El presente artículo se propone cotejar dos lecturas antimodernas de Platón y la tradición platónica, la de Joseph de Maistre (1753-1821) y la de Joris-Karl Huysmans (1848-1907) que resultan a la vez complementarias e inversas. Estas apropiaciones, que abren y cierran el siglo XIX, expresan el auge y el declive del “platonismo romántico”. De Maistre recurre intensamente a los diálogos de Platón, a los que cita, comenta, traduce y reescribe, así como a diversos textos del neoplatonismo antiguo (...) y de la tradición platónica moderna. Por su parte los textos de Huysmans, en particular _À rebours_ (1884), la novela más representativa de la sensibilidad decadente, expresa la crisis de ese platonismo romántico, tal como se advierte en cuestiones tales como el nihilismo, el recurso a la figura del simulacro y el replanteo del tópico del andrógino. El platonismo y su crisis interrogan la temporalidad histórica, desde la aceleración revolucionaria hasta la decadencia finisecular. (shrink)

In this chapter, I present some philosophical reflections on the theme of the imagination. The main inspiration for these reflections comes from two writers, both of whom are mentioned in Alain de Botton’s (2003) The Art of Travel: Joris-Karl Huysmans and Xavier de Maistre. De Botton uses both of these writers in his book as ‘guides’, people whose work prompts his own ruminations, Huysmans in the first chapter and de Maistre in the last. Speculatively, I infer (...) from this structure that de Botton has identified a similarity in the two writers’ attitudes to the relationship between travel and the imagination such that he regards it as appropriate to begin with one and to end with the other. There is a sense, I speculate, in which the wheel is meant to come full circle in de Botton’s book. Both Huysmans and de Maistre seem to be of the opinion that the nature of the imagination is such that it makes travel possible anywhere, notably and counter intuitively, in the place where travel typically both begins and ends: in the traveller’s own home. As I shall shortly suggest in more detail, Huysmans and de Maistre seem to agree that travelling in the imagination alone is preferable in certain ways to the real thing. Whether or not I am right in my speculative attribution of this observation to de Botton, I want, in this chapter, to extend it. I want to suggest that, although Huysmans and de Maistre do indeed draw similar conclusions about travel, they do so for very different reasons. I argue that Huysmans and de Maistre have radically opposing views of the nature of the relationship between the world of the imagination and the real world and therefore of the relationship between travel and the imagination. Using this contrast as a point of departure, I examine the role of the imagination in de Maistre’s travel literature and draw out its philosophical significance, articulating some philosophical insights de Maistre provides about the nature of the imagination per se and its role in human life. (shrink)

Architectural experience and creation is studied through a selection of projects, each driven by an obsessive creator towards particular levels of architectural experience, both physical and virtual. The article investigates the processes of turning dreams into physical space, exemplified by four extraordinary creators and collectors of space, each one a pursuer of obsessive architectural activities, all haunted by transitive dreams: Baron Des Esseintes, Joris-Karl Huysmans’ fictional character in the novel À Rebours (Against Nature) from 1884; Kurt Schwitters, (...) the dadaist painter and constructor of the Merzbau created in Hannover between 1919 and 1937; Sir John Soane, the architect and collector, who arranged his home as a museum from 1790 until 1837; and the German artist Gregor Schneider, whose home in Rheydt since 1985 is slowly folding in on itself under the name Haus Ur. Whereas Des Esseintes is a fictional builder of dreams in physical form; Schwitters, Soane and Schneider are real builders of dreams in physical form - the author Huysmans is a real builder of dreams in fictional form. Three of the four selected projects introduce layers of hybrid existence into ordinary building shells, and one represents the virtual architecture of narrative space. Their creators are driving architectural space into different ontological states, providing a field of perceptional and representational problems. The architects of parallel realities are subsequently challenging our basic understanding of architectural organization, aesthetics and methods. This erratic field of subjective and obsessive architecture serves my purposes of investigating architectural imagination as the main asset of virtual space. (shrink)

he relationship between decadence and aesthetics is an intimate and complex one. Both the stock figure of the aesthete and the aestheticism of ‘art for art’s sake’ are classic decadent tropes with obvious sources in figures such as Théophile Gautier, Walter Pater, Joris-Karl Huysmans. Yet the links between aesthetics and decadence are more conflicted than might first appear: historically, aesthetics has served both as a site for the theorisation of decadence and as the basis of an attempt (...) to stem it. The purpose of this chapter is to examine these intricate ties. (shrink)

In this article I defend the thesis of a strong similarity between the modern critique of Christian revelation and the main arguments of contemporary pluralist theologians. As a relevant spokesperson of modern thought I take Karl Jaspers. After having presented his most important writings on religion and belief, I discuss three general features of modern thought, namely, subjectivism, ethical humanism and universalism. I argue that these characteristics not only figure in Jaspers’ critique of Christianity, but that they are also (...) fundamental to the pluralist theology of religions. Then I focus on characteristics of modern thought regarding religion in particular. First I analyse the specific kind of ‘natural theology’ in Jaspers’ philosophy and in pluralism, and I continue with the question of christology. In both cases I discern a parallel intuition. With a view to Jaspers’ most crucial objection to the Christian revelation, I maintain that he ultimately rejects both the reality and the possibility of God revealing Godself in the history of humankind. And I immediately ask whether the philosophical presuppositions of pluralism do not tend towards the same radical rejection. In my conclusion, I raise questions about the approach represented by Jaspers and so-called pluralist theologians. In addition to being irreducibly ambiguous, it does not seem to constitute the guarantee of tolerance that both Jaspers and pluralists declare it to be. (shrink)

This book explores the main stages and key concepts in the development of Kant's critical philosophy, from the early 1760s to the 1790s. Karl Ameriks provides a detailed and concise account of the main ways in which the later critical works provide a plausible defense of the conception of humanity's fundamental end that Kant turned to after reading Rousseau in the 1760s. Separate essays are devoted to each of the three Critiques, as well as to earlier notes and lectures (...) and several of Kant's later writings on history and religion. A final section devotes three chapters to post-Kantian developments in German Romanticism, accounts of tragedy up through Nietzsche, and contemporary philosophy. The theme of an elliptical path is shown to be relevant to these writers as well as to many aspects of Kant's own life and work. The topics of the book include fundamental issues in epistemology and metaphysics, with a new defense of the Amerik's 'moderate' interpretation of transcendental idealism. (shrink)

In this volume, Karl Ameriks explores 'Kantian subjects' in three senses. In Part I, he first clarifies the most distinctive features-such as freedom and autonomy-of Kant's notion of what it is for us to be a subject. Other chapters then consider related 'subjects' that are basic topics in other parts of Kant's philosophy, such as his notions of necessity and history. Part II examines the ways in which many of us, as 'late modern,' have been highly influenced by Kant's (...) philosophy and its indirect effect on our self-conception through successive generations of post-Kantians, such as Hegel and Schelling, and early Romantic writers such as Hölderlin, Schlegel, and Novalis, thus making us 'Kantian subjects' in a new historical sense. By defending the fundamentals of Kant's ethics in reaction to some of the latest scholarship in the opening chapters, Ameriks offers an extensive argument that Hölderlin expresses a valuable philosophical position that is much closer to Kant than has generally been recognized. He also argues that it was necessary for Kant's position to be supplemented by the new conception, introduced by the post-Kantians, of philosophy as fundamentally historical, and that this conception has had a growing influence on the most interesting strands of Anglophone as well as Continental philosophy. -/- . (shrink)

Abstract:In this paper we reconceptualize general music education as a "classical music education," departing from speculative reflection on the notion of conducting. We constitute this notion as an interpretative axis connecting, on the one hand, a different perspective on what classical music might mean in the context of general education, and, on the other hand, a more dynamic, techno-ecological concept of both music and education. This paper develops these connections by thinking along with a concrete specimen of classical music in (...) the strict sense, Mahler's First Symphony, in order to show exactly how thinking about such works may actually take on an aspect that is classical in a more properly general educational sense. Beyond a dichotomy between aesthetical and praxial appraisals of the classical musical work, with their exclusive emphases on intelligible form and socio-critical praxis respectively, our idea of classical music education implies a dynamic (re)conducting of the works. Through practices of (re)conducting, music education can treat works, not as static monuments of eternal beauty or instances of socio-historical criticality, but as catalysts of self-differentiating, transhuman musical experiences—of playing, listening, composing, and thinking—in which human, instrumental, and other techno-ecological agencies mutually transform each other. (shrink)

Ever since its publication in 1947, Thomas Mann's Doktor Faustus,1 his last major novel, has triggered many discussions and scholarly analyses. Evidently, the fictitious life story of Adrian Leverkühn, the genius composer who strikes an unsavory bargain with the devil, abounds in literary artifice and ingenuity, drawing to that end from a nigh bottomless reservoir of extremely variegated cultural references.2 Leaving out strictly literary analyses, most critical attention for Mann's version of the Faust myth is centered on its politico-aesthetical motifs—its (...) allegedly strong Nietzschean-Adornian bias.3 This is understandable, not only considering Mann's vocal interest in these philosophical traditions but also... (shrink)

This article argues the following points. The Hobbesian hypothesis, which we define as the claim that all people are better off under state authority than they would be outside of it, is an empirical claim about all stateless societies. It is an essential premise in most contractarian justifications of government sovereignty. Many small-scale societies are stateless. Anthropological evidence from them provides sufficient reason to doubt the truth of the hypothesis, if not to reject it entirely. Therefore, contractarian theory has not (...) done what it claims to do: it has not justified state sovereignty to each person subject to it by demonstrating that they benefit from that authority. To be justified in contractarian terms, states have to do something to improve the living standards of disadvantaged people under their rule. (shrink)

Diese Ausagabe macht Buchbesprechungen wieder zugänglich, die in verschiedenen Zeitschriften vom Ende des 18. Jahrhunderts verstreut erschienen sind und deswegen schwer erreichbar waren. Sie sammelt alle Dokumente, in denen von mehr oder minder bekannten Zeitgenossen Einwände gegen die Elementarphilosophie erhoben wurden, auf die Reinhold selbst in seinen Büchern antwortete. Auf diese Weise wird ein philosophischer Kontext geschildert, in dem einzelne Konstellationen deutlich werden, die sich wechselseitig widerrufen und widerlegen. Viele der zeitgenössischen Rezensionen beinhalten auBerdem einen Vergleich zwischen der Kantischen und (...) der Reinholdschen Philosophie; die vorliegende Ausgabe bringt insofern Bewertungen von Kants theoretischem Unternehmen zum Ausdruck, als dieses meistens per Kontraposition zur Elementarphilosophie, aber auch direkt beurteilt wird--Back cover. (shrink)

Reason and Rhetoric in the Philosophy of Hobbes. Quentin Skinner. Cambridge, Cambridge University Press, 1996, pp. xvi-477. ISBN 0-521-55436-5. 35.00.

Name der Zeitschrift: Zeitschrift für Religionswissenschaft Jahrgang: 25 Heft: 1 Seiten: 90-131.