What Is Philosophy?

Bu tez en temelde süreklilik ve süreksizlik kavramlarının bir incelemesini içermektedir. Bu inceleme gerçekleşirken ilkin Deleuze ve Guattari’nin Felsefe Nedir? isimli kitabı referans alınarak felsefe, bilim ve sanat tanımları belirlenmiş ve bir tür araştırma yöntemi olarak ele alınmıştır. Böylelikle süreklilik ve süreksizlik kavramları bu araştırma yöntemlerine dayandırılarak ele alınmıştır. Buna göre ilk bölümde süreklilik ve süreksizlik ilişkileri kavram olarak ele alınıp felsefedeki karşılıkları gösterilmiştir. Bu araştırma Antik Yunan’dan Modern Felsefe’ye kadar ilgili kavramları mesele eden filozoflar üzerinden kronolojik olarak gerçekleştirilmiştir. İkinci bölümde bu kavramlar fonksiyon olarak ele alınmış ve ışığın dalga-parçacık ilişkisi olanağında incelenmiştir. Bu araştırmada dönemin değişen evren algısının ışık olgusunun sürekli ve süreksiz ilişkileri olanağında nasıl değişikliğe uğradığı gösterilmiştir. Üçüncü bölümde ise süreklilik ve süreksizlik kavramları duyum üzerinden ele alınarak İzlenimcilik ve Yeni-izlenimcilik üzerinden görme ve algılama ilişki örneklerle incelenmiştir. Bu yapılırken izlenimciliğin felsefi ve bilimsel temelleri gösterilmiş, uygulama örneklerinin ise bu temeller olanağında nasıl geliştiği gösterilmeye çalışılmıştır.   
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This thesis fundamentally features an examination of the concepts of continuity and discontinuity. In the study, first, the definitions of philosophy, science and art were determined based on Deleuze and Guattari's book named "What is Philosophy?" and they were put to use as a type of research method. Thus, the concepts of continuity and discontinuity were examined based on these research methods. Accordingly, in the first chapter, the relations of continuity and discontinuity were handled as concepts and their counterparts in philosophy were shown. This research was carried out chronologically through the philosophers who dealt with related concepts from Ancient Greece to Modern Philosophy. In the second part, these concepts were considered as functions and examined with regard to the wave-particle duality of light. In this study, it was shown how the changing universe perception of the period was altered in the context of the continuous and discontinuous relations of the phenomenon of light. In the third part, the concepts of continuity and discontinuity were approached in terms of sensation and examined with examples of Impressionism and Neo-Impressionism. The philosophical and scientific foundations of impressionism and how the examples of such practices developed on these foundations were included in this examination.

I Mit der Philosophie verhält es sich in gewisser Hinsicht wie mit der Zeit, von der Au gustinus schreibt: »Wir wissen genau, was wir meinen, wenn wir davon spre chen, verstehen's auch, wenn wir einen anderen davon reden hören. Was also ist die Zeit? Wenn niemand mich danach fragt, weiß ich's, will ich's aber einem Fragenden erklären, weiß ich's nicht.« 1 Auch von Philosophie haben wir wohl alle eine unge fähre Ahnung; darauf deutet zumindest die Häufigkeit hin, mit der in mehr oder we niger beliebigen Zusammenhängen von der jeweils zugrunde liegenden Philoso phie gesprochen wird. 2 Wenn wir anderen erklären sollen, was unter Philosophie zu verstehen ist bzw. was wir als Philosophierende tun, geraten wir jedoch in Schwie rigkeiten. Es wäre allzu einfach, die Ursache des Problems bei den »anderen« zu se hen und zu behaupten, diesen fehle es an der Fähigkeit, die Erklärung zu verstehen -schließlich kommen sie mit anderen Erklärungen anscheinend ganz gut zurecht. Also liegt der Gedanke nahe, dass den Erklärenden selbst die Natur ihres Gegen stan des etwas unklar ist.

This article proposes an intensive dramatic theory based on the notion of potentiality. It shows that classical examples of dramatic theory follow entelechial scenarios whereby potentiality is exhausted in the actual and probability becomes necessity. Newer forms of theatre, however, carry a different ontology whereby the actual gestures toward a constitutive virtual region. Both virtual and actual are equally real, and the relation between them is reversible. In this way, a drama of potentialities plays itself out at the very interface between actual and virtual. Finally, instead of seeing postdramatic theatre as “a theatre without drama”, this article suggests that the latter could be said to pertain to a drama of an ontological cast that is especially attuned to an engagement with the virtual.

Philosophy has four forms: wonder, faith, doubt and scepticism. These are not separate categories, but separate ideal possibilities. Modern academic philosophy has fallen, for several centuries, into an error: which is the error of supposing that philosophy is only what I call doubt. Philosophy may be doubt: indeed, it is part of my argument that this is undeniably one element of, or one possibility in, philosophy; but doubt is only one of four points of the compass. In this essay I indicate the nature of each point of the compass as it has been found in the history of philosophy.

This article aims to elucidate the theory of Gilles Deleuze and Felix Guattari by using their latest explanations on philosophy and the creation of concepts (in Qu’est-ce que la philosophie?), lecture notes of Deleuze and other unpublished materials in french through a musical analogy: “the concept sythesiser”.

This paper is comparing and contrasting the difference between the Philosophy of Hildebrand and the Philosophy of Kant. The purpose is to identify which philosophy leads one to truth. I argue that the Philosophy of Hildebrand leads one to truth, as it leads to religion and to God. It covers 1) what philosophy is, 2) the human person and his purpose, 3) Epistemology, 4) existence of God, and 5) the relation between philosophy and Theology. Each philosopher has a view on it. While each philosopher made good points, Kant though seems to lead one astray, and even to confusion and misery. This paper shows how this is the case, and helps one to know which philosophy to trust.

But basically, this ethological definition of philosophy is the easiest way to define philosophy. Meanwhile, this ethological definition helps in piquing people's interest in philosophy, students, and encourages them to begin accumulating knowledge about philosophy. Why? It's because nowadays, people or students have terms that sound like philosophy or the love of wisdom.