In this text, features of fiction are discussed as to their ability for handling cultural diversity in cosmopolitan education. The argument is developed in two steps. First, the biblical story about the construction of the the tower of Babel is analyzed and discussed with respect to what is says about diversity and how it says it. In a second step, aspects of art are gathered from various sources, Aristotle, Cassirer, Gadamer, Langer, Kant, Rorty, in order to define the communicative possibilieties (...) of art with respect to cosmopolitan education. (shrink)

Auf mehrfache Weise ist dieses Buch der Versuch einer Annäherung: Der Autor nähert sich dem Spiel auf wissenschaftliche Weise, und für die Wissenschaft (vom Spiel) fordert er spielerische Vorgehensweisen. Spiel und Wissenschaft wiederum versucht er einander anzunähern, indem er zwischen modernen naturwissenschaftlichen Theorien aus der Biologie, der Thermodynamik und der Quantenphysik und dem klassischen geisteswissenschaftlichen Ansatz von Schiller eine Verbindung herstellt: Im Spiel- und in einer spielerischen Wissenschaft - öffnet sich der Mensch den Zugang zu seinen Erkenntnis- und Handlungspotentialen.

In times of the coronavirus, complying with public health policies is essential to save lives. Understanding the factors that influence compliance with social distancing measures is therefore an urgent issue. The present research investigated the role of political and social trust for social distancing using a variety of methods. In Study 1, conducted with a sample from the United Kingdom in the midst of the virus outbreak, neither political nor social trust had main associations with self-reported social distancing tendencies. However, (...) both factors interacted such that social trust was associated with lower social distancing tendencies among participants with low levels of political trust. In Study 2, using an experimental longitudinal design and again conducted with a sample collected from the UK during the first wave of the pandemic, social distancing practices increased over time, independent of an experimental manipulation of political trust. Moreover, while the interaction between political and social trust from the first study could not be conceptually replicated, social trust was positively related to social distancing intentions. Moving from the individual to the country level and assessing actual behavior at both the first and second wave of the pandemic, in Study 3, country-level political trust was related to less social distancing during the first wave. Social trust was related to a higher growth rate of infections. Against the background of these inconsistent findings, we discuss the potential positive and unexpected negative effects of social trust for social distancing. (shrink)

The article follows the hypothesis that the aesthetic dimension of the standpoint of reason provides the main element for an appropriate perspective on how the interplay between rationality and irrationality is able to contribute to practical self-determination as a person. The starting point is formed by the critical discussion of the position considering that it is possible to derive the normative implications of practical reasonableness and self-determination from an abstract momentum of reflective distance. Whilst taking a look on Christine Korsgaard’s (...) version of this idea it becomes clear that it rests on a conception of the practical standpoint that suffers both from a lack of methodological self-reflection and from neglecting the special features and potentials of irrational actions and experiences. The following text shows how the search for an alternative conception, which takes both aspects into account, benefits from a comparison with psychoanalysis, since this discipline is able to methodologically refer back philosophy to the original potential it unfolds in its aesthetic perspectives on practical standpoints. (shrink)

Die Welt ist alles, was wir in unseren naturwissenschaftlichen Theorien beschreiben konnen so eine weit verbreitete Uberzeugung, die seit den Tagen des Positivismus unser Weltbild bestimmt. Aber reicht das tatsachlich schon aus? Wer sich am Ideal der wissenschaftlichen Erkenntnis orientiert, neigt dazu, viele nicht-begriffliche Erfahrungsformen zu unterschlagen, die uns aus dem Alltag vertraut sind: Symbolsysteme wie Musik, Literatur oder Bilder, Instanzen der unmittelbaren Erfahrung wie Anschauung, Wahrnehmung oder Gefuhl und den Bereich des praktischen Konnens. In der Regel sind wir nicht (...) in der Lage, den Gehalt dieser Phanomene vollstandig begrifflich wiederzugeben. Dennoch ist das weite Feld des Nichtbegrifflichen eine unverzichtbare Voraussetzung unserer Satze und Gedanken: Ohne Kunst, Wahrnehmung und Handeln gibt es kein Denken, keine Wissenschaft, keine Philosophie. Der Band geht der Vielfalt des Nicht-Begrifflichen in asthetischen, symboltheoretischen und semantischen Untersuchungen nach. Aus ihnen ergibt sich ein umfassender systematischer Uberblick uber eines der spannendsten und offensten Problemfelder der aktuellen philosophischen Debatte. Mit Beitragen von: Andreas Bartels, Uwe Baumann, Volker Beeh, Gottfried Boehm, Olaf Breidbach, Joachim Bromand, Gottfried Gabriel, Markus Gabriel, Ernest Wolf Gazo, Annemarie Gethmann-Siefert, Jurgen Goldstein, Jens Halfwassen, Thomas Soren Hoffmann, Wolfgang Harms, Jochen Horisch, Peter Janich, Guilherme F. R. Kisteumacher, Jakub Kloc-Konkolowicz, Imi Knoebel, Theo Kobusch, Klaus-M. Kodalle, Sibylle Kramer, Guido Kreis, Wolfgang Kubin, Sonke Lorenz, Antonio Cota Marcal, Aliasghar Mosleh, Theodoros Penolidis, Dominik Perler, Hans-Joachim Pieper, Andrzej Przylebski, Birgit Sandkaulen, Matthias Schmoeckel, Oswald Schwemmer, Josef Simon, Pirmin Stekeler-Weithofer, Dieter Teichert, Kai Vogeley, Gottfried Willems und Gereon Wolters". (shrink)

Die Arbeiten der Künstler Paul Cézanne, Paul Klee und Wassily Kandinsky werden in diesem Band phänomenologisch betrachtet. Auf je eigene Weise vollzieht jeder von ihnen eine Wendung im Kunstverständnis. Bezeichnend dafür ist Klees berühmter Satz von 1920: »Die Kunst gibt nicht das Sichtbare wieder, sondern macht sichtbar.« Klaus Kienzler untersucht an exemplarischen Werken, auf welche Weise sich die drei Maler mit philosophischen Grundthemen wie Zeit und Bewegung auseinandergesetzt haben. Zugleich geht es ihm darum auszuloten, inwieweit phänomenologische Ansätze (Heidegger, Welte, Fink, (...) Rombach, Merleau-Ponty) Malerei der klassischen Moderne zu erhellen vermögen. (shrink)

Usually, the ontology of art is executed as an ontology of artworks. This has the consequence that the answer to the question what art is says nothing about why art is valuable. But it is, I argue, necessary to determine the value of art if one wants to say what art is. In order to account for the value of art, I start with the claim that art is a practice of transformation. Thus, I propose to develop the ontology of (...) art as the ontology of a practice of transformation. The practice in question has four elements: first artworks, second interpretive activities through which recipients and producers follow the constellations realized in artworks, third ordinary practices which are reflected through interpretive activities, and fourth practices of art criticism. By way of these four elements art is realized. According to the proposed conception, art is a profoundly unstable practice which challenges human beings and their self-understandings in such a way that they and their self-understandings develop further. (shrink)

본고는 크리스토프 멘케가 『예술의 주권성(Souveränität der Kunst)』에서 개진한, ‘근대의 철학적 담론’ 안에서 예술의 위상에 대한 논의를 소개하고 비판적으로 검토하는 것을 목적으로 한다. 멘케는 아도르노의 『미적 이론(Ästhetische Theorie)』에 대한 재구성을 기반으로 근대 예술이 이성의 가치분화(진･선･미) 속에서 자율성과 주권성을 동시에 향유하는 데에서 근대성에 구성적인 “위기”를 불러일으킨다고 주장한다. 데리다의 해체론적 기호이론을 통해 재구성된 아도르노의 심미적 부정성 개념은 자동화된 인식에 대한 반성적 경험의 기회를 제공함으로써 제 가치의 타당성 영역을 침범하지 않으면서도(자율성), 도처에서 인식적 담론의 와해 가능성을 현시한다(주권성). 그런데, 필자가 보기에, 멘케의 입론은 여전히 칸트-베버-하버마스의 노선에 (...) 충실하게 근대적 이성의 자율적 가치분화라는 공리를 따르고 있다는 점, ‘총체적으로 관리되는 사회’의 입론에 입각하여 예술의 사회비판적 기능을 제시하는 아도르노의 관점을 약화시키고 있다는 점에서 충분하지 못하다. 아도르노 미학에 따르면 예술은 총체화된 사회 속에서 위기에 처해 있지만 동시에 위기의 예술로서 사회에 저항한다. (shrink)