The Theory Of Knowledge
David W. Hamlyn
2001. cyrillic, paper back, p. 319, 21 cm
David W. Hamlyn
2001. cyrillic, paper back, p. 319, 21 cm
Epistemology or theory of knowledge is a special philosophical discipline concerned with nature of knowledge, its possibility, scope and foundation. It is not surprise at all that the main preoccupation in philosophy was and still is an attempt of providing a certainty of knowledge as much as it is possible. Such an attempt understands a certain philosophical critique of all claims to knowledge and special philosophical evaluation of all doubts concerning those claims to knowledge. A main question that may be arised, that of whether a complete theory of knowledge is possible, is still open and only from that point of view the question of foundation and philosophical argumentation of knowledge has a sense.
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Professor of Philosophy at Birkbeck College, London ( 1964 – 88 ), and editor of Mind ( 1972 – 84 ). Interests in Aristotle (translation of De anima with commentary (Oxford, 1968 )) and in Wittgenstein have influenced Hamlyn's approach to questions inepistemology and philosophy of psychology. His central thesis (developed in Experience and the Growth of Understanding (London, 1978 ), Perception, Learning and the Self (London, 1983 ), and In and Out of the Black Box (Oxford, 1990 )) is that in order to be a knower a being must be active and seek to regulate its beliefs in accord with anorm of truth; this requires membership of a community, interaction with which involves emotional responses. In short, knowers are social, affective agents. The other main area of Hamlyn's writing is history of philosophy.
ReplyDeleteKnowledge (episteme) is referred to as the conceptual or discursive
ReplyDeleteaccountability in apprehension of what one (teacher/student/artist)
does, works on, makes (brings out), displays, or performs in the actual
context of his formal studies. Epistemology of art is, therefore,
the theoretical framework of knowledge on art and how the knowledge
‘on’ art and knowledge ‘in’ art are produced in specific material
conditions and circumstances of the Artworld1; actually, from the art
school, through the public communication channels and spaces allocated
to performing/displaying art, to institutions of archiving and
collecting art as such.