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Arindam Chakrabarti is currently a professor of philosophy at Ashoka University, India. [1] He is the disciple of Sri Sri Sitaramdas Omkarnath. He completed his B.A and M.A degree from University of Calcutta in the year 1976 and 1978 respectively. He completed PhD from Oxford University in the year 1982.
The paradox of analysis (or Langford–Moore paradox) [1] is a paradox that concerns how an analysis can be both correct and informative. The problem was formulated by philosopher G. E. Moore in his book Principia Ethica, and first named by C. H. Langford in his article "The Notion of Analysis in Moore's Philosophy" (in The Philosophy of G. E. Moore, edited by Paul Arthur Schilpp, Northwestern ...
Here, Rorty argues that all language is contingent.This is because "only descriptions of the world can be true or false", [1] and descriptions are made by humans who must also make truth or falsity: truth or falsity is thus not determined by any intrinsic property of the world being described.
Philosophical analysis is any of various techniques, typically used by philosophers in the analytic tradition, in order to "break down" (i.e. analyze) philosophical issues. Arguably the most prominent of these techniques is the analysis of concepts, known as conceptual analysis.
Philosophy and the Mirror of Nature is a 1979 book by the American philosopher Richard Rorty, in which the author attempts to dissolve modern philosophical problems instead of solving them. Rorty does this by presenting them as pseudo-problems that only exist in the language-game of epistemological projects culminating in analytic philosophy .
Bracketing (or epoché) is a preliminary act in the phenomenological analysis, conceived by Husserl as the suspension of the trust in the objectivity of the world. [ 7 ] [ 8 ] It involves setting aside the question of the real existence of a contemplated object, as well as all other questions about the object's physical or objective nature ...
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The central concept of Kant's analysis of the judgment of beauty is what he called the ″free play″ between the cognitive powers of imagination and understanding. [2] We call an object beautiful, because its form fits our cognitive powers and enables such a ″free play″ (§22) the experience of which is pleasurable to us.