Time and time consciousness have always been for Edmund Husserl a kind of torment, a stimulus, an enigma, an 'ultimate and true absolute', as he wrote in the _Ideen_. This paper aims to show that Husserl addressed this topic, after the _Vorlesungen_, especially in his last published book _Erfahrung und Urteil_, presenting a solution that introduces a possible new perspective on thought. The conceptual core of this solution is found in the complex and fascinating analysis of passive temporal synthesis. Consciousness, (...) temporality and perception become the terms of multiple equations in their fundamental, mobile and unguaranteed basis, in a way that challenges the centuries-old concept of the central unity of the constant ego. In the middle of dark times, aware of his 'discoveries' of the 1930s such as pre-predictivity, _Lebenswelt_, anonymous and functioning intentionality, and always on behalf of the new rationalism, this also seems to be one of the most important final responses given by Husserl to Heidegger, as well as one of his most fruitful legacies and challenges to further thinking. (shrink)

A central topic in Cohen’s Ästhetik des reinen Gefühls is the artistic representation of the human figure; in Cohen’s reflections on this topic, the nude has a fundamental importance. The first aim of this paper is to examine Cohen’s theses on the role of the nude in figurative arts, as well as his comments about sculptural and pictorial works representing nude figures. This will bring us to take into consideration Cohen’s judgement about eroticism in art. Some brief considerations about the (...) nude in contemporary art, and above all in photography, will be expressed in order to evaluate the topicality of Cohen’s aesthetics concerning this theme. These considerations, however, will make it necessary to rethink Cohen’s judgement regarding eroticism in art. (shrink)

Jewish monotheism forbids every representation of God. In ancient Greece, on the contrary, great sculptural art was mainly representation of several gods. I wonder whether, according to Hermann Cohen, sculpture and paganism are necessarily bound together. What, then, is the meaning of artistic representation of Jesus Christ? Is he the ideal of an unification of God and Man?

This research was aimed to investigate the correlation between meaningful life and productive behavior to teacher of School. The proposed hypothesis was there is positive correlation between meaningful life and productive behavior to teacher of School. Population of this research are teacher of School in 10 Schools in Sleman Regency, Yogyakarta. Subjects were 67 teachers. Data were collected using productive behavior scale and meaningful life scale. Data analyzed by Pearson product moment correlation analysis technique. This research found that there is (...) significantly positive correlation between meaningful life and productive behavior to teacher of School. The research also found that meaningful life have 36.9% portion on productive behavior.  . (shrink)

This paper studies the effects of social comparison on risk taking behavior. In our theoretical framework, decision makers evaluate the consequences of their choices relative to both their own and their peers’ conditions. We test experimentally whether the position in the social ranking affects risk attitudes. Subjects interact in a simulated workplace environment where they perform a work task, receive possibly different wages, and then undertake a risky decision that may produce an extra gain. We find that social comparison matters (...) for risk attitudes. Subjects are more risk averse in the presence of small social gain than social loss. In addition, risk aversion is decreasing in the size of the social gain. (shrink)

Il concetto dell'anima svolge nel pensiero di Michel Henry un'importantissima funzione di filo conduttore nell'esame di alcuni momenti fondamentali della storia della filosofia. Dal momento che le interpretazioni henriane del pensiero dei filosofi del passato hanno sempre uno scopo teoretico, lo studio di questo utilizzo del tema dell'anima in funzione di filo conduttore permette sia di comprendere meglio alcuni aspetti importanti delle tesi filosofiche di Henry, sia di valutarne con maggiore consapevolezza l'importanza per lafilosofia e per la cultura di oggi.

Rudolf Pannwitz è una delle più complesse, ma spesso sottovalutate figure intellettuali dell'area germanofona, autore linguisticamente sapido di una bibliografia enorme e poliedrica, il quale ha raccolto in vita la stima di personalità tra le più importanti del panorama culturale europeo. Né si può trascurare una biografia contrastata, sofferta, eccentrica, che solo nella sua ultima fase consentirà una sistemazione matura del pensiero. Questo volume ricostruisce compiutamente per la prima volta la dottrina filosofica pannwitziana; quella filosofia che per autodichiarazione risulta essere (...) la categoria cui appartiene ciò che di più importante la sua persona ha espresso. La formulazione definitiva coincide col grande dittico della maturità - costituito dalle opere Der Aufbau der Natur e Das Werk des Menschen - che introduce la distinzione fondamentale tra mondo disponibile e mondo prodotto. Ma Pannwitz è anche un grande europeo. Particolare attenzione è allora riservata alla sua filosofia politica, il cui carattere profetico è in alcuni passaggi sorprendente, e che prospetta soluzioni che anticipano in modo appassionato e vibrante i capisaldi del dibattito a venire. In prima traduzione italiana con originale tedesco a fronte viene proposto in appendice il testo Aufgaben Europas, una relazione pubblica tenuta da Pannwitz nel 1955. (shrink)

Franz Rosenzweig devoted particular attention to the problem of individuality in Hermann Cohen’s philosophy. He writes that, in comparison with the individuality of the man of religion, “the human being about which aesthetics knew [...] fades now in all its aesthetic individuality to a ‘mere type’”. This statement is actually based on Cohen’s writings: in Ästhetik des reinen Gefühls, Cohen explicitly maintains that the human being that is the object of artistic representation is not a type, but rather an individual. (...) Just three years later, however, in his first book about philosophy of religion, Der Begriff der Religion im System der Philosophie, Cohen states that the human being that is represented by art is not really an individual; only the man of religion is really individual; the human being represented by art is merely a type. In this paper my aim is to argue for the thesis that these opposite statements belong to different points of view. From an aesthetic point of view the human being represented by art has to be considered as truly individual, but the systematic overview adopted in Der Begriff der Religion can teach us that the individuality of the human being represented by art can’t be maintained from a different point of view than the aesthetic one. (shrink)

“The Messiah [...] is the source of all religious art.” This statement, which we find in Cohen’s Über den ästhetischen Wert unserer religiösen Bildung, seems to be not fully consistent with the whole of Cohen’s aesthetics and with Cohen’s thought about the possibility of art having religious themes. In order to explain this statement and Cohen’s perspective about Messianism in art, in §§ 1-3 I examine Cohen’s reflections about this topic in his main works about art and religion; in § (...) 4 I maintain that the goal of this statement is to underline a difference between Jewish and Christian religious art. Finally, in § 5, I offer a short examination of some 20th or 21th century artworks that can be compared to Cohen’s views about Messianism in art: namely, Marc Chagall’s crucifixions, Gustav Mahler’s 4th symphony, and Michelangelo Pistoletto’s Terzo Paradiso. (shrink)

This paper is about Michel Henry’s interpretation of the topic of the soul in Kant’s thought. Two aspects of this topic will be particularly examined: Kant’s criticism of the concept of the soul as a substance and the I think as the consciousness that every representation of mine is a representation for me. Henry thinks that the insertion of this consciousness in Kant’s thought is a necessary incoherence that shows the impossibility to reduce appearing to representation. At the end it (...) will be shown that, in the context of henrian thought, the abandonment of the concept of the soul as a substance is a condition to assert the radical difference between human beings and things. (shrink)

Cohen deals with the question of the possibility for art to represent God or the divine in some of his works, throughout all his philosophical production, but obviously above all in his main aesthetic work, sthetik des reinen Gefhls. We can state that in Cohen's works this problem is posed with reference to three different religious fields: Greek polytheism, Jewish monotheism and Christianity. The topic of this essay will be Cohen's thought about the artistic representation of the divine in Christianity (...) or in Christian art through the representation of Jesus. This topic will be examined with reference both to Kants Begrndung der sthetik and to sthetik des reinen Gefhls ; whereas in Kants Begrndung der sthetik Cohen devotes to the representation of Jesus just a short consideration in the historical introduction of the book, in sthetik des reinen Gefhls the representation of Jesus is object of far more attention. Here, Cohen's answer to the question of the possibility to represent the divine through the representation of Jesus is that Jesus' divinity, in the artistic representation of his figure, can only have a metaphorical value, the real meaning of which is that Jesus' story is the ideal story of the human being; in Kants Begrndung der sthetik and in other writings of the 80s, on the contrary, the idea of incarnation and of the divinity of Jesus is object of a different appreciation by Cohen. The comparison between these different stances can be a contribution to the comprehension of the changes in Cohen's view of Christianity through the years. (shrink)

Gli studi qui raccolti mostrano dunque come il riutilizzo di materiale musicale preesistente all’interno di una nuova composizione, a volte frettolosamente condannato come un plagio, produca risultati creativi, realizzandosi in moltissime forme nate dalle più varie radici: si può parlare così di una comunanza di visione tra compositori diversi, o dell’appartenenza (consapevole o inconsapevole) di un certo autore alla propria tradizione, oppure del suo cosciente far riferimento a una tradizione specifica, magari appunto con l’intenzione di trasfigurarla, o ancora dell’applicazione di (...) un metodo creativo consistente nella realizzazione di immagini delle musiche del passato... e questo elenco potrebbe continuare ulteriormente. In generale, ciò che emerge da questi contributi è insomma che ci sono moltissimi casi e contesti in cui «rubare» la musica non è (o non dovrebbe essere considerato) certamente un furto: questo succede quando, come accade molto spesso, «rubare» la musica è non soltanto l’involontaria assimilazione dell’apporto creativo di un altro artista o il modo per veicolare culture o tradizioni musicali che altrimenti potrebbero cadere nell’oblio, ma anche un autentico contributo alla trasmissione creativa del sapere musicale e a nuove ulteriori creazioni. (shrink)

Nietzsche, 19.yy Alman filozofu, edebiyatçı, müzisyen, dilbilimci ve kültür eleştirmeni olup, modern Arap edebiyatı alanında en çok tanınan isimlerinden biri edebiyatçı, ressam, şair ve filozof Cibrân Halil Cibrân olmuştur. Edebiyatla felsefeyi bir araya getiren Cibrân’ın yazım hayatı üç evreye ayrılmaktadır. Toplumsal konularla ilgilendiği ilk dönem, şüphe ve başkaldırıyı içine alan ikinci evre ve zihin olgunlaşmasına erişip daha barışçıl düşüncelere geçtiği üçüncü evredir. Cibrân, Nietzsche’yi benimseyip, onun düşünceleriyle kendini özdeşleştirdiği ikinci evrede, Ermiş adlı eserini kaleme almıştır. Ermiş adlı çalışma konu ve (...) düşünsel bağlamda Böyle Buyurdu Zerdüşt ile oldukça benzerlik göstermektedir. Çalışmada da din, ahlak, kültür, felsefe ve bilim üzerine eleştirel yazılar yazan Alman filozof Friedrich Wilhelm Nietzsche’nin Also Sprach Zarathustra orijinal adıyla kaleme aldığı Böyle Buyurdu Zerdüşt adlı eseri, Modern Arap edebiyatında büyük bir dönemin başladığı Mehcer edebiyatının en önemli yüzü olan Cibrân Halil Cibrân’ın The Prophet orijinal baskılı Ermiş adlı eseri yukarıda bahsedilen benzerlik ve farklılıklar açısından karşılaştırılacaktır. (shrink)

Anadolu’nun her bölgesinde halk tarafından veli, ermiş, dede, pir gibi adlar verilen şahıslara ait türbelere rastlanmaktadır. Dinî-tasavvufi bağlamda halk tarafından Allah dostu olarak kabul edilen bu kişiler, anlatılan kerametleri ile ölümlerinin ardından inandırıcılık özelliklerini daha da arttırmışlardır. Bunun sonucu olarak kutsallaştırılan bu türbelere yapılan ziyaretlerin birey ve toplum üzerinde birtakım yansımaları olduğu görülmektedir. Buna bağlı olarak, Elvan Çelebi türbesine yapılan ziyaretlerin birey ve toplum üzerindeki etkileri araştırılmıştır. Bu araştırmada, kutsal, kutsal mekân ve türbe ziyaretinin kavramsal çerçevesi ortaya konduktan sonra, Elvan (...) Çelebi’nin kim olduğu ve sosyo-kültürel hayattaki yeri üzerinde durulmuş, türbe ve bulunduğu bölge hakkında bilgiler verilmiştir. Bu bağlamda, Elvan Çelebi Türbesini ziyaret edenler ile mülakat yapılarak elde edilen veriler yorumlanmıştır. Araştırma sonucunda, yapılan türbe ziyaretlerinin bireyin dini düşünce, duygu, tutum ve inançları üzerinde etkilerinin olduğu tespit edilmiştir. Gerek geçmişte gerekse günümüzde, stresli olanların, hastalıklarına şifa arayanların, çocuğu olmayanların, adak adayanların, dua ve ziyaret ile huzurlu bir yaşam isteyenlerin ziyaret ettikleri Elvan Çelebi Türbesinin Çorum’un dini ve sosyo-kültürel hayatına canlılık katmaya devam ettiği söylenebilir. (shrink)