If there is such a thing as reason, it has to be universal. Reason must reflect objective principles whose validity is independent of our point of view--principles that anyone with enough intelligence ought to be able to recognize as correct. But this generality of reason is what relativists and subjectivists deny in ever-increasing numbers. And such subjectivism is not just an inconsequential intellectual flourish or badge of theoretical chic. It is exploited to deflect argument and to belittle the pretensions of the arguments of others. The continuing spread of this relativistic way of thinking threatens to make public discourse increasingly difficult and to exacerbate the deep divisions of our society. In The Last Word, Thomas Nagel, one of the most influential philosophers writing in English, presents a sustained defense of reason against the attacks of subjectivism, delivering systematic rebuttals of relativistic claims with respect to language, logic, science, and ethics. He shows that the last word in disputes about the objective validity of any form of thought must lie in some unqualified thoughts about how things are--thoughts that we cannot regard from outside as mere psychological dispositions.
In The Last Word, Thomas Nagel argues against what he calls subjectivism, "a general tendency to reduce the objective pretensions of reason." On his enemies list are the architects of postmodernism, social scientists with delusions of grandeur, and philosophers ranging from Hume and Kant to W.V. Quine and Richard Rorty. Regarding reason as based on contingent features of our nurture, culture, or nature, such subjectivists contend that reason is not generally valid, but valid only from our point of view. Challenges to reason in general are bound not to convince: they subvert themselves if based on reason, but are not worth taking seriously otherwise. Challenges to reason in particular domains, such as logic or ethics, are expressed by "ritualistic metacomments declaring one's allegiance to subjectivism" about logic or ethics. But, Nagel argues, the subjectivist claims are unintelligible unless understood as claims of logic or ethics, and therefore can be adjudicated on logical or ethical grounds. The drastically schematic nature of Nagel's refutation of subjectivism is troublesome, inviting the question of whether anyone truly accepts the position that he attacks. It also inspires doubt that his refutation is developed enough to be, as advertised, the panacea for subjectivism. Nevertheless, The Last Word is highly recommended to philosophers and anyone else interested in thinking about reason. Elegantly written and incisively argued, it is sure to provoke discussion--and thus ensure that it will be anything but the last word. --Glenn Branch
Nagel was born July 4, 1937, in Belgrade, Yugoslavia (now Serbia); his family was Jewish. He received a BA from Cornell University in 1958, a BPhil from the University of Oxford in 1960, and a PhD from Harvard University in 1963 under the supervision of John Rawls. Before settling in New York, Nagel taught briefly at the University of California, Berkeley (from 1963 to 1966) and at Princeton University (from 1966 to 1980), where he trained many well-known philosophers including Susan Wolf, Shelly Kagan, and Samuel Scheffler, who is now his colleague at NYU. In 2006, he was made a member of the American Philosophical Society.
Nagel is a Fellow of the American Academy of Arts and Sciences and a Corresponding Fellow of the British Academy, and has held fellowships from the Guggenheim Foundation, the National Science Foundation, and the National Endowment for the Humanities. In 2008, he was awarded a Rolf Schock Prize for his work in philosophy,the Balzan prize, and the honorary degree of Doctor of Letters from the University of Oxford.
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从社会学和心理学的角度来看,这本书展现了对人性复杂面的深刻洞察。它探讨了社会结构对个体命运的无形塑造,以及在巨大压力下,道德边界是如何被模糊和侵蚀的。书中涉及的几个次要人物,虽然出场不多,但个性和动机都异常饱满,他们如同精确校准的齿轮,推动着主角陷入更深的困境。我尤其关注作者对环境的描写,那些陈旧的建筑、阴暗的街道,不仅仅是故事发生的背景,它们本身似乎也成为了某种有生命的、压迫性的存在,映射着人物的心理状态。这种环境与心理的互文关系,让整个故事的质感变得异常真实和厚重。它不是一本读起来轻松愉快的书,它更像是一面镜子,逼迫着读者去审视自身对“真相”和“正义”的理解,读完之后,那种久久不能散去的沉思感,远超出了对情节本身的讨论。
评分这本书的后劲实在太大了,合上封皮之后,那种意犹未尽的感觉持续了很久。它不像一些快餐式的读物,读完就丢,而是会像一首低回的交响乐,在你脑海中不断重复演奏。我发现自己会不自觉地回味那些关键的对话,试图捕捉作者在字里行间留下的那些“彩蛋”或者说更深层次的暗示。作者的功力在于,他似乎从未直接给出答案,而是将解释的权力完全交还给了读者。这使得每一次与朋友讨论这本书的感受时,都会产生新的理解和碰撞,每个人似乎都从书中读出了属于自己的那个“最后的词语”。这种开放式的结局处理得极其高明,它尊重了读者的智力,并邀请我们成为故事的共同创造者。对于那些寻求深度、偏爱复杂多义叙事的读者来说,这本书绝对是不可多得的佳作,值得反复品味和推敲。
评分情节的结构处理得极为精巧,采用了非线性叙事,时间线在过去、现在和主角的潜意识中不断跳跃。一开始可能会让人感到有些迷惑,需要花一番力气去梳理人物关系和事件的先后顺序,但一旦适应了这种叙事节奏,就会发现这种错综复杂的设计恰恰是为了烘托出事件的复杂性和主角内心的混乱。书中时不时出现的旁观者视角,为我们提供了一个更宏大也更疏离的观察角度,这种多重视角有效地避免了故事陷入单一主观的局限。最让我印象深刻的是高潮部分的铺陈,它不是那种爆炸性的高潮,而是一种逐渐累积、水到渠成的释放,那种情感的冲击力是通过无数个细小的、看似无关紧要的细节积累起来的。读完那一章,我感到一种巨大的满足感,因为所有的线索最终都汇聚到了一个意料之外却又情理之中的结局。这种叙事上的高明,体现了作者对故事掌控力的自信。
评分这本书的语言风格简直是教科书级别的华丽,充满了古典文学的韵味,但又没有丝毫的滞涩感。作者对于比喻和象征的运用达到了出神入化的地步,很多句子乍一看平平无奇,细品之下却蕴含着深刻的哲学思考,让人不得不停下来反复咀悦。我常常在阅读时需要放慢速度,甚至拿出纸笔记录下一些精彩的段落,因为那些文字本身就具有一种音乐般的韵律感。角色之间的对话更是妙不可言,充满了张力与潜台词,每一次的交锋都像是一场高明的棋局,表面风平浪静,实则暗流汹涌。我尤其被其中对于“失落”这一主题的探讨所吸引,作者没有简单地宣泄情绪,而是用一种近乎冷峻的笔触去解构和审视人与人之间、人与自我之间的疏离感。那种文字的密度和信息量,要求读者必须全神贯注,稍有分神,可能就会错过一个推动情节或深化主题的关键线索。这是一次对阅读耐心和理解力的极大挑战,但回报是丰厚的。
评分这本小说的开篇就展现出一种令人窒息的压抑感,仿佛作者将我们直接扔进了一个迷雾重重、充满未解谜团的世界。叙事节奏缓慢却不失张力,每一个场景的描绘都极其细致,光影的运用仿佛能让人触摸到空气中的尘埃。主角的内心挣扎被刻画得入木三分,他那种外表的沉着与内在的焦躁形成了鲜明的对比,让人忍不住想要深挖他到底隐藏了什么秘密。特别是关于记忆的片段,那些闪回的场景带着一种破碎的美感,每一个词语的选择都透露出作者对文字的精准掌控。尽管情节推进得比较克制,但那种悬念如同绷紧的弓弦,让人时刻期待着下一秒的爆发。我特别欣赏作者处理细节的方式,比如对某个老物件的描摹,瞬间就将故事的年代感和厚重感烘托了出来。读到中期时,感觉像是陷进了一个巨大的迷宫,每走一步都充满了不确定性,但正是这种探索的未知性,紧紧抓住了我的注意力,让人完全沉浸其中,忘记了外界的时间流逝。
评分简洁的论证之下洞见非常深,尤其是第一章,建议作为The View From Nowhere的辅助读本(以及语言实在太过文雅而绕口)
评分简洁的论证之下洞见非常深,尤其是第一章,建议作为The View From Nowhere的辅助读本(以及语言实在太过文雅而绕口)
评分貌似国内就要出中译本了,真是难懂。写的那么拗口做啥呢
评分简洁的论证之下洞见非常深,尤其是第一章,建议作为The View From Nowhere的辅助读本(以及语言实在太过文雅而绕口)
评分简洁的论证之下洞见非常深,尤其是第一章,建议作为The View From Nowhere的辅助读本(以及语言实在太过文雅而绕口)
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