By S. Gaukroger, John Schuster, John Sutton
The main accomplished choice of essays on Descartes' medical writings ever released, this quantity deals a close reassessment of Descartes' medical paintings and its pertaining to his philosophy. The 35 essays, written by way of a number of the world's top students, hide issues as diversified as optics, cosmology and medication, and may be of significant curiosity to all historians of philosophy or technology.
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Extra resources for Descartes' Natural Philosophy (Routledge Studies in Seventeenth Century Philosophy)
Of certain natural forces: then the doctor preserves the holy fire in the centre . . Medical science is the crest and blossom of all natural sciences';45 and the (speculative) natural sciences are, for Schelling, the foundational sciences. So medicine acquires a fundamental philosophical role in Schelling's philosophy precisely when art loses it. And this is generally the case: where aesthetics retreats, therapeutics takes over. At the same time, medicine takes a striking turn to philosophy: the doctors respond to their philosophical payoffs not only by producing new medical theories but by becoming philosophers themselves.
The notion of creation also changes with this new experience of the world: it no longer designates the positive act of imposing a new order, but rather the negative gesture of choice, of limiting the possibilities, of privileging one option at the expense of all the others. One can argue that cyberspace hypertext is this new medium in which this life experience will find its 'natural', more appropriate, objective correlative, so that, again, it is only with the advent of cyberspace hypertext that we can effectively grasp what Altman and Kieslowski — and, implicitly, also Hitchcock — were effectively aiming at.
Recall, from the Stephen King horror tradition, the spectral figure of a young boy, not yet sexualized, who is 'undead', a living dead, utterly corrupted and innocent, infinitely fragile ^Wall-powerful, the embodiment of Evil in his very purity. Do we not encounter the same figure in modern art a century ago, from the poems of Georg Trakl to the paintings of Edvard Munch, in the guise of the asexual spectral young boy, this 'unborn' who stands simultaneously for vulnerable innocence and utter corruption?