Amalfi Again by Salah el Moncef.In this interview, I have the privilege of exploring, with the philosopher Luce Irigaray, her thoughts on the work of Martin Heidegger and her critical perspectives,...

Martin Heidegger is a towering figure in the history of continental philosophy, but his work has recently been brought into productive engagement with analytic philosophy. This paper introduces and explores two channels along which such engagement has been taking place. The first is in metaphysics, where Heideggerian thought has been interpreted either as making the metaphysical concept of being literally senseless or as mandating a revision to classical logic. The second is in philosophy of mind, and more particularly in (...) philosophy of cognitive science, where Heideggerian thought has been used to mount a challenge to representational theories of mind. (shrink)

As one of the most important movements in twentieth century legal thought, legal realism continues to be a source of controversy and inspiration. This study provides the first critical comparison and evaluation of American and Scandinavian legal realism. Presenting, evaluating, and reformulating the basic ideas of American legal realists such as Karl Llewllyn, Walter Wheeler Cook, Herman Oliphant, Jerome Frank, and Underhill Moore in the first part of the book, the author devotes the second part to a critical appraisal (...) and reformulation of the major doctrines of Scandinavian legal realists such as Axel Hägerström, A. V. Lundstedt, Karl Olivecrona, and Alf Ross. The book also reveals the misunderstanding of legal realism by legal philosophers such as H. L. A. Hart and Ronald Dworkin and the connections of legal realism to the critical legal studies movement. (shrink)

In this paper, I address Mitchell Herschbach’s arguments against the phenomenological critics of folk psychology. Central to Herschbach’s arguments is the introduction of Michael Wheeler’s distinction between ‘on-line’ and ‘off-line’ intelligence to the debate on social understanding. Herschbach uses this distinction to describe two arguments made by the phenomenological critics. The first is that folk psychology is exclusively off-line and mentalistic. The second is that social understanding is on-line and non-mentalistic. To counter the phenomenological critics, Herschbach argues for the (...) existence of on-line false belief understanding. This demonstrates that folk psychology is not restricted to off-line forms and that folk psychology is more widespread than the phenomenological critics acknowledge. In response, I argue the on-line/off-line distinction is a problematic way of demarcating the phenomenological critics from orthodox accounts of folk psychology. (shrink)

The sacred tales and aphorisms collected here by Martin Buber have their origins in the traditional Hasidic metaphor of life as a ladder, reaching towards the divine by ascending rungs of perfection. Through Biblical riddles and interpretations, Jewish proverbs and spiritual meditations, they seek to awaken in the reader a full awareness of the urgency of the human condition, and of the great need for self-recognition and spiritual renewal.

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.1 (2003) 137-141 [Access article in PDF] Qvomodo Stemma Gladiatoris Pellicvlae More Philologico Sit Constitvendvm Martin M. Winklersive Martinvs Satiricvs Philocinematographicvs [Figures]Poetae rervmqve scriptores et antiqui et recentiores lectoribus fabulas suas sententiis vel versibus bene textis soliti sunt adferre. Sed hodie novum exstat narrandi genus, quod fabulas hominibus adfert praecipue picturis eo modo compositis et inter se coniunctis ut oculi humani imagines singulares celerrime (...) et sine ulla motus intermissione ipsas moveri percipiant, personarum dialogis et arte musica sonisque diversis comitantibus et iuvantibus. Adeo enim progressa est ars magna lucis et umbrae, quam primum photographiam deinde cinematographiam nominare consuevimus, ut fabulae cuiusvis modi—breves longae, novae antiquae, laetificae tragicae—imitatione veri paene perfecta spectatoribus persuadeant tempora iam praeterita in vitam novam esse recreata.In ipsa arte narrandi non multum interest inter eos qui verbis utuntur, ut poetae ac scriptores, et eos qui imaginibus, ut cinematographi. Praeclare Horatium in arte poetica exponenda dixisse recordemur ut picturam poesin esse. Qua in re Simonidem illum Ceum aliosque poetas Graecos secutus est Flaccus noster. Utroque enim modo, et verbis et picturis, auctores antiqui atque hodierni homines docent delectant movent. 1 Facillime ergo intellegimus fabulam cinematographicam genus quoddam esse textus, sed textus non tantum legendi aut audiendi sed imprimis videndi vel spectandi. Peritissimus quisque talium fabularum [End Page 137] auctor omne tulit punctum, nam miscuit utile dulci. Is quoque non aliter ac poeta antiquus aut prodesse vult aut delectare.Sed editiones nonnullarum fabularum cinematographicarum inter se differunt et lacunas corruptelas vitia alia exhibent. Non enim raro pelliculas adfectas esse constat eius generis damno quod textuum antiquorum docti in editionibus suis obelis indicare solent. Itemque quomodo fabulae cinematographicae originem suam trahant ab antiquioribus quaerere et explicare haud absurdum est. 2Ergo editorum usum secutus his paginis originem pelliculae Gladiatoris anno MM editae exempli gratia stemmate quasi philologico explicabo. Deinde stemmatis sigla brevibus adnotationibus percurram. 3 Hoc modo me demonstraturum spero principia artis philologicae, quae litterarum Graecarum Romanarumque docti adhuc solum soliti sunt textibus adhibere, fabulis quoque cinematographicis magno cum fructu admoveri posse. In stemmate infra dato titulos fabularum cinematographicarum et auctorum eorum nomina Latine reddidi.Ridlius Scotus, pelliculae Gladiatoris auctor, magna cum acclamatione publica, minore criticorum, narrare studet quae imp. Caes. M. Aurelii Commodi Antonini Aug. aetate in imperio Romano gesta sunt. Sed stemmate monstrabo Gladiatorem imprimis ortum esse a nonnullis fabulis cinematographicis prioribus, quibus sons aut insons copiosissime usus sit ille Scotus. Qua de causa pellicula eius nobis indicat quemadmodum res Romanae temporibus nostris undique floreant. Cum ipsa et ceterae huius modi fabulae falsa inventione abundare soleant, tamen rerum et linguarum Romanarum Graecarumque magistri hodie hoc artis popularis genere in scholis saepius niti consueverunt, ut discipulos a falsa ad veram adducant rerum gestarum scientiam et rebus antiquis accuratius instruant. Quibus igitur magistris hoc offero stemma, nam amicus Scotus, sed magis amica veritas. 4 [End Page 138] [Begin Page 140] Conspectvs Siglorvm WPellicularum res antiquas tractantium archetypus, qui est summa rerum Romanarum a scriptoribus antiquis et recentioribus expositarum.AConsensus fabularum quae vel litteris vel ludis scaenicis vel picturis cinematographicis praecipue Italicis Americanisque res Romanas narrant depinguntque.TTriumphus Animi Helena Riefenstahle auctore anno MDCCCCXXXV editus. 5SSpartacus Antonio Viro—nomine suppresso—et Stanlio Cubrico auctoribus anno MDCCCCLX editus.CCasus Imperii Romani Antonio Viro auctore anno MDCCCCLXIIII editus. 6B1-3Triga Georgii Lucae Bella Galactica inscripta et annis MDCCCCLXXVII MDCCCCLXXX MDCCCCLXXXIII primum edita, quae his picturis cinematographicis constat: Pars Quarta: "Spes Nova" (B1), Pars Quinta: "Imperium Referit" (B2), Pars Sexta: "Iedi Reversi" (B3). 7 Editio trigae altera anno MDCCCCLXXXXVII edita itemque Bellorum Galacticorum trigae novae Pars Prima: "Simulacri Minae" anni MDCCCCLXXXXVIIII nihil ad rem.M1-3Triga Georgii Molitoris Maximus Furens inscripta, annis MDCCCCLXXVIIII MDCCCCLXXXI MDCCCCLXXXV edita et his picturis cinematographicis constans: Maximus Furens (M1), Maximi Furentis Pars Altera vel Bellator Peregrinans (M2), Maximus Furens Vltra Tonitrus Tholum (M3). 8GGladiator Ridlio Scoto auctore anno MM editus. 9 [End Page 140]His alias poteram et plures subnectere causas vel philologicas vel cinematographicas. Qui de Scoti Gladiatore plurima cognoscere velint... (shrink)

Pat Brereton 'The Audience as Reader is Seldom Caught in the Act?' _Film-Philosophy_, vol. 4 no. 26, November 2000.

Da Goethes Farbenlehre im allgemeinen allein unter dem Blickwinkel der darin enthaltenen methodologischen Thesen untersucht wird, tritt hier die Rekonstruktion ihres physikalischen Gehalts in den Vordergrund. Es zeigt sich auf diese Weise, daß die Farbenlehre als eine Verbindung physikalischer und sinnesphysiologischer Aspekte einige der zentralen Versuche der Newtonschen Optik angemessen interpretieren kann. Die Diskussion der Methodologie zeitigt anschließend ein zukunftweisendes Element: die Erkenntnis der Bedeutung der Meßapparatur für die Konstitution der Theorie. Schließlich wird Goethes Naturbild und seine Aktualisierung in den (...) Bestrebungen der kritischen Theorie erörtert. (shrink)

This chapter contains section titled: Discussion.

This chapter contains section titled: Discussion.

Tomás de Aquino comienza su síntesis teológica definitiva preguntándose por la legitimidad y necesidad de la teología. Inmediatamente después se plantea la pregunta por sus contenidos: ¿de qué trata la ciencia teológica? Si la teología es la ciencia de la Revelación y su fundamento está en la revelación que Dios en Cristo hace de sí mismo, parece que su contenido tiene que ser Dios mismo. Un contenido que solo es cognoscible si Dios se da a conocer, porque el ser humano, (...) con sus fuerzas, con su sola razón, solo puede alcanzarle de forma limitada y parcial, en suma, solo puede saber de su existencia, pero no de sus designios, de sus intenciones y mucho menos de su naturaleza.Para Sto. Tomás es claro que Dios es el sujeto, el contenido de la Teología. Esta ciencia es un “tratado sobre Dios”. Ahora bien, Tomás de Aquino es consciente de una dificultad: si el fundamento de la Teología es la Sagrada Escritura, que es el lugar en el que se contiene la Revelación de Dios, resulta que “en la Sagrada Escritura se trata de muchas cosas además de Dios, como son las criaturas y los actos humanos”. Tomás de Aquino resuelve la dificultad argumentando que Dios es el sujeto de la teología no exactamente por ser su único contenido o por ser el único sujeto del que trata esta ciencia, sino porque todo lo que ella trata “lo hace teniendo como punto de mira a Dios, bien porque se trata de Dios mismo, bien porque se trata de algo referido a él como principio y como fin”.Thomas Aquinas begins his definitive theological synthesis asking for legitimacy and need of theology. Immediately he asks for the contents: what is theological science about? If theology is the science of Revelation, and its foundation is the revelation that God makes of himself in Christ, it seems that its content must be God himself1. A content that can only be known, if God shows himself, because a human being, with its strength and its sole mind, only can get him in a limited and partial way, in short, it can only know of his existence, but not his plans, his intentions, and even less, his nature.For St Thomas it is clear that God is the subject, the content of theology. This science is a “treatise about God”. However, Thomas Aquinas is conscious of a difficulty: If Sacred Scripture that is the place where God’s revelation is contained, is the foundation of theology, “it turns out that Sacred Scripture deals with many more things besides God, that is, creatures and human acts”. Thomas Aquinas will solve this difficulty arguing that God is the subject of theology not because he is exactly the only content or subject of this science, but because all it deals with, “is done with reference to God himself either because it is about God or about something referred to God as beginning and end”. (shrink)

Cet article a déja paru dans les Mélanges de l'École française de Rome – Italie et Méditerranée modernes et contemporaines, 125-1 | 2013 et mis en ligne ici. Résumé : La gestion de l'espace et du temps est au cœur de la pratique des marchands, ici florentins, spécialisés dans le grand commerce. Cette pratique marchande, étudiée ici pour les premières années de la compagnie Salviati de Lyon, est un élément d'une culture marchande commune aux grandes compagnies marchandes florentines de la (...) fin du Moyen Age (...) - Histoire – Nouvel article. (shrink)

When Tooby and Cosmides published their famous article “Psychological foundation of culture”, most readers could read it as just another paper addressing evolutionary psychology. Its aspirations were, however, much far-reaching. Tooby and Cosmides attacked the so-called constructivists. In this way, the paper ushered in another turn in the controversy over the method of social sciences. In my paper I claim that Tooby and Cosmides are right when they criticize constructivists and relativists. On the other hand, I claim that they do (...) not live up to their aspirations, i.e. they do not provide for a rapprochement of the standards of social sciences and those of natural sciences. (shrink)

This is an extensive review of a book by three German scholars on the relationship between the baptismal questions and the Old Roman Creed, which also deals with the question of the authorship of the so-called Apostolic Tradition, dwells on the origin of the second, christological baptismal question and proposes a revolutionary new theory on the origin of the so-called Old Roman Creed. While there is much food for thought here, some critical questions can also be put.

In this paper, I go back to French philosopher Maurice Merleau-Ponty’s influence on Claude Lefort’s theory of democracy in order to offer a revised understanding of political regimes as coexisting and competing horizons of politics. These horizons develop from differing positions regarding the political enigma of the institution of society—its staging, its shaping, and its making sense of itself. A theological understanding of such political institution of society will be described as fundamentally voluntaristic, while an epistemic understanding will be described (...) as, in its radical iteration, potentially totalitarian. This theorization is triggered by an interpretive perplexity: what happened to the United States in the aftermath of 9/11, in its War on Terror, in its committing of the supreme international crime of aggressive warfare, in its embracement of a massive policy of executive, global targeted assassinations and of a white nationalist, xenophobic politics? Is the theologico-political horizon becoming once again dominant in America? Is the epistemic, plutocratic regime taking over instead? Are they coordinated in their effort to undermine an egalitarian understanding of the American republic? These are the interrogative driving forces behind this investigation. (shrink)

This article discusses the role of popular culture in religious events, focusing on built space and atmosphere using the example of a young Catholic initiative in Germany. While the topic “religion and popular culture” has received much scholarly attention, a focus on popular cultural atmospheres and their adaption in religious contexts remains a research gap. In order to analytically outline the relationship between religion and popular culture, the author proposes a differentiation and systems-theoretical approach while referring to the concept of (...) “popular religion”. The article first introduces the concepts of “popular culture,” “popular religion” as well as “atmosphere” and then discusses, on the basis of a case study and empirical surveys, the relationship between popular cultural and religious elements in the spatial and atmospheric setting of the initiative under investigation. Eventually, the author suggests that talk of a “dissolution of boundaries” between religion and popular culture is only partially accurate because distinctions between religious and non-religious domains continue to be made both in the field and in analytical reconstruction. (shrink)

Zusammenfassung Sowohl in religiöser als auch in analytischer Sprache wird der Begriff „Atmosphäre“ regelmäßig verwendet, ohne bisher jedoch systematische Aufmerksamkeit seitens der Forschung zu erfahren. Dennoch ist die Religionswissenschaft inzwischen vorbereitet auf eine Diskussion und Entwicklung dieses Konzeptes, hat sie doch in verschiedenen Perspektivenwechseln der letzten Jahrzehnte wesentliche Aspekte dessen erforscht, was Atmosphären ausmacht. Dieser Beitrag schlägt einen methodischen Baustein vor, der eine Dimension von Atmosphären – nämlich das sozialräumliche Arrangement selbst – zu untersuchen vermag. Dieser sequenzanalytisch orientierte Baustein wird (...) beispielhaft auf einen konkreten, fotografisch protokollierten Fall angewendet, ohne damit die Notwendigkeit weiterer methodischer Verfahren in Frage zu stellen. (shrink)

From ancient Greece to Renaissance Italy to the Modern period, the classical ideal, with its elusive goal of perfecting nature, has held a tenacious grip on Western culture. Nowhere has its hold on the artistic imagination been more pervasive than in France between the seventeenth and nineteenth centuries. The art and life of Raphael formed the bedrock of the classical tradition in French art, yet no comprehensive study of Raphael's impact on the art theory, criticism, and practice of classicism exists. (...) This book fills that gap. Transcending limited notions of artistic influence, the book demonstrates that Raphael had as much impact as a symbol as he did as a paradigm of the classical tradition. Focusing on French art and theory from the classical to the Romantic era, _Raphael and France_ is part of the ongoing revision of views of that period which has been taking place for the last twenty years. The book demonstrates that the shifts from classical to Rococo to neoclassical aesthetics were not as abrupt or as all-encompassing as has been assumed. By tracing the continuity and transformation of the classical ideal, with Raphael's art and image as central paradigms, Rosenberg achieves a broader, more accurate, and comprehensive view of French artistic developments during this period. Rosenberg draws on careful readings of primary sources, including the correspondence and lectures of the French Academy, some of which are unpublished; most of the major theoretical treatises by French and foreign authors; and contemporary criticism and works of art. In the process, he strikes a methodological balance between traditional art-historical approaches and insights provided by more contemporary approaches, such as semiotics and post-structuralism. As the notion of isolated genius as the prime force in art has given way to a broader, more contextual view of art and history, interest in past traditions once regarded as outmoded or dead has grown tremendously. This book makes a timely contribution to this widening area of inquiry. (shrink)

Nietzsche hat keine politische Theorie vorgelegt und dennoch ganz grundlegende, auch heute noch herausfordernde Fragen zu Wesen und Wert des Politischen gestellt. Unter den Gesichtspunkten von Psychologie und Moral, Kultursteigerung und Zukunftsgestaltung hat er das Politische umgedacht und umgewertet. Ziel des Bandes ist, diese Umwertungen neu zu durchdenken. Dabei steht zunächst das Verhältnis von Nietzsches Philosophie zu den wesentlichen Fragen der Politik – Herrschaft, Gewalt, Freiheit, Selbstbestimmung und Gerechtigkeit – im Vordergrund. Welche Regeln bzw. Normen und welche Arten von Gemeinschaft (...) sind aus seinem Denken ableitbar? Nietzsches Anti-Politik wird im Zeichen souveräner Individualität und als Gegen-Politik diskutiert, seine „große Politik" im Licht jüngerer Erfahrungen (Trump etc.) hinterfragt. Wie gehen wir mit Nietzsches polemischem Elitismus um, wie mit der Selbstermächtigung von Individuen, die in heutigen westlichen Gesellschaften (scheinbar) so wichtig sind? Die hier versammelten Beiträge erfassen Nietzsches politische Perspektiven in all ihrer Brisanz und Radikalität, aber auch mit der nötigen Sorgfalt und in textnaher Lektüre. (shrink)

El objetivo del ensayo es defender la unidad de la obra de Husserl como reivindicación de una posición especial del ser humano, pues solo desde esa posición puede ejecutar las acciones tales como la ciencia y algunos productos culturales. En el primer apartado se conectan los primeros pasos fi losófi cos de Husserl, desde la oposición al Zeitgeist positivista, con los últimos. En el segundo se desmontan los prejuicios más pertinaces en su interpretación. En el tercero se procura exponer desde (...) esa posición algunos de los conceptos básicos del método fenomenológico. (shrink)

Das dritte Bruno Snell-Symposion stellt die interdisziplinären Beiträge zur Aktualisierung von Antike unter den Leitbegriff der Inszenierung. Über den Bereich der Bühne hinaus steht dieser für die Präsentation von Antike in jeweils unterschiedlichen historischen und kulturellen Kontexten und Darstellungsmedien. Ausgehend vom griechischen Theater spannen die zehn Beiträge des Bandes aus den Bereichen Klassische Philologie, Archäologie, Anglistik und Romanistik einen weiten Bogen bis in die Gegenwart.

There are two rival theories of time: static and dynamic. The Special Theory of Relativity is one of the strongest arguments for static time. However, the defenders of dynamic time claim that their approach is also possible in a relativistic setting. This debate supported the third theory: the hybrid theory of time. The aim of this paper, however, is to argue that the hybrid theory is against the nature of the Special Theory of Relativity. The argument is motivated by H. (...) Stein’s attempt to separate definite past from indefinite future by timelike and lightlike relations in and on the past pointing light cone. The paper shows that this approach leads to restricted and extremely unintuitive notion of co-presence. This is considered as a serious objection against the animation of static time in a relativistic setting. (shrink)

Dieses Buch gewahrt Einblick in Schellings politisches Denken der letzten Lebensjahre. Seine Tagebuchnotizen zeigen Schelling als einen genauen Beobachter der politischen und gesellschaftlichen Bewegungen. Ausgehend von fast taglichen Notizen stellt diese Untersuchung einerseits die Zusammenhange mit den revolutionaren Ereignissen selbst her, andererseits setzt sie diese in Beziehung zu den daraus erwachsenden allgemeinen politischen Reflexionen und zur wenige Jahre spater entwickelten politischen Philosophie. Schraven weist nach, dass die meisten Reflexionen Schellings zu den Ereignissen des Jahres 1848 durch intensive Zeitungslekture angeregt wurden. (...) Dem Band ist ein ausfuhrlicher Anhang beigegeben, in dem das gedruckte, zum Teil sehr schwer zugangliche Material dokumentiert ist, auf das Schelling ausdrucklich Bezug nimmt. (shrink)