The development of Barth's ethics from the First Epistle to the Romans to Church Dogmatics I/1 -- The ethics of the doctrine of God in Church Dogmatics II/2 -- The ethics of the doctrine of creation in Church Dogmatics III/4 -- The foundations of ethics in the doctrine of reconciliation in Church Dogmatics IV -- Perspectives: responsibility and faith in the Triune God.

The theological problems of the ethics of love for one’s neighbour are considered: the impossibility of literal fulfilment of the commandments and doubtfulness of their applicability in public and state life. One of the approaches to solving these problems is based on the principle of reverence for life, proposed by Albert Schweitzer and expressing, in his opinion, the essence of love for one’s neighbour. Subsequently, this principle was borrowed by Karl Barth, who gave it a theological justification. Although (...) class='Hi'>Barth’s texts on reverence for life are well known, some fundamental issues are still insufficiently investigated. Why did Barth claim that reverence for life does not fully express the essence of Christian ethics? What is the fundamental difference between the Barth’s and Schweitzer’s approaches to Christian ethics? How was this difference of approaches manifested in the practical recommendations? The article provides a comparative analysis of Barth’s and Schweitzer’s ethics and answers the above questions. (shrink)

This essay is an analytical extension of Roland Barthes’ structural analysis of an excerpt from the Old Testament (Genesis 32: 22–32), known as “The Struggle with the Angel”. It thus continues the search for “the third meaning” of this enigmatic passage. In this essay, “The Struggle with the Angel” is undertaken in the phenomenological (xenological) register which situates it in the liminal sphere at the crossing of disclosure and concealment. Subsequent semiotic analyses of three visual renditions of Genesis 32: 22–32, (...) Rembrandt’s “Jacob’s Struggle with the Angel”, Sir Jacob Epstein’s “Jacob and the Angel”, and Marc Chagall’s “Jacob Wrestling with the Angel”, show the “third meaning” of the passage to be predicated on the foundational relation between naming and facing, pointing to the understanding of “The Struggle” as the face-to-face relationship of love and responsibility grounded in ethics. (shrink)

Christianity claims that the incarnation provides reliable knowledge about God but also that the incarnation was undertaken freely and thus need not have happened. Alexander Garton-Eisenacher resolves this tension between epistemological reliability and divine freedom, building particularly from the work of Karl Barth. Garton-Eisenacher offers a fresh reading of the Church Dogmatics that demonstrates how Barth’s theology provides a promising starting point but notes that his argument is ultimately undermined by the doctrine of eternity within which it (...) is framed. The author overcomes this issue by showing how the promising motifs employed by Barth can be authentically derived from the classical doctrine of eternity instead. In so doing, this work shows that reading classical eternity against a Barthian background also serves to draw out a more temporal interpretation of the doctrine than its contemporary characterization, reclaiming it as a viable Christian understanding of God’s relationship to time. (shrink)

In the 1980s there was a brief but intense period of interest among literary critics and theorists in Classical Rabbinic interpretation, and, in particular, the genre of commentary known as Midrash. Interest concentrated around the apparent similarities between Midrash and the commentaries and criticism of Derrida, Lacan, Freud, Barthes and others. This essay examines this connection between Midrash and theory in light of the persistent charge from Foucault and others that all hermeneutics is essentially theological. It proceeds by drawing out (...) the aims and frustrations of the literary critics and Jewish scholars involved, and considers in what ways the questions which arose in these years might be pertinent for contemporary literary criticism, theory and institutional practice. (shrink)

This article analyses the parallels between the pre-Qin Daoist notion of heng 恒 as a constancy that is nevertheless ceaselessly in motion, and Karl Barth’s concept of Beständigkeit as God’s constancy throughout infinite transformation. Underlying both concepts is an understanding of the ultimate origin (whether dao 道 or the Christian God) as irreducibly temporal in nature. Stemming from this conviction, both systems of thought ultimately identify the continuous change of the ultimate origin with the flow of time in the (...) universe. The commonalities found between these two traditions provide fresh resources to advance the study of both. On the one hand, Barth’s deliberate juxtaposition of contrary statements to illustrate the union of permanence and transience in Beständigkeit challenges the frequent assumption that similar juxtapositions in the pre-Qin texts comprise careless inconsistency or outright incoherence. By extension, Barth’s metaphysical underpinning of this juxtaposition offers a compelling framework to explicate the Daoist notion of heng. On the other hand, the pre-Qin texts’ confluence of permanence and freedom in the principle of ziran 自然 offers a new lens through which to read and hence redeem Barth’s oft-critiqued attempt to combine the irrevocability and ongoing freedom of God’s decision of election. (shrink)

Die Forschung zu Eduard Hanslicks Vom Musikalisch-Schönen (1854) ist in der deutschsprachigen Diskussion auf die historischen Hintergründe von Hanslicks Argument fokussiert. Während die frühesten Deutungen von Hanslicks Standpunkt seine systematischen Berührungspunkte mit dem ahistorischen Formalismus von Johann Friedrich Herbart konstatierten, akzentuierte die deutsche Forschung der 1970er und 1980er seinen starken Konnex mit Georg Wilhelm Friedrich Hegel. Dahlhaus betonte speziell, dass Hanslicks Argument eine Bekanntschaft mit dem Hegelianismus als der »herrschenden Philosophie der 1830er und 1840er« nötig mache. Dahlhaus’ Hypothese wird bei (...) der gewissenhaften Rekonstruktion der österreichischen Hegelrezeption jedoch schwierig. Habsburgische Bildungsplaner befanden dagegen den Deutschen Idealismus für politisch untragbar, was die Entlassung von mehreren Professoren nach sich zog, die den ›gefährlichen‹ Hegelianismus propagierten. Diese Lage wird von uns als geeigneter Ansatzpunkt für die detailgetreue Untersuchung der hegelianischen Theorieelemente von Hanslicks Abhandlung benutzt, welche vor dem Hintergrund der ablehnenden Grundhaltung ›Österreichs‹ zum Deutschen Idealismus sorgsam erfolgen muss. Hanslicks VMSTraktat umfasst dennoch mehrere wichtige Elemente der hegelianischen Ästhetik-diskussion, die nicht einzig Hegels System, sondern ebenso hegelianische Kunsttheoretiker (Kahlert, Krüger, Vischer etc.) umfänglich einbeziehen muss. Hanslicks Standpunkt, der die ahistorische Ausrichtung des Herbart’schen Formalismus niemals aufgriff, ist vor allem durch Vischers Annahme zur historischen Entwicklung des musikalischen Grundmaterials geprägt worden. Wir sehen somit Hanslicks VMS-Traktat als die ›eklektische‹ Verschmelzung von heterogenen theoretischen Diskursfeldern, womit dieser Herbartianismus und Hegelianismus als ästhetische Gegenpole des neunzehnten Jahrhunderts miteinander ausgleichen konnte. German-speaking scholarship on Eduard Hanslick’s aesthetic treatise »On the Musically- Beautiful« (1854) is primarily concerned with the historical background of Hanslick’s argument. Whereas contemporary investigations into Hanslick’s aesthetics emphasised theoretical overlaps with Johann Friedrich Herbart’s ahistorical formalism, German scholars of the 1970s and 1980s highlighted similarities to Georg Wilhelm Friedrich Hegel. In this respect, Dahlhaus specifically accentuated that Hanslick’s doctrine implies an exposure to Hegelianism as the »reigning philosophy of the 1830s and 1840s«. By reconstructing the historical reception of Hegel’s system in Austria, however, Dahlhaus’s premise becomes thoroughly problematic. Habsburg authorities considered German Idealism to be politically intolerable, thereby prompting numerous sackings of Austrian university lecturers on account of ›dangerous‹ Hegelianism. We take this historical framework as a suitable starting point for a comprehensive investigation of Hanslick’s Hegelian leanings that have to be carefully explored in the light of ›Austria’s‹ critical attitude towards speculative philosophy. »On the Musically-Beautiful«, however, comprises important elements of Hegelian aesthetics that are not limited to Hegel’s system but rather extend to Hegelian aesthetics in general (Kahlert, Krüger, Vischer etc.). Vischer’s hypothesis regarding the historical development of musical material particularly influenced Hanslick’s aesthetic outlook, who did not share the ahistorical conception of Herbartian formalism. Thus, we interpret Hanslick’s aesthetic treatise as an ›eclectic‹ fusion of diverse theoretical frameworks, ultimately reconciling Herbart and Vischer as the opposing extremes of mid-19th century aesthetics. (shrink)

It is argued that Weyl’s theory of gravitation and electricity came out of ‘mathematical justice’: out of the equal rights direction and length. Such mathematical justice was manifestly at work in the context of discovery, and is enough to derive all of source-free electromagnetism. Weyl’s repeated references to coordinates and gauge are taken to express equal treatment of direction and length.

This essay is a critical assessment of Sellars' interpretation and criticism of Descartes. It argues that Sellars made several mistakes in his view of Descartes, although the general thrust of his critique is sound.

This chapter contains sections titled: Introduction Necessity and Essence Naming and Reference Rules and Meaning Conclusion References.

Can we have a posteriori knowledge of modal facts? And if so, is that knowledge fundamentally a posteriori, or does a priori intuition provide the modal component of what is known? Though the latter view seems more straightforward, there are also reasons for taking the first option seriously.

Metaphors involve immense explanatory power and positive impact predominantly in the scientific education and popularization. Still the use of metaphors in science might be a double-edged sword. Introduction of the computer metaphor to many scientific fields in the last century resulted in reductionist approaches, oversimplifications and mechanistic explanations in science as well as in humanities. In this short commentary we developed further the computer metaphor by prof. Noble and the illusions this metaphor led to in genetics, linguistics and consequently DNA (...) linguistics. (shrink)

For Protosociology the "Diskurs "-theory has a special significance. Validity-dimensions of speech and their evaluation in the procedure of argumentation indicate generalized presuppositions of interactive processes. These validity-dimensions can be reconstructed in lingusitic characterisations of "normative language" (P.W. Taylor). Thus it is possible to make first steps to a theory of validity. Protosociology provides a special reconstruction of argumentative speech on the level "interpersonality, structure of communicative acting and collective identity". The aim of Protosociology within a context of problems of (...) "Diskurs"-theory would have to establish normative values for an evaluation of such validity-dimensions. A logic of "Diskurs" would have to be developed as a kind of logic of "relevance". (shrink)

At first place the article should serve as clarification of the term "lifeworld" ("Lebenswelt) by means of selected lifeworld-conceptions of 20th. century philosophy.I would like to explikate the attempts of reflexive reference to lifeworld which exist in the concept of Husserl, Heidegger, Wittgenstein and Searle. According to the explanations of Husserl and Heidegger my main interest lies in the problematic of validity. The relation between lifeworld and reflection shall be dealt with in the light of the philosophy of language (Wittgenstein, (...) Searle).At least I would like to discuss the relation between tifeword and science. (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

This article investigates the original meaning of a passage of Plotinus’ Enneads, the treatise On Fate (Enneads, III, 1, 5). The thesis of the article envisagesthe understanding of the passage in the light of a Plotinian critic of astrology and argues that the understanding and the modern translations of the passage did not exactly detect neither the Plotinian doctrine nor how Plotinus represents his polemical opponents. We argued in this article that, for criticizing the contemporary astrology of his time, Plotinus (...) elusively calls Anaxagoras’ astronomy, claiming exclusive minerality of the heaven in perfect circular movement. In addition, I correlated this observation with a broader conclusion on the grounding of the heaven as a significant space in the horizon of a hermeneutic conversion of the Plotinian philosophy. (shrink)

English summary: During his time inWurzburg from 1803 to 1806 Schelling read his lectures on the System der gesammten Philosophie und der Naturphilosophie insbesondere several times. They are the only complete exposition of Schellings identity philosophy, which comprises the philosophy of nature and the philosophy of mind. The articles discuss the Wurzburger System in the context of problem history and in light of the history of Schellings works and of the history of debates concerning them. With contributions by Christopher Arnold, (...) Ulrich Barth, Christoph Binkelmann, Christian Danz, Georg Essen, Michael Hackl, Patrick Leistner, Jan Rohls, Alexander Schuhbach, Sebastian Schwenzfeuer, Clemens Tangerding and Paul Ziche. German description: In seiner Wurzburger Zeit von 1803 bis 1806 hat Schelling mehrfach sein System der gesammten Philosophie und der Naturphilosophie insbesondere vorgetragen. Hierbei handelt es sich um die einzige Gesamtdarstellung der identitatsphilosophischen Konzeption, welche sowohl Natur- als auch Geistphilosophie umfasst. Die Beitrage des Bandes thematisieren das Wurzburger System vor seinem werk- und problemgeschichtlichen Hintergrund sowie in seinem debattengeschichtlichen Kontext. Mit Beitragen von Christopher Arnold, Ulrich Barth, Christoph Binkelmann, Christian Danz, Georg Essen, Michael Hackl, Patrick Leistner, Jan Rohls, Alexander Schubach, Sebastian Schwenzfeuer, Clemens Tangerding und Paul Ziche.Mit Beitragen von Christopher Arnold, Ulrich Barth, Christoph Binkelmann, Christian Danz, Georg Essen, Michael Hackl, Patrick Leistner, Jan Rohls, Alexander Schuhbach, Sebastian Schwenzfeuer, Clemens Tangerding und Paul Ziche. (shrink)

This article describes a qualitative inquiry into the historical reception of Flemish television fiction broadcast by the monopolistic Flemish broadcaster BRT between 1953 and 1989. This is a relatively homogeneous period, both in terms of broadcasting policies and fiction output. What do viewers remember of this period? Can patterns be discerned in these memories, and if so, why? To answer these questions, this research uses semi-structured interviews with older viewers. First, the article discusses the particular problems of this method, mostly (...) ‘faulty’ memory and nostalgic reinterpretation. Then, the findings are presented, reflecting on processes of memory formation. One clear finding concerns the selective and homogeneous nature of memories; the same few serials are remembered in similar ways by most, leading to clichéd memories of the past. (shrink)

The article provides a reply to critical remarks made during the discussion about creativity and scientific knowledge. The authors propose to consider their concept of creativity not as antagonistic or incommensurable with the alternative, but rather co-existing through the complementarity principle. Responding to a comment about the socio-cultural conditionality of a particular cognitive situation, the authors question whether globalization seriously influence this matter in science. They support the statement about the importance of the interaction between science and art, science and (...) philosophy as an opportunity to consider scientific problems from the outside, in an unusual way. Regarding the comment about serendipity, the authors note that in certain cases we need exactly epistemological randomization, since we cannot consciously induce serendipity. In conclusion, thanks are expressed to all participants in the discussion. (shrink)