Excerpt from Kants Kritischer Idealismus: Als Grundlage von Erkenntnistheorie und Ethik Sukzession: a) Substanz. Psychische Substanz. Sub stanz und Apperzeption. B) Kausalität. 0) Wechsel wirkung. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in (...) the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

This study explored LaRose and Eastin's model of media attendance, within a European context. It extended the uses and gratifications paradigm within the framework of social cognitive theory by instituting new operational measures of gratifications sought, reconstructed as outcome expectations. Although the model of media attendance offers some promising steps forward in measuring media selectivity and usage, and to some extent is applicable to another context of media use, the relative importance of outcome expectancies in explaining media usage and selectivity (...) is not fully supported. (shrink)

Name der Zeitschrift: Kant-Studien Jahrgang: 106 Heft: 1 Seiten: 130-134.

Knauss, Stefan. Von der Conquista zur Responsibility while Protecting. Die Debatte zur humanitär gerechtfertigten Kriegsführung aus lateinamerikanischer Perspektive. Frankfurt am Main: Peter Lang Edition, 2016. 274 pp.

Jakob Johannes von Uexküll’s biological thought influenced a new path to approach the view of a living being throughout of the twentieth century. At the beginning of the past century, in Spain a “new vertebrate way of thinking” was generated, as Ortega would say. And the work of Uexküll initiated an interest in the circles of thinkers of the likes of Julio Caro Baroja, José Ortega y Gasset, and Xavier Zubiri among others. My aim is describing how Uexküll plays a (...) part in the development in the foundations of thoughts of these thinkers; in particular, Ortega and Zubiri’s thought and their interactions between the circumstantiality and formality, respectively, and Uexküll’s Umwelt. In fact, Ortega’s biological thought was the foundation of his vitalism realism and made a giant step in philosophical anthropology existentialism in his Meditations of Quixote in 1911. We will also see the anthropologist Caro Baroja’s epistemic Uexküll influences. A retrospective view of Spanish thought will be developed, where the seeds of Uexküll made fruitful the development of several authors, as well as some transitive or indirect influences; even the generation of discrepancies in others. Finally, we will describe the development, in Spanish, that had the work of Thure von Uexküll, which includes the work of his father. With Thure, the Uexküll influences in Spain concluded until the start of interest in zoosemiotics and biosemiotics. (shrink)

For the last two centuries “Vom Kriege” has been used to justify two different kinds of totalitarianisms: Marxism-Leninism and Nazism. However, during the 1950s liberal thinking also made use of that work. In line with liberal thinking, Raymond Aron’s “Penser la Guerre, Clausewitz” presents Clausewitz’s work as moderate and liberal and underplays its totalitarian connections.

SummaryThe prevalent view that a question expressed by the interrogative title must be absurd and in no need of a reasoned response is rejected. Popper's contention that commitment to rationality has only an irrational basis is criticised. A preliminary attempt is made to resolve some genuine perplexities about the justification of rationality by invoking the notion of a “quasi‐rationality” shared by human beings and other animals. Ah appendix on the metaphor of support is attached.RésuméĽauteur rejette ľopinion prédominate selon laquelle la (...) question contenue dans ce titre doit être absurde et ne mérite de ce fait aucune réponse raisonnée . Il critique ľaffimation de Popper que ľengagement en faveur de la rationalité ait une base uniquement irrationnelle. Il tente un premier essai pour résoudre quelques perplexités quant à la justification de la rationalité en introduisant la notion de quasi‐rationalité que partagent les êtres humains et autres animaux. Suit un appendice sur la métaphore anglaise support.ZusammenfassungDer Verfasser verwirft die überwiegende Auffassung, dass die im Titel aufgeworfene Frage absurd sein müsse und keiner rationalen Antwort zugänglich sei . Er kritisiert auch Poppers Behauptung, dass Rationalität nur irrational begründbar sei. Es wird versucht, einige echte Verlegenheitsmomente bei der Rechtfertigung von Rationalität zu überwinden, indem der von Menschen und Tieren geteilte Begriff einer Quasirationalität eingeführt wird. In einem Appendix wird die Metapher der Stützung erörtert. (shrink)

Gegenwärtig werden häufig politisch-moralische Ansprüche an die Kunst gerichtet. Dieser Aufsatz tritt ihnen unter Verweis auf ihren grundsätzlichen Konflikt mit ästhetischen Ansprüchen entgegen. Anhand von Oscar Wildes ästhetisch-theoretischen.

Historians have often described embryology and concepts of development in the period around 1800 in terms of “temporalization” or “dynamization”. This paper, in contrast, argues that a central epistemological category in the period was “rhythm”, which played a major role in the establishment of the emerging discipline of biology. I show that Caspar Friedrich Wolff’s epigenetic theory of development was based on a rhythmical notion, namely the hypothesis that organic development occurs as a series of ordered rhythmical repetitions and variations. (...) Presenting Christian Heinrich Pander’s and Karl Ernst von Baer’s theory of germ layers, I argue that Pander and Baer regarded folding as an organizing principle of ontogenesis, and that the principle’s explanatory power stems from their understanding of folding as a rhythmical figuration. In a brief discussion of the notion of rhythm in contemporary music theory, I identify an underlying physiological epistemology in the new musical concept of rhythm around 1800. The paper closes with a more general discussion of the relationship between the rhythmic episteme, conceptions of life, and aesthetic theory at the end of the eighteenth century. (shrink)

Gracias a Genette, que identificó la voz narrativa y la diferenció del modo, es posible estudiar aspectos vinculados a las peculiaridades de quien se expresa en la narración. El estudioso francés planteó la importancia de la observación y del análisis de los aspectos relacionados con el tiempo y con el sujeto de la enunciación que residen en el discurso narrativo, pues sus múltiples variaciones reflejan uno de los valores identificativos de los textos contemporáneos. El lector es guiado por una voz (...) que transmite una información que, asumida y referida por la figura de un personaje o por una entidad independiente de la otra, pretende captar su atención y obtener con ella el pacto narrativo. Para que se dé esta situación, entre otros factores, debe articularse en función de las exigencias del lector posible. Estas, según Genette son las que reflejan las relaciones entre las diferentes instancias narrativas... (shrink)

This is an entry into a collective journal of the twenty-first century years of plague. It introduces the notion of ‘lawfare’ by way of the contemporary case concerning Lula da Silva and Brazil’s fall from grace. The latter is presented as an instance of violence in the international context, the managerial attitude to global disasters and, indeed, a plague. It chronicles the social struggles around the case and on that basis builds a somewhat playful manifesto for a new relationship between (...) legal scholarship, the law school and the imaginary of permanent catastrophe and plague. (shrink)

Soren Kierkegaard is widely held to be the founder of existentialism. His faith is ironic, playful and passionate, and he wrote like a novelist. This book brilliantly explains his life and thought.

Ein zentrales Thema des christlichen Glaubens wird in diesem Textbuch von fuhrenden zeitgenossischen Philosophen und Philosophinnen beleuchtet. In systematischer Anordnung werden neben deutschsprachigen "Klassikern" und neuen Originaltexten auch einige der einflussreichsten Autoren der angelsachsischen Debatte in Ubersetzung zuganglich gemacht. Auch diese von der analytischen Philosophie gepragten Texte wurden teilweise eigens fur diesen Band geschrieben oder uberarbeitet. Die Auseinandersetzungen im kontinentaleuropaischen protestantischen und katholischen Denken um Seele, Unsterblichkeit und leibliche Auferstehung in der Mitte des letzten Jahrhunderts werden hier auf lebendige und (...) begrifflich prazise Weise weitergefuhrt. Die Religionsphilosophie und die Theologie werden am Reichtum der Argumente und Positionen nicht vorbeigehen konnen. Mit Texten von Oscar Cullmann, Gisbert Greshake, Gerd Haeffner, Thomas Schartl, Eleonore Stump, Peter van Inwagen, Dean Zimmerman, Alvin Plantinga, William Hasker, Lynne Baker, Hud Hudson und Godehard Bruntrup. (shrink)

It is frequently noted that a “crisis in language” accompanied the profound changes in human consciousness everywhere evident near the turn of the century. As the nature of reality itself became problematic—or at least suspect, distrusted for its imposition of limits upon individual imagination—so, necessarily, did the relationship of language to reality. Thus in the later nineteenth century, the adequacy of an essentially standardized form of “classical” writing was increasingly questioned as an effective vehicle for artistic expression: even though often (...) in “elevated” form, such writing bore too close a connection to ordinary discourse. Indeed, it was precisely the mutually shared, conventional aspects of language that came to be most deeply distrusted for their failure to mirror the more subjective, obscure, and improbable manifestations of a transcendent reality or, rather, realities—the plural reflecting an insistence upon the optional and provisional nature of human experience. Language in its normal manifestations—with its conventionalized vocabulary and standardized rules for syntactical combination—proved inadequate for an artistic sensibility demanding, in Friedrich Nietzsche’s words, “a world of abnormally drawn perspectives.”This dissatisfaction with “normal” language received its classic statement through Hugo von Hofmannsthal’s Lord Chandos. Writing in 1902, Hofmannsthal conveys through the figure of the aristocratic Chandos the loss of an encompassing framework within which the various objects of external reality are connected with one another and integrated with the internal reality of human feelings. Chandos’ world has become one of disparate, disconnected fragments, resistant to the abstractions of ordinary language. It is a world characterized by “a sort of feverish thought, but thought in a material that is more immediate, more fluid, and more intense than that of language.” Chandos longs for a new language in which not a single word is known to me, a language in which mute objects speak to me and in which perhaps one day, in the grave, I will give account of myself before an unknown judge.”2 The content and forms of art thus shifted away from exterior reality, which no longer provided a stable, “given” material, toward language itself—to “pure” language in a sense closely related to the symbolists’ “pure” poetry. “No artist tolerates reality,” Nietzsche proclaimed.3 And Gustave Flaubert’s farsighted advice to himself was that he should write “a book about nothing, a book dependent on nothing external, which would be held together by the internal strength of its style.”4 2. Hugo von Hofmannsthal, “Ein Brief,” Gesammelte Werke, ed. Bernd Schoeller with Rudolf Hirsch, 10 vols. , 7:471-72; my translation. All further translations are my own unless otherwise indicated.3. Friedrich Nitzsche, Complete Works, ed. Oscar Levy, 18 vols. , vol. 15, The Will to Power, trans. Anthony M. Ludovici, p. 74.4. Gustave Flaubert, Flaubert to Louise Colet, 16 Jan. 1852, The Letters of Gustave Flaubert 1830-1857, ed. and trans. Francis Steegmuller , p. 154. Other passages in this letter are equally remarkable for their “modernist” tone. Flaubert argues that from the standpoint of l’Art pur, “one might almost establish the axiom that there is no such thing as subject—style in itself being an absolute manner of seeing things” . Further:The finest works are those that contain the least matter; the closer expression comes to thought, the closer language comes to coinciding and merging with it, the finer the result. I believe the future of Art lies in this direction. I see it, as it has developed from its beginnings, growing progressively more ethereal …. Form, in becoming more skillful, becomes attenuated, it leaves behind all liturgy, rule, measure; the epic is discarded in favor of the novel, verse in favor of prose; there is no longer any orthodoxy, and form is as free as the will of its creator. This progressive shedding of the burden of tradition can be observed everywhere: governments have gone through similar evolution, from oriental despotisms to the socialisms of the future. [P. 154] Robert P. Morgan, professor of music at the University of Chicago, is currently writing a history of twentieth-century music and working on a study of form in nineteenth-century music. His previous contributions to Critical Inquiry are “On the Analysis of Recent Music” and “Musical Time/Musical Space”. (shrink)

The Fichtean theory of self-consciousness and recognition, published in 1796 and 1797, must be understood in terms of the mutual formation of subjects insofar as they are rational and free beings. It is for this reason that this paper criticizes Stephen Darwall´s interpretation from the second person´s perspective. It also reconstructs the Fichtean theory of family, suggesting evidence of the relationships of recognition that structure it. In this way there are analogies between the original situation of summons and the formative (...) relationships at the core of the family community. (shrink)

ZusammenfassungDie Bedeutung des Koinzidenzbegriffs für eine protophysikalische Chronometrie wird untersucht und eine Abänderung der von P. Janich gegebenen Definition einer Uhr vorgeschlagen. Einige Beziehungen zwischen protophysikalischer und Relativistischer Zeitmessung, insbesondere eine mögliche Unverträglichkeit beider, werden erörtet und einige Folgerungen bezüglich des Sinnes 〈protophysikalischer Begründung〉 gezogen.SummaryThe significance of the concept of coincidence for a protophysical chronometry is investigated and an alteration to P. Janich's definition of a clock proposed. Some relations, in particular a possible incompatibility, between proto‐physical and relativistic time measurement (...) are discussed and some conclusions drawn as to the meaning of “proto‐physical foundation”.RésuméUne analyse de la signification de la notion de coïncidence en chronométrie protophysique conduit à proposer une modification de la définition d'une horloge donnée par P. Janich. Certaines relations entre la mesure proto‐physique et relativiste du temps et plus particuliàrement la possibilité d'une incompatibilité entre elles sont étudiées. Il en découle quelques conclusions concernant le sens exact d'un 〈fondement proto‐physique〉. (shrink)

Resumen: El presente trabajo explora el estatuto del arte en la filosofía de Spinoza, en el marco de la inversión copernicana que da origen a la estética y del barroco holandés. Si bien el pensamiento spinozista se inscribe en la conversión antropológica, en donde lo bello resulta ser un efecto en el sujeto y no una cualidad de los objetos, su comprensión del arte es inasimilable a la “estética” como ámbito diferenciado y autónomo que se consolida en el siglo XVIII, (...) y más bien concibe el arte integrado a la vida y a la experiencia común -a la vez que, en cuanto praxis de origen corporal al alcance de cualquiera, presenta puntos de contacto con las vanguardias históricas del siglo XX-. Spinoza, según se propone en este texto, concibe la producción de “obras de arte” menos como un hecho estético que como una actividad corporal éticamente orientada a la vida buena.: The present work explores the status of art in the philosophy of Spinoza, within the framework of the Copernican revolution that gives rise to aesthetics and the Dutch Baroque. Although the Spinozist thought is inscribed in the anthropological conversion by virtue of which beauty turns out to be an effect on the subject and not a property of objects, its understanding of art is unassimilable to "aesthetics" as a differentiated and autonomous area that it was consolidated in the eighteenth century, and rather conceived art integrated to life and common experience -at the same time, as praxis of bodily origin within the reach of anyone, presents points of contact with the historical avant-gardes of the twentieth century-. Spinoza conceives the production of "artworks" less as an aesthetic fact than as a body activity ethically oriented to the good life. (shrink)

[7]. 184-211 De animabus. A cura di Loris Sturlese.

This book researches how dispositions are a key indicator in teacher success both in terms of instructional effectiveness and long term retention giving examples and support strategies on how to implement these qualities and characteristics into a robust curriculum.

Der Band versammelt Studien, die sich dem von Friedrich Vollhardt intensiv erforschten Verhältnis von Literatur und Formen der praktischen Vernunft widmen. Dazu zählen neben Rechts- und Morallehren auch Theorien der Politik und der Religion. Ihre Bedeutung für die Literatur vom Mittelalter bis zur Gegenwart leuchten die Beiträge dieser Festschrift aus.

Dietrich von Hildebrand, widely regarded as one of the great Catholic philosophers of the 20th century, is well-known for his numerous books, but, until this present work, not much has been known of his remarkable and inspiring life. Written by his wife, Alice, also a highly respected Catholic thinker, this is a fascinating, moving and, at times, gripping account of a truly great man of the Church who suffered much for the faith. Based on a very long "letter" Dietrich wrote (...) to his wife late in his life, it tells his story from his glorious youth with a unique intellectual and cultural formation, his coversion to Catholisism, his great passion for truth and beauty, his extensive writing on Christian philosophy and theology, and his steadfast, determined opposition to Nazism that made him a marked man who miraculously escaped execution. A powerful biography of a relentless fighter against injustice, a devoted son of the Church, a man who had the "soul of a lion". Illustrated. (shrink)