The New Yearbook for Phenomenology and Phenomenological Philosophy provides an annual international forum for phenomenological research in the spirit of Husserl's groundbreaking work and the extension of this work by such figures as Scheler, Heidegger, Sartre, Levinas, Merleau-Ponty and Gadamer.

At long last a comprehensive tool in English for a better understanding of the most basic terms in Aristotle's philosophy. A careful comparison of the original Greek, medieval and renaissance Latin translations and a reappraisal of English usage make the work a definitive source for the precise grasp of what has been the historical Aristotle as far as the documents permit one to judge. -- provided by the publisher.

In the following study we shall investigate the ancient Greek ‘(all-)day runners’ (ήμεροδρόμοι) 2 from a historical as well as from a modern physiological perspective. Hemerodromoi were of some importance in Greek interstate communication, in particular in military long-distance communication, and are, accordingly, a subject of some interest for the study of interaction in the ancient Greek city-state culture. The investigation begins by considering the ancient evidence on these ‘(all-)day runners’ and moves on to a physiological consideration of this evidence, (...) with particular reference to the feat of the Athenian hemerodromos Pheidippides 3 who ran from Athens to Sparta in 490 BC, shortly before the famous battle of Marathon. (shrink)

The New Yearbook for Phenomenology and Phenomenological Philosophy provides an annual international forum for phenomenological research in the spirit of Husserl's groundbreaking work and the extension of this work by such figures as Scheler, Heidegger, Sartre, Levinas, Merleau-Ponty and Gadamer.

This article suggests reading Theodor Adorno not as a notoriously pessimistic sociologist but as a committed public educator. Partly drawing on still unpublished transcripts of lectures, public talks and radio broadcasts from the 1950s and ’60s, the article offers an account of Adorno’s concept and practice of a ‘democratic pedagogy’. The key question is how we should understand the difference between Adorno the social philosopher, on the one hand, and Adorno the educator, on the other. It is argued that (...) Adorno’s pedagogical interventions are not a footnote to his social theory, but a key to understanding his entire oeuvre. (shrink)

Historically, blatantly untrue and defamatory conspiracy theories had disastrous consequences for those who were portrayed in them as evil-doers. At the same time, conspiratorial agreements at the expense of the common good between powerful groups in society do exist and have occasionally been uncovered. Against this background, the article describes different ways in which critical theory has looked at conspiracies. First, an attempt is made to show that Max Horkheimer's notes on `rackets' are an ambitious but flawed attempt to theorize (...) conspiracy. It is argued that Horkheimer's theory is imbued by the very conspiracy thinking that he proposed to criticize. Second, the author suggests recovering Franz Neumann's concept of `political alienation' as a more appropriate starting point to think critically about the ethical and epistemological questions raised by conspiracy theories. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A CONTRADICTION IN SAINT THOMAS'S TEACHING ON CREATION THEODORE J. KONDOLEON Villanova University Villanova, Pennsylvania 0 THOSE FAMILIAR with Saint Thomas's writings is generally known that the Angelic Doctor changed his position on a number of philosophical issues during the course of his relatively short professional career. For instance, there is his opinion concerning the instrumental role of higher creatures in the creation of the universe-something he (...) allowed as possible in his Commentary on the Sentences but later rejected in his Disputed Question On the Power of God and in the Summa Theologiae. Another example is Thomas's view on the possibility of an actual infinite multitude, an opinion he accepted in the early Disputed Question On Truth but argued against in the Summa Theologiae.1 However, to change one's mind on a particular issue is not to contradict oneself, since to do that is to say or hold, in the same time frame, pwhile also saying or holding not p. However, in his Treatise on Creation in the Summa Theologiae, Saint Thomas does, at least once, contradict himself in what he has to say on the question of the demonstrability of the world's temporal beginning, a contradiction which, to my knowledge, has never previous1 On the question whether higher creatures can be instrumental causes in the creation of lower creatures see In Sent. IV, d. 5, q. 5, a. 3; De potentia Dei, q. 3, a. le and Summa Theologiae, I, q, 45, a. Sc. On the issue of an actual infinite multitude see D. Q. De veritate, q. 2, a. 9 and Summa Theologiae, 1, q. 7, a. 5. However, in the De aeternitate mundi-a work possibly written after Saint Thomas completed the first part of his Summa-Aquinas asserts, towards the end of this work, that no demonstration has as yet been forthcoming that God cannot produce a multitude that is actually infinite. 51 52 THEODORE J. KONDOLEON ly been noted. In what follows I intend to expose this contradiction and to see whether there is any possible way for him to escape it. I In article 1 of Question 46 of the Prima pars, Aquinas argues that it cannot be demonstrated that the world of creatures always existed, given that the actual existence of creatures depends upon the causal will of God and the only thing which God wills necessarily is Himself.2 Consequently, whether or not the world exists, or is created eternally or with a temporal beginning, are matters entirely up to God's free will.3 In the following article he argues that neither can the world's temporal beginning be demonstrated but that this is something known only by faith.4 It cannot be demonstrated from the world itself since demonstration proceeds by way of knowledge of the universal essences of things and universals abstract from the hie et nunc, or from the question of temporal origin.5 Nor can it be proved from the world's efficient cause-the divine will-seeing that God's will cannot be investigated by reason except as regards those things which God wills necessarily (and what He wills about creatures is not among 2 " Dicendum nihil praeter Deum ab aeterno fuisse. Et hoc ponere non est impossibile. Ostensum est enim supra quad voluntas Dei est causa rerum. Sic ergo necesse est esse sicut necesse est Deum velle ilia, cum necessitatis effectus ex necessitate causae dependeat, ut dicitur in Meta. Ostensum est autem supra quod, absolute loquendo, non est necesse Deum velle aliquid nisi seipsum." ST I, q. 46, a. le. Latin quotations from Saint Thomas appearing in the footnotes are from the Leonine edition. 3 " Non est ergo necessarium Deum velle quod mundus fuerit semper. Sed eatenus mundus est quatenus Deus vult illum esse, cum esse mundi ex voluntate dependeat, sicut ex sua causa. Non est igitur necessarium mundum semper esse: Unde nee demonstrative probari potest." Ibid. 4 " Dicendum quod mundum non semper fuisse sola fidei tenetur, et demonsrtative probari non potest; sicut et supra de mysterio Trinitatis dictum est." Ibid., a. 2c. 5 "Et hujus ratio est, quia novitas mundi non potest demonstrationem recipere ex parte ipsius mundi... (shrink)

Heidegger's Being and Time: Critical Essays provides a variety of recent studies of Heidegger's most important work. Twelve prominent scholars, representing diverse nationalities, generations, and interpretive approaches deal with general methodological and ontological questions, particular issues in Heidegger's text, and the relation between Being and Time and Heidegger's later thought. All of the essays presented in this volume were never before available in an English-language anthology. Two of the essays have never before been published in any language ; three of (...) the essays have never been published in English before , and two of the essays provide previews of works in progress by major scholars. (shrink)

A spate of recent articles on Thomas Reid’s aesthetic theory constitutes a valuable commentary on both Reid’s own theory and on eighteenth-century aesthetics. However, while these articles provide a generally sympatheic introduction to Reid’s position, they are primarily expository in nature and uncritical in tone. I shall therefore address the plausibility of both Reid’s general aesthetic theory and the arguments advanced for the theory. I contend that his theory, however much an improvement over those offered by his contemporaries, is (...) fatally flawed by internal confusion and inconsistency; he cannot justify his claim that beauty and sublimity are objective qualities of objects. My analysis focuses on Reid’s mature statement on aesthetics, the essay “Of Taste” found at the end of the Essays on the Intellectual Powers of Man. (shrink)

pt. 1. Ius naturae generale (editio 2. emendata. 1906) -- pt. 2. Ius naturae speciale.

Comme le soulignent Pierre Hadot et Jean-Baptiste Gourinat, cet ouvrage de Théodore Colardeau est la seule véritable monographie en français disponible sur Épictète. Bien qu’elle date de plus d’un siècle et que les études sur cet auteur longtemps négligé se soient récemment multipliées, elle mérite toujours ample­ment d’être lue. Elle propose en effet non seulement un portrait fouillé et atta­chant d’Épictète, mais surtout une analyse des spécificités de sa pratique de la philosophie. L’ouvra...

I denne artikel argumenterer jeg for, at forestillingen om folkesuverænitet overtager den politiske grundmodel fra tidligere måder at tænke suverænitet på ved at kon- stituere det politiske forhold som værende det mellem individet på den ene side og staten, nationen eller folket på den anden. Dermed bliver individet det grundlæg- gende politiske subjekt, hvormed alle andre sammenslutninger udgrænses som po- litiske subjekter. Artiklen argumenterer for, at en afgørende del af forestillingen om suverænitet var tømningen af det politiske rum mellem staten (...) og individet for kon- kurrerende politiske sammenslutninger, og at dette skal ses som en del af det tidligt- moderne ‘politi’, som handlede om at skabe god orden internt i det politiske legeme. I artiklen analyseres de tre kontrakt-tænkere Thomas Hobbes, John Locke og Jean- Jacques Rousseau som en del af den idéhistoriske eller legitimatoriske tømning af statens politiske rum, og som en del af politi-projektet. Dermed argumenteres der også for, at den moderne måde at forstå politik på er udtryk for en særlig politisk orden, der ikke kan tænke sammenslutninger som politiske subjekter. (shrink)

Een van de hoekstenen van het idee dat de wetenschap een eenheid is, wordt gevormd door de overtuiging dat er in haar rijk één taal wordt gesproken: de taal van de feiten. Natuurlijk zijn er tussen de wetenschappen ook grote verschillen, maar die betreffen volgens deze overtuiging het gebied van de theorieën. De data waarop deze zich baseren, zouden neutraal geformuleerd kunnen worden. Als dit niet zo zou zijn, wordt ons het angstbeeld van een grote spraakverwarring voorgehouden.

Preface By Hoxie N. Fairchild, Bruce M. Bigelow, Albert C. Outler, Edmund W. Sinnott, George F. Thomas And Robert Ulich.

The author, a noted literary critic, presents a selection of his thought on Balzac, Valery, Dickens, Goethe, Heine, Hoelderlin, lyric poetry, realism, the essay and the contemporary novel.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 173-187 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz After Jazz: Ken Burns and the Construction of Jazz History Theodore Gracyk As all action is by its nature to be figured as extended in breadth and in depth, as well as in length; and so spreads abroad on all hands... so all narrative is, by its nature, of only one dimension; only (...) travels forward towards one, or towards successive points; narrative is linear, action is solid. Alas for our "chains" or chainlets, of "causes and effects." —Thomas Carlyle, "On History," 1830 Jazz and freedom are synonyms. —Mezz Mezzrow I JAZZ, A FILM BY KEN BURNS is a fascinating and monumental achievement. In this essay, I identify and critique some of the project's core assumptions. My principal target is the assumption that a specific essence of jazz underlies most (but not all) of the music that is regularly identified as jazz and that the historical unfolding of this essence is the true subject of a historical investigation of jazz. This assumption accounts for the project's otherwise puzzling suggestion that jazz history ended approximately thirty-five years ago.The most visible element of the historical project is the ten-part, nineteen-hour documentary, Jazz: A Film by Ken Burns. However, the historical project has three other public elements. The first is a book, Jazz: A History of America's Music. 1 Credited to both Geoffrey C. Ward and Ken Burns, the bulk of the book is the film's spoken text, which includes both a unifying narrative and numerous quotations. The book makes it clear that this text is primarily Ward's work. Second, there is a website that makes available extensive transcripts of many of the [End Page 173] seventy-five interviews conducted for use in the film. Third, there is a set of twenty-two compact discs, each giving an overview of an important jazz musician (e.g., one devoted to Count Basie, one devoted to Dizzy Gillespie). Highlights of these discs have, in turn, been assembled into a five-disc box set called Ken Burns Jazz. My aim is to reveal and examine the conceptual scaffolding that supports and organizes this vast, multifaceted project.What is the principal assumption of this historical project? The project consistently emphasizes the music's capacity to give audible embodiment to the idea of American democracy. At the same time, the project is less than forthcoming about the aesthetic assumptions embraced by Ward and Burns. Familiar and predictable arguments are introduced to justify the appellation of "art" and to address the issue of the purported death of jazz in the 1970s. However, these two strands of the larger argument may be at cross-purposes with the principal assumption and the ideology that jointly justify the project's status as jazz history.Let me begin by describing the principal assumption in some detail. While there is no reason to suppose that its source is Ken Burns or his chief collaborator, historian Geoffrey Ward, the following blurb was used to advertise the project: Jazz has been called the purest expression of American democracy; a music built on individualism and compromise, independence and cooperation. Join us for an exploration of jazz, America's greatest cultural achievement. In keeping with this theme, the narration and principal interviewees of the film are positioned to emphasize that jazz is an audible embodiment of the idea of American democracy. Let us call this idea the democracy thesis. It is placed as a frame around the whole film: Wynton Marsalis announces it in the opening minutes of the first episode, and then he reiterates it in fresh words at the end of the last episode. Although it is repeated with numerous variations, the democracy thesis proposes that jazz involves an ideal of democratic America, not the fact of life in America: jazz, Wynton Marsalis assures us, is "a glimpse of what America is going to be when it becomes itself. And this music tells you that it will become itself." 2 Jazz... (shrink)