi.Through La Jetée’s experimental cinematic design, which consists of a masterful arrangement of still frames, the empathic and imaginative audience cannot help but ponder on what it is to remember. Through deliberately eliminating the illusion of movement, the film presents the profound space of timeless moments, ubiquitous and yet ungraspable, the unpresentable and yet viscerally felt. Jung Kwon argues that Marker’s film is a contemplative practice of memory and time, one that takes place simultaneously in the protagonist and the viewer . Memory—in its spiraling loop that defines who we are as experiencing and suffering beings— connects the frozen moments and creates the sense of time passing that inevitably halts at the inescapable barrier of time called death.

Employing the modern aesthetics of Burke and Kant, as well as Lyotard's postmodern interpretation, this book delineates the elements of sublime experience through exploring the enigmatic cinematic design of Chris Marker's film La Jetee. There is a striking similarity between remembrance and the sublime in psychological structures and processes. When we remember, we sort out the images of the past in a way to evoke the idea of the irreversible time, and when we experience the sublime, we reflect on the distance from the threat of life in a way to remind us of our vulnerability to death. To scrutinize the sublime as an aesthetic concept, Jung Kwon draws on literature from modern and postmodern philosophy, film studies, philosophy of mind and cognitive science, and Zhuangzi. Through La Jetee's experimental cinematic design, which consists of a masterful arrangement of still frames, the empathic and imaginative audience cannot help but ponder on what it is to remember. Through deliberately eliminating the illusion of movement, the film presents the profound space of timeless moments, ubiquitous and yet ungraspable, the unpresentable and yet viscerally felt. Jung Kwon argues that Marker's film is a contemplative practice of memory and time, one that takes place simultaneously in the protagonist and the viewer . Memory-in its spiraling loop that defines who we are as experiencing and suffering beings- connects the frozen moments and creates the sense of time passing that inevitably halts at the inescapable barrier of time called death.

Compassionate Socrates: Readings on Wisdom across the Cultures and Disciplines takes the form of an interdisciplinary dialogue on human experiences in religion, art, science, and philosophy. With the Socratic method serving as a basis for exploration and examination, the carefully curated readings in this anthology help students better understand what we as humans assume, believe, favor, and hope. Throughout, students are encouraged to discover how questioning as a philosophical method opens a path to critical reasoning.In Unit I, readings help students make sense of religion through the examination of Hinduism, Buddhism, Islam, and Christianity. Unit II focuses on art with discussion of Greek drama, the metaphor of the body in painting, music for contemplative enjoyment, and the theme of the absurd in Camus' The Stranger. Units III and IV features articles on science and philosophy, respectively, offering a bird's eye view on significant upheavals in human intellect. The final unit invites students to read selections about the nature of humanity, including ancient wisdom on changes, the goals of human life, the concepts of economic alienation, and the primordial Tao.Designed to inspire critical thought and meaningful reflection, Compassionate Socrates is an ideal textbook for introductory courses in philosophy.

Employing the modern aesthetics of Burke and Kant, as well as Lyotard’s postmodern interpretation, this book delineates the elements of sublime experience through exploring the enigmatic cinematic design of Chris Marker’s film La Jetée. There is a striking similarity between remembrance and the sublime in psychological structures and processes. When we remember, we sort out the images of the past in a way to evoke the idea of the irreversible time, and when we experience the sublime, we reflect on the distance from the threat of life in a way to remind us of our vulnerability to death. To scrutinize the sublime as an aesthetic concept, Jung Kwon draws on literature from modern and postmodern philosophy, film studies, philosophy of mind and cognitive science, and Zhuangzi.Through La Jetée’s experimental cinematic design, which consists of a masterful arrangement of still frames, the empathic and imaginative audience cannot help but ponder on what it is to remember. Through deliberately eliminating the illusion of movement, the film presents the profound space of timeless moments, ubiquitous and yet ungraspable, the unpresentable and yet viscerally felt. Jung Kwon argues that Marker’s film is a contemplative practice of memory and time, one that takes place simultaneously in the protagonist and the viewer . Memory—in its spiraling loop that defines who we are as experiencing and suffering beings— connects the frozen moments and creates the sense of time passing that inevitably halts at the inescapable barrier of time called death.

Employing the modern aesthetics of Burke and Kant, as well as Lyotard's postmodern interpretation, this book delineates the elements of sublime experience through exploring the enigmatic cinematic design of Chris Marker's film La Jetee. There is a striking similarity between remembrance and the sublime in psychological structures and processes. When we remember, we sort out the images of the past in a way to evoke the idea of the irreversible time, and when we experience the sublime, we reflect on the distance from the threat of life in a way to remind us of our vulnerability to death. To scrutinize the sublime as an aesthetic concept, Jung Kwon draws on literature from modern and postmodern philosophy, film studies, philosophy of mind and cognitive science, and Zhuangzi. Through La Jetee's experimental cinematic design, which consists of a masterful arrangement of still frames, the empathic and imaginative audience cannot help but ponder on what it is to remember. Through deliberately eliminating the illusion of movement, the film presents the profound space of timeless moments, ubiquitous and yet ungraspable, the unpresentable and yet viscerally felt. Jung Kwon argues that Marker's film is a contemplative practice of memory and time, one that takes place simultaneously in the protagonist and the viewer . Memory-in its spiraling loop that defines who we are as experiencing and suffering beings- connects the frozen moments and creates the sense of time passing that inevitably halts at the inescapable barrier of time called death.