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This class examines a variety of answers to the ancient question: How do I live a good life? We鈥檒l engage with thinkers from diverse traditions across time and space as we clarify our own understanding of what makes life worth living and as we articulate a more developed conception of the good life.
The tragic protagonist is a person pushed to the breaking point- dealing with disaster, fate, suffering, unspeakable loss, and often the consequences of their own bad decisions. Greek tragedy shows human beings struggling in a world that often seems brutal, senseless, and beyond their control, where contingency is a hard fact of life. As such, tragedy raises significant philosophical questions: Does human life have purpose? How should we respond to trauma and suffering? How does one live an ethical life in a deeply flawed world?
Immanuel Kant (1724-1804) describes his own work in metaphysics by analogy with Copernicus鈥檚 revolution in astronomy. He constructs a system of thought that attempts to move beyond the empiricism of Hume and the rationalism of Leibniz and Wolff. His method 鈥 critique 鈥 and his theory 鈥 transcendental idealism 鈥 have profoundly influenced all subsequent philosophy.
In the eighteenth and nineteenth centuries, mathematics underwent a vast expansion, into new, exciting, and increasingly counter-intuitive realms. The subject risked mystification and mutual incomprehensibility between experts in different sub-fields. In the first part of the twentieth century, a group of French mathematicians, under the pseudonym Bourbaki, undertook an ultimately successful program to use the foundation of set theory to put all of mathematics onto a common conceptual and logical foundation.
鈥I, at least, am not a Marxist鈥&苍产蝉辫;Karl Marx
鈥淣ot long ago, a near prerequisite for vanguard architecture was an engagement with theory; lately it has become an acquaintance with art鈥 or so observed Hal Foster in his 2011 book 鈥楾he Art Architecture Complex.鈥 While ideas about what constitutes cutting edge architecture may have transformed in the decade since, entanglements between art and architecture and the reciprocal effects that they have on each other remain central to architectural discourse.
鈥淣ot long ago, a near prerequisite for vanguard architecture was an engagement with theory; lately it has become an acquaintance with art鈥 or so observed Hal Foster in his 2011 book 鈥楾he Art Architecture Complex.鈥 While ideas about what constitutes cutting edge architecture may have transformed in the decade since, entanglements between art and architecture and the reciprocal effects that they have on each other remain central to architectural discourse.
Can architecture be understood in the same terms as a photograph? A piece of writing? A painting? A film? Or does it require its own vocabulary, rules, precedents, and sensibilities?