Un ko jūs teiktu par šādu recenzijas iesākumu:
"Keith Lehrer is a philosopher of very considerable distinction but this book will not enhance his reputation. By Lehrer's account, Art, Self and Knowledge began as a book on aesthetics. From there it morphed into a rambling, repetitive exploration of epistemology, the possibility of zombies, human mortality, feminism, the mind-body problem, personal identity, human freedom and a range of other matters. Long stretches are written in an almost impenetrable style. Passages of arcane prolixity are relieved by occasional gnomic aphorisms. ("There is a content of contentlessness marked in experience," (p. 13) and "Negation is coiled in the spring of distinction," (p. 85) are good examples of these enigmatic statements.) Frequently the meaning is buried so deeply that readers need a heidegger to get it out, which is not surprising since Heidegger is one of the acknowledged sources of the book's ideas. When the meaning has been successfully extracted, the claims of the book often turn out to be disappointingly commonplace or profoundly implausible. Judged purely as a book on philosophy of art, Art, Self and Knowledge contributes very little, in part because (judging by the bibliography) Lehrer has read virtually none of the recent literature on the subject. His primary qualification as an aesthetician seems to be that he has taken up painting.
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"Keith Lehrer is a philosopher of very considerable distinction but this book will not enhance his reputation. By Lehrer's account, Art, Self and Knowledge began as a book on aesthetics. From there it morphed into a rambling, repetitive exploration of epistemology, the possibility of zombies, human mortality, feminism, the mind-body problem, personal identity, human freedom and a range of other matters. Long stretches are written in an almost impenetrable style. Passages of arcane prolixity are relieved by occasional gnomic aphorisms. ("There is a content of contentlessness marked in experience," (p. 13) and "Negation is coiled in the spring of distinction," (p. 85) are good examples of these enigmatic statements.) Frequently the meaning is buried so deeply that readers need a heidegger to get it out, which is not surprising since Heidegger is one of the acknowledged sources of the book's ideas. When the meaning has been successfully extracted, the claims of the book often turn out to be disappointingly commonplace or profoundly implausible. Judged purely as a book on philosophy of art, Art, Self and Knowledge contributes very little, in part because (judging by the bibliography) Lehrer has read virtually none of the recent literature on the subject. His primary qualification as an aesthetician seems to be that he has taken up painting.
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