Der vorliegende Beitrag argumentiert, dass die mediterrane Mythenwelt, wie sie im philosophischen Werk Albert Camus’ begegnet, eine kritische Theorie sui generis – verstanden als eine rationalitäts- und ideologiekritische Position – in sich birgt. Als solche, so lautet die hier vertretene These, ist sie – zumindest unter bestimmten Gesichtspunkten – der Frankfurter Schule überlegen. Das griechische Denken à la Camus teilt mit jener zwar den wachen Blick für die Schattenseiten der Moderne, vermeidet dabei aber die allzu große Reserviertheit gegenüber Anthropologie, Ästhetik (...) und Mythos, wie sie im Umfeld der Kritischen Theorie häufig anzutreffen ist. Camus’ tragisches Denken, das an der mediterranen Mythologie – unter anderem am griechischen Nemesis-Mythos – geschult ist, erörtert die natürlichen Grenzen, die nicht verletzt werden dürfen, von modernen politischen Heilslehren aber in maßloser und folglich verhängnisvoller Weise überschritten werden. (shrink)

Albert Camus repeatedly denied the label “existentialist,” and pointed to his formative experiences of natural beauty and his early introduction to classical Greek thought and culture as determinative of his philosophy. Pierre Hadot, famous for his post-1970 work on philosophy as a way of life in classical antiquity, continued throughout his life to work on the history of Western conceptions of nature. In Le voile d’Isis, Hadot excavated a second strain of Western attitudes towards nature, alongside the instrumental or “Promethean” (...) approach dominant in modernity: this is that of the contemplative Orphic perspective, closely tied in antiquity to philosophical regimens of spiritual exercises to transform philosophers’ ways of seeing. This paper will argue that Camus and Hadot should be read as two twentieth century “Orphic” figures in this sense, in a way that at once singles them out against almost all other European contemporaries, as well as speaking to our ecological concerns today. Yet the only comparative piece on the two thinkers to date, by Matthew Lamb, misses this shared contemplative, Orphic core to their positions. This paper aims to redress this shortcoming in the reception of the two figures. (shrink)

Many contemporary conceptualizations of terrorism inadvertently reify political conceptions of terrorism. Mainly because they in the end rely on the intentions of terrorists in defining ‘terrorism’, the process of terrorism, which involves an unfolding dialectic of actions and reactions, is omitted from researchers’ focus. Thus, terrorism becomes simplified to intentional actions by terrorists, and this short-cutting of the causal chain of the process of terrorism facilitates both a political ‘negation of history’ and a ‘rhetoric of response’. In this paper, I (...) put forward a conceptualization of terrorism that transcends existing definitions and conceptualizations by first of all discerning between ‘terrorism’ and ‘terror’, and by subsequently conceptualizing terrorism as a paradox: what terrorism is, is inextricably bound to the reaction to terrorism. It is, in fact, the reaction of some states to terrorism that, in a sense ex post facto, constitutes an act as ‘terrorism’ by ‘refolding’ actions that unfolded subsequent to an event into that event as the root cause of the entire chain of events. (shrink)

In this autobiographical essay, I reflect on my practice as an anthropologist through the medium of a dream experience. This dream occurred shortly before I was due to attend a ritual among the Booran Oromo in northern Kenya. In my discussion, I draw on analytical materialfrom anthropology, psychology, literature and philosophy. Using these different, but complementary approaches, I give three interpretations of the dream. The first two were provided to me by members of the culture, and are based on the (...) indigenous Oromo knowledge system. The third proposes a self‐analysis of the dream in terms of its structure and function. The entire exegesis is underpinned by an essay on dreams and dreaming by Foucault (1984). The analysis of the dream serves to situate my work in both theoretical and existential terms. The classic in this genre of writing is, of course, Lévi‐Strauss's (1973) Tristes Tropiques. (shrink)

Russian philosophy underwent many phases: Westernism, Slavophilism, nihilism, pre-revolutionary religious philosophy, and dialectical materialism or Soviet philosophy. At first sight, each one of these phases seems antithetical to the preceding one. Yet, they all appear to have in common a certain negative attitude towards the subjectivism of Kantianism and German Idealism. In contrast to the latter, Russian philosophy typically displays a tendency towards ontologism, which is generally defined as the view that there is such a thing as being in itself, (...) i.e., being independent of cognition, and that this being is to some extent knowable. We discern, in these otherwise diametrically opposed movements, an underlying ontologism that constitutes a common thread running in a straight line through the history of Russian philosophy. In this article, I provide an overview of Russian ontologism. (shrink)

L’absurdité du monde et l’inquiétude face au sens de l’existence semblent être des affects négatifs. Par un dialogue entre Albert Camus et Jacques Lavigne, nous tenterons d’explorer le caractère créatif de ces affects. Camus et Lavigne partent d’une critique du matérialisme et de l’idéalisme afin d’ancrer leur théorie dans l’existence , en pensant conjointement les idées et la matérialité. Ils découvrent le rôle précieux de l’absurde et de l’inquiétude. Ces affects agissent comme vecteurs de l’action humaine et permettent d’initier le (...) sujet à la solidarité. Néanmoins, la société est organisée de telle manière que le sujet doit constamment s’opposer à la possibilité d’une neutralisation de ses affects. En ce sens, rester inquiet et conscient de l’absurdité de l’existence appelle une résistance du sujet. (shrink)

This paper argues that there exists a Heideggerian antonomology and this not only in the broad sense of a simple study, but also in the strict sense of a full doctrine of personal pronouns. Traversing the whole of Heidegger’s work, I reconstitute the framework of this antonomology, from the connection of mineness and ipseity, to the difference between the I and the Self within the precedence of the latter over the former. I then rehearse its drama, from the They who (...) answers the question of the who of Dasein to the We who asks the question of the who of man. (shrink)

Herein is reproduced the text of the address of Jean-Marie Muller during the General Assembly of Iraqi groups dedicated to non-violence which took place in Erbil on 9 and 10 November 2009. Jean-Marie Muller defines six prospective forms of action for the non-violent movement in Iraq: training, information, sensitization, education, protest, and non-violent direct action.

God — as we well know since Nietzsche — is dead. However, it is necessary to correct this sentence that was a sacrilege yesterday and has become common place today. We should be talking of the death of the “gods,” rather than of God; for what has been disappearing from the social space of modernity (I do not speak of the inner conscience of the faithful here), is not just the God who sits enthroned atop altar and dogma. What has (...) disappeared are the “gods” more generally; by this we understand the link with the world that, certainly rooted in religion but transcending it, surrounds things and beings with an aura of wonderful significances; that places them outside of those structures that modern man understands to be the utilitarian, the rational and the functional. (shrink)

Дослідження присвячено розгляду творчості з урахуванням головних філософських досліджень цього поняття. Діяльність творчого процесу практично доводить присутність свободи в людському бутті. Погляди на творчість віддзеркалюють ставлення конкретного мислителя до питання протистояння свободи та напередвизначеності загалом. Розглянуто полемічні моменти щодо творчості та запропоновано шляхи їх вирішення. Зокрема досліджено два протилежні погляди на творчість – Платона та Аристотеля, де талановитість людини передбачає божественне натхнення (Платон) або, відповідно, лише особистісні зусилля. Полеміку Аристотеля і Платона намагався розв’язати Микола Бердяєв через поєднання їхніх поглядів. Він (...) наділяв людину божественними властивостями і цим вказував на джерело творчості всередині самої людини. Філіп Гефнер надавав особистості статус «співтворця» і висунув теорію про те, що людина покликана удосконалити та завершити Боже творіння. Увагу в дослідженні також приділено змісту та меті творчості. Творчість заради самої творчості, про яку писав Альбер Камю, критикував М. Бердяєв, і пропонував своє бачення цього питання: творчість заради універсальної мети. Погляди Камю загалом поділяв також А. Берґсон. З огляду на згадану полеміку запропоновано актуалізацію вчення Григорія Сковороди про «споріднену працю» та аргументовано доцільність цієї актуалізації. Вітчизняний філософ оригінально врівноважував песимізм творчості Камю та заповзятий підхід Бердяєва. Свої умовиводи Сковорода підкріплював влучними практичними прикладами. (shrink)

I present two conceptions of the human being and art: that of Renaud—the main fictional character of a short novel written by Vercors—and that of Albert Camus. Although these French resistance fighters experienced the same war, the same terrible events surprisingly lead them to opposite extremes: the first one to despair and the rejection of art perceived as an unbearable lie, the second one to hope and to artistic commitment. Analogical reasoning allows us to show both the similarities and the (...) distinctions between these two men or, more precisely, between what they tell us about human beings and art. Thanks to this, it is easier to understand the essential role the artist plays and his duty towards humankind. Moreover, in the work of Albert Camus, we will see that revolt is—and must be—connected to love. (shrink)