Paolo Stellino – författare

Can suicide be, in certain situations, morally permissible or even morally obligatory? Can it be a rational choice? What are our obligations toward suicidal individuals? How should we even define suicide? The Oxford Handbook of the Philosophy of Suicide discusses these questions and expands the frontier of philosophical discourse to include heretofore neglected ethical and social aspects of suicide. Starting with a critical overview of the most important historical philosophical approaches to suicide, the chronologically ordered chapters in the first part of this volume cover both Western and non-Western philosophical traditions. The second part is dedicated to foundational issues such as the nature, morality, and rationality of suicide. The final section covers philosophical issues related to the practice of suicide, addressing topics such as the ethics of suicide prevention and intervention, new suicide technologies, suicide and mental illness, suicide and media ethics, and suicide and gender, among others.Across thirty-three chapters written by thirty-five leading scholars, this handbook provides a fresh, compelling analysis of past and contemporary trends in the philosophy of suicide.

Can suicide be, in certain situations, morally permissible or even morally obligatory? Can it be a rational choice? What are our obligations toward suicidal individuals? How should we even define suicide? The Oxford Handbook of the Philosophy of Suicide discusses these questions and expands the frontier of philosophical discourse to include heretofore neglected ethical and social aspects of suicide. Starting with a critical overview of the most important historical philosophical approaches to suicide, the chronologically ordered chapters in the first part of this volume cover both Western and non-Western philosophical traditions. The second part is dedicated to foundational issues such as the nature, morality, and rationality of suicide. The final section covers philosophical issues related to the practice of suicide, addressing topics such as the ethics of suicide prevention and intervention, new suicide technologies, suicide and mental illness, suicide and media ethics, and suicide and gender, among others.Across thirty-three chapters written by thirty-five leading scholars, this handbook provides a fresh, compelling analysis of past and contemporary trends in the philosophy of suicide.

Can suicide be, in certain situations, morally permissible or even morally obligatory? Can it be a rational choice? What are our obligations toward suicidal individuals? How should we even define suicide? The Oxford Handbook of the Philosophy of Suicide discusses these questions and expands the frontier of philosophical discourse to include heretofore neglected ethical and social aspects of suicide. Starting with a critical overview of the most important historical philosophical approaches to suicide, the chronologically ordered chapters in the first part of this volume cover both Western and non-Western philosophical traditions. The second part is dedicated to foundational issues such as the nature, morality, and rationality of suicide. The final section covers philosophical issues related to the practice of suicide, addressing topics such as the ethics of suicide prevention and intervention, new suicide technologies, suicide and mental illness, suicide and media ethics, and suicide and gender, among others.Across thirty-three chapters written by thirty-five leading scholars, this handbook provides a fresh, compelling analysis of past and contemporary trends in the philosophy of suicide.

This book aims to address in a novel way some of the fundamental philosophical questions concerning suicide.  Focusing on four major authors of Western philosophy - Kant, Schopenhauer, Nietzsche, and Wittgenstein - their arguments in favour or against suicide are explained, contextualized, examined and critically assessed. Taken together, these four perspectives provide an illuminating overview of the philosophical arguments that can be used for or against one’s right to commit suicide. Intended both for specialists and those interested in understanding the many complexities underlying the philosophical debate on suicide, this book combines philosophical depth with exemplary clarity.

This book aims to address in a novel way some of the fundamental philosophical questions concerning suicide.  Focusing on four major authors of Western philosophy - Kant, Schopenhauer, Nietzsche, and Wittgenstein - their arguments in favour or against suicide are explained, contextualized, examined and critically assessed. Taken together, these four perspectives provide an illuminating overview of the philosophical arguments that can be used for or against one’s right to commit suicide. Intended both for specialists and those interested in understanding the many complexities underlying the philosophical debate on suicide, this book combines philosophical depth with exemplary clarity.

This book aims to address in a novel way some of the fundamental philosophical questions concerning suicide.  Focusing on four major authors of Western philosophy - Kant, Schopenhauer, Nietzsche, and Wittgenstein - their arguments in favour or against suicide are explained, contextualized, examined and critically assessed. Taken together, these four perspectives provide an illuminating overview of the philosophical arguments that can be used for or against one’s right to commit suicide. Intended both for specialists and those interested in understanding the many complexities underlying the philosophical debate on suicide, this book combines philosophical depth with exemplary clarity.

The first time that Nietzsche crossed the path of Dostoevsky was in the winter of 1886–87. While in Nice, Nietzsche discovered in a bookshop the volume L’esprit souterrain. Two years later, he defined Dostoevsky as the only psychologist from whom he had anything to learn. The second, metaphorical encounter between Nietzsche and Dostoevsky happened on the verge of nihilism. Nietzsche announced the death of God, whereas Dostoevsky warned against the danger of atheism.This book describes the double encounter between Nietzsche and Dostoevsky. Following the chronological thread offered by Nietzsche’s correspondence, the author provides a detailed analysis of Nietzsche’s engagement with Dostoevsky from the very beginning of his discovery to the last days before his mental breakdown. The second part of this book aims to dismiss the wide-spread and stereotypical reading according to which Dostoevsky foretold and criticized in his major novels some of Nietzsche’s most dangerous and nihilistic theories. In order to reject such reading, the author focuses on the following moral dilemma: If God does not exist, is everything permitted?

Nihilism seems to be per definition linked to violence. Indeed, if the nihilist is a person who acknowledges no moral or religious authority, then what does stop him from committing any kind of crime? Dostoevsky precisely called attention to this danger: if there is no God and no immortality of the soul, then everything is permitted, even anthropophagy. Nietzsche, too, emphasised, although in different terms, the consequences deriving from the death of God and the collapse of Judeo-Christian morality. This context shaped the way in which philosophers, writers and artists thought about violence, in its different manifestations, during the 20th century. The goal of this interdisciplinary volume is to explore the various modern and contemporary configurations of the link between violence and nihilism as understood by philosophers and artists (in both literature and film).

Nihilism seems to be per definition linked to violence. Indeed, if the nihilist is a person who acknowledges no moral or religious authority, then what does stop him from committing any kind of crime? Dostoevsky precisely called attention to this danger: if there is no God and no immortality of the soul, then everything is permitted, even anthropophagy. Nietzsche, too, emphasised, although in different terms, the consequences deriving from the death of God and the collapse of Judeo-Christian morality. This context shaped the way in which philosophers, writers and artists thought about violence, in its different manifestations, during the 20th century.

The goal of this interdisciplinary volume is to explore the various modern and contemporary configurations of the link between violence and nihilism as understood by philosophers and artists (in both literature and film).

Nihilism seems to be per definition linked to violence. Indeed, if the nihilist is a person who acknowledges no moral or religious authority, then what does stop him from committing any kind of crime? Dostoevsky precisely called attention to this danger: if there is no God and no immortality of the soul, then everything is permitted, even anthropophagy. Nietzsche, too, emphasised, although in different terms, the consequences deriving from the death of God and the collapse of Judeo-Christian morality. This context shaped the way in which philosophers, writers and artists thought about violence, in its different manifestations, during the 20th century.

The goal of this interdisciplinary volume is to explore the various modern and contemporary configurations of the link between violence and nihilism as understood by philosophers and artists (in both literature and film).

Nihilism seems to be per definition linked to violence. Indeed, if the nihilist is a person who acknowledges no moral or religious authority, then what does stop him from committing any kind of crime? Dostoevsky precisely called attention to this danger: if there is no God and no immortality of the soul, then everything is permitted, even anthropophagy. Nietzsche, too, emphasised, although in different terms, the consequences deriving from the death of God and the collapse of Judeo-Christian morality. This context shaped the way in which philosophers, writers and artists thought about violence, in its different manifestations, during the 20th century. The goal of this interdisciplinary volume is to explore the various modern and contemporary configurations of the link between violence and nihilism as understood by philosophers and artists (in both literature and film).