JEAN-PAUL SARTRE and Maurice Merleau-Ponty share the composite position of acknowledging the influence of Husserl on their work and of claiming to fulfill Husserl’s intentions, yet of criticizing Husserl for having failed to live up to his own intentions. This is the outer form of their explicit criticism of Husserl. Their work itself constitutes an implicit criticism of Husserl, while it gives us some indication of the direction that Husserl’s continued researches might have taken.

Artiklis käsitletakse nihilistliku kirjandusloome võimalusi eesti luule näitel. Nihilismi ei mõisteta artiklis väärtusprobleemina, vaid ontoloogilise probleemina. Nihilistlikku kirjandusloomet käsitletakse taotlusena tuua sõnasse teine, eimiski. Artikli teoreetiline raamistik toetub põhiliselt Gianni Vattimo languse ontoloogia kontseptsioonile, aga ka Friedrich Nietzsche, Martin Heideggeri ja Maurice Blanchot' töödele. Samuti analüüsitakse artikli teoreetilises osas eimiski väljendamise võimalusi eesti keeles, tuginedes Uku Masingu ning Jaan Kaplinski mõttekäikudele. Luuletajatest käsitletakse artiklis enim Jaan Oksa ja Juhan Liivi. Analüüsi käigus tuuakse esile järgmised eimiskiga seotud poeetilised figuurid: ootus (...) ja luhtumus, langus ja loojak, hullus, surm. Analüüsi tulemusena selgub, et nihilistlik loome on eesti luules tugevalt esindatud, kuid ei filosoofias ega luules pole võimalik saavutada otsest juurdepääsu eimiskile, tuleb piirduda aimamisega, vihjamisega. The paper discusses the possibilities for creating nihilistic literary works, using Estonian poetry as an example. The paper regards nihilism as an ontological problem, and not as a problem of values. Nihilistic literary creativity will be treated as an attempt to introduce nothingness. The theoretical framework is provided by Gianni Vattimo's ontology of decline, as well as by the works of Friedrich Nietzsche, Martin Heidegger and Maurice Blanchot. The paper also analyzes, relying on the ideas put forward by Uku Masing and Jaan Kaplinski, the possibilities of expressing nothingness in the Estonian language. As to Estonian poets, the paper will focus on the works of Juhan Liiv and Jaan Oks. The analysis of their works highlights the following poetic figures related to nothingness: anticipation and failure, decay and decline, madness, death. The analysis will demonstrate that nihilism is strongly present in Estonian poetry. However, since neither philosophy nor poetry has direct access to nothingness, one must remain content with presentiments and allusions. (shrink)

This paper provides an analysis of the paradoxical definition of art as the silence of the world, as presented in Maurice Blanchot’s The Space of Literature. The definition is analysed phenomenologically, by treating the world as the universal horizon of all experiences. The paper presents two possible interpretations of Blanchot’s statement. First, a possibility is considered that, according to Blanchot, in genuine artistic experience the mundane everyday life falls silent, and an autonomous fictional world opens up. The paper argues (...) that while Blanchot does oppose art to everyday life, this interpretation is insufficient. Firstly, because on the basis of the phenomenological premise, all possible worlds fall within the universal world-horizon, and secondly, the function Blanchot attributes to art is considerably more radical, as when he speaks about the directedness of art outside of all possible worlds. While such an aim may seem impossible from the viewpoint of the phenomenological premise, the second part of the paper demonstrates that it can indeed be meaningfully interpreted on the basis of Martin Heidegger’s transcendent approach to the world. According to this interpretation, while the phenomenological premise prevents all discussion of places and experiences outside the world, a liminal experience can nevertheless be discussed. If this is true, it is not an entity within the world which opens up, but rather the world-horizon itself in the form of an anxious silence. (shrink)

Despite the fact about colour, that it is one of the most obvious and conspicuous features of the world, there is a vast number of different theories about colour, theories which seem to be proliferating rather than decreasing. How is it possible that there can be so much disagreement about what colours are? Is it possible that these different theorists are not talking about the same thing? Could it be that more than one of them is right? Indeed some theorists, (...) e.g. Leo M. Hurvich, D. L. McAdam and K. Nassau, say that the term ‘colour’ is used to identify a range of different properties, e.g. pigments, properties of light, and sensations. Such a view has its attractions, but it raises the question of what it is that unites these various concepts – what is it that would make them all concepts of colour? What is it that justifies using the same terms, ‘yellow’, ‘blue’, ‘pink’, mauve’, and so on?This paper aims to address this question, arguing that its answer supports the conclusion that the best theory of colour is a form of anti‐realism: the Illusory theory of colours. There are two parts to this thesis, one negative, the other positive. The negative part is that there are no colours, as they are ordinarily conceived. The positive part is that, nevertheless, the world is such that ‘it is as if there are such colours’. Such a theory has important implications. One is that it doesn’t fall neatly into the usual taxonomy of philosophical theories. In particular, it does not deserve the label ‘eliminativist’. Another is that it allows some space for the views expressed by Hurvich, McAdam and Nassau, but not quite in the sense that they intend. (shrink)

The appeal of the moral principle according to which we should treat like cases alike is so great that it verges on the axiomatic, or on the platitudinous. Recently, however, the principle has been challenged in deeply interesting ways. These ways are interesting because they do not invite skepticism about morality at large, but about the specific claim that what is good (or bad) for an agent in a given situation must be good (or bad) for any other similarly situated (...) agent. I here assess the post-challenge viability of the principle. In a sense, the principle survives, but this is neither an unqualified victory nor an inspiring result. The examination of these matters contains an important (and under-investigated) lesson about the nature of moral experience. (shrink)

Victor Tadros’ The Ends of Harm is the most recent systematic attempt to defend the good old utilitarian justification of punishment. The attempt fails for a variety of reasons, which are here explored. First, the attempt presupposes an implausible account of human’s psychology. Second, the attempt confuses an attack on retributivism with an attack on certain criminal justice systems. Finally, Tadros admits that his justification of punishment is best seen as a mere step along the road to full-blown abolitionism – (...) and so he unwittingly admits the extraordinarily thin sense in which he could be said to be really attempting to justify punishment. (shrink)

"All political action has . . . in itself a directedness towards knowledge of the good: of the good life, or of the good society. For the good society is the complete political good. If this directedness becomes explicit, if men make it their explicit goal to acquire knowledge of the good life and of the good society, political philosophy emerges. . . . The theme of political philosophy is mankind's great objectives, freedom and government or empire--objectives which are capable (...) of lifting all men beyond their poor selves. Political philosophy is that branch of philosophy which is closest to political life, to non-philosophic life, to human life."--From "What Is Political Philosophy?" What Is Political Philosophy? --a collection of ten essays and lectures and sixteen book reviews written between 1943 and 1957--contains some of Leo Strauss's most famous writings and some of his most explicit statements of the themes that made him famous. The title essay records Strauss's sole extended articulation of the meaning of political philosophy itself. Other essays discuss the relation of political philosophy to history, give an account of the political philosophy of the non-Christian Middle Ages and of classic European modernity, and present his theory of esoteric writing. (shrink)

Traces the life of the renowned Jewish religious philosopher, discussing his youth, his education in turn-of-the-century Vienna, his Zionism, and the impact of world politics on his life and thought.

During the last decades the physico-chemical conception of self-organization of chemical systems has been created. The chemical systems in natural-historical processes do not have any creator: they rise up from irreversible processes by self-organization. The issue of self-organization in physics has led to a new interpretation of the laws of nature. As Ilya Prigogine has shown, they do not express certainties but possibilities and describe a world that must be understood in a historical way. In the new philosophical understanding of (...) nature priority is not ascribed to any single type or level of entity, but to historical processes, to processes of endless generation and change. (shrink)

De oude idealen van regering door de best opgeleiden, die weten hoe zij met de verantwoordelijkheid van de macht moeten omgaan, zijn thans vervangen door technologie in vele vormen, die slechts een schijn van democratie in stand houden.

Ces deux essais tournent autour des deux thèmes de prédilection de Maurice Clavelin. Le premier, Galilée ou la naissance de la science moderne, interroge l'un des tournants les plus importants de l'histoire des sciences : le " moment Galilée ". L'auteur montre que ce n'est pas une simple critique des idées traditionnelles ou une meilleure attention portée aux données de l'observation qui caractérise la science de ce génie. Rallié aux théories de Copernic, Galilée crée une vraie science mathématisée du (...) mouvement, véritable révolution conceptuelle qui ouvre une ère nouvelle à la spéculation sur la Nature, et signe ainsi l'acte de naissance de la science moderne. Le second aborde sous un angle inédit le rapport entre science et philosophie. Il montre qu'au début du XXe siècle, et après une longue stagnation, la théorie empiriste de la connaissance reprend forme et rigueur sous l'influence combinée de la logique symbolique et de l'interprétation logiciste des mathématiques. Le rôle de Russell est ici décisif, comme ses réinterprétations par Wittgenstein, Quine, et le cercle de Vienne. Un livre qui clôt l'oeuvre d'un grand philosophe des sciences. (shrink)