This paper assesses the theory, first voiced by Schelling and Kant, according to which an infinite historical process will lead to cosmopolitan institutions.The assessment will mainly be done on the basis of theories about infinitely repeated games. The first part of the paper reconstructs “infinitesimal” historical cosmopolitanism as proposed by Schelling and Kant. The second part confronts this position with the results of the theory of infinitely repeated games among groups. The third part offers reflections on additional conditions and contingencies (...) of the theory and the forth part draws the conclusion: while we can reasonably assume global cooperation to increase and stabilize over time under sustainable conditions, we cannot predict the institutional design of that cooperation. (shrink)

There is a classical paradox in education that also affects the epistemic virtues: the paradox inherent in the demand to develop general strategies for training persons to be free and creative individuals. This problem becomes particularly salient with respect to the epistemic virtue of creativity, the more so if we consider a radical form of creativity, namely, genius. This paper explores a historical constellation in which rigorous claims about the standards for knowledge and morality were developed, along with a highly (...) influential notion of genius: the philosophy of Kant and of immediate post‐Kantian philosophers. The paper shows how in this historical moment came together a new notion of “science,” a theory of “genius” and of virtues, and an analysis of the promises and difficulties inherent in educating a virtuous or creative individual. In this constellation of ideas, there also emerges a potentially fruitful account of how to teach intellectual creativity. (shrink)

To overcome the art-craft dualism, a root and branch reform of a traditionally hegemonic view on human activities is needed. By focusing on Gilbert Simondon’s fundamental claims, the article aims to display the most important consequences of a more in-depth understanding of poiesis, especially in relation to its reintegration with the sphere of praxis and collective ethos and to its connections with the idea of creativity. The field of production will lastly be associated with the concept of “living practice”, regarded (...) as important for the definition of a contemporary poietics. (shrink)

This article investigates an intertwined systematic and historical view on theories of matter. It follows an approach brought forward by Hermann Weyl around 1925, applies it to recent theories of matter in physics (including geometrodynamics and quantum gravity), and embeds it into a more general philosophical framework. First, I shall discuss the physical and philosophical problems of a unified field theory on the basis of Weyl's own abandonment of his 1918 ‘pure field theory’ in favour of an ‘agent theory’ of (...) matter. The difference between agent and field theories of matter is then used to establish a sort of dialectic meta-view. With reference to Weyl this view can be understood as being a particular Fichtean transcendental idealist approach which attempts to combine the strengths of the Husserlian phenomenology and Cassirer's neo-Kantianism. (shrink)

The essay shows that the axiomatics of the systemic-cybernetic-biological theory of self-organization by Humberto Maturana and Francisco Varela have their roots in the philosophy of German Idealism. Especially the completely subject-centered philosophy of Johann Gottlieb Fichte already contains the central axiomatics of Maturana and Varela.

Adorno's first musical monograph, his book on Wagner, represents his most consistent effort to apply commodity analysis to one of the seminal oeuvres of cultural modernity. The notion of commodity character and the associated concept of phantasmagoria are to fulfil the function of mediation between the more narrowly conceived technical analysis of Wagner's music and the disclosure of its aesthetic-social substance, providing the ultimate social ground for their unity. This project, however, fails. Commodity analysis proves to be radically vague, incapable (...) of disclosing the historical specificity of the music dramas either in respect of the tradition of Vienna classicism, or the ensuing development of aesthetic modernism. At the same time its application is burdened by contradictions. Ultimately, Adorno's critical interpretation relapses into a form of ideology critique the simplifications of which he originally attempted to overcome. (shrink)

Based on his previous elaborations on semiotic fitting, Kalevi Kull develops a relations-focused theory of beauty in the organic world. I will point to further strands of thought in the Western history of ideas that have introduced the convergence of the aesthetic and organic. The reflections of Immanuel Kant and the early romantics are foundational for these parallels, although not necessarily in concordance with the biocentric and biosemiotic stance of Kull. This comment also raises some questions related to the compatibility (...) of some arguments with the authors who are mentioned as inspirational sources of the theory. In the end, additional authors are suggested as potential associates of biosemiotic aesthetics, authors who might help to broaden the scope of aesthetic phenomena covered by the theory. (shrink)

This is a translation from Bulgarian into English of Nikolai Lossky’s “Razlichniiat smisul na dumata intuitsiia” (“The Different Senses of the Word Intuition”), published in the Sofianite journal Filosofski pregled (Philosophical Review), 1931, year III, book 1, pp. 1–9. In this article, solicited by the journal’s editor-in-chief, the Bulgarian philosopher Dimitar Mihalchev, Lossky surveys the different ways in which the word “intuition” (intuitsiia) has been used throughout the history of philosophy: Kant, Fichte, Schelling, Hegel, Friedrich Jacobi, Ivan Kireevski, Alexei Khomyakov, (...) Vladimir Solovyov, Bergson, Husserl, and Hans Driesch. Lossky then situates his own use of the word within this philosophical tradition and compares his intuitivism with gnoseologies similar to his own, namely, those of Semyon Frank, Johannes Rehmke, Max Scheler, Paul Linke, Dimitar Mihalchev, the English realists (Samuel Alexander and John Laird), the American realists (Edwin Holt, Walter Marvin, William Montague, Ralph Perry, Walter Pitkin, and Edward Spaulding), and the Neo-Scholastic Josef Gredt. As such, the article makes a valuable addendum to his Obosnovanie intuitivizma (The Foundation of Intuitivism) (1906) and provides a helpful synopsis of his theory of knowledge, which, in accordance with the Russian terminological tradition, he calls “gnoseology”. (shrink)

There have been constant and multiple endeavours to argue for Darwin's both epistemic and practical debt to Romanticism. Almost all of these arguments emphasise Darwin's theoretical and aesthetic associations with Alexander von Humboldt, who, from a prevailing Darwin-centred perspective, is in turn usually oversimplified as an undisputed incarnation of Romanticism. The antagonistic view, however, develops nothing other than another stereotype of Humboldt as an anti-idealistic, pro-French, and even highly Anglophone empiricist naturalist, and accordingly rejects the claim of a romantic Darwin (...) in terms of his Humboldtian inheritance. In this paper, I will first portray a balanced figure of Humboldt in terms of both his critical incorporation of romantic philosophy and the idiosyncratic history of his science. Then, I will thematically compare Darwin with Humboldt and other romantics so as to elucidate Darwin's peculiar appropriation of romantic tenets. Three interrelated romantic themes are examined, along with a discrimination of different senses in which the term romanticism is used: a) the literature-science relation, b) the pursuit of the unity in and through multiplicity, and c) the epistemic role of imagination. On the basis of this triadic dissection, both Humboldt's and Darwin's adherence to and departure from romanticism are reevaluated. (shrink)

K.L. Reinhold’s interpretation of deduction plays a seminal role in the development of German Idealism. However, as yet Reinhold’s concept of deduction has not been sufficiently explained. The goals of this paper are to analyze Reinhold’s notion of deduction in his Neue Darstellung der Hauptmomente der Elementarphilosophie, to reconstruct his deduction of a priori forms of representation and to discuss his deduction critically. In doing so, I will present Reinhold’s objections against Immanuel Kant’s method in the Critique of Pure Reason.

When it comes to the relationship between art and nature, research on Adorno’s aesthetics usually centres on his discussion of Kant and Hegel. While this reflects Adorno’s own position – his comprehension of this relationship is to a large extent developed through a critical re-reading of both the Kantian and the Hegelian position – I argue that we are able to gain important insights into Adorno’s aesthetics and the central art–nature relation by reading his ideas in the light of Schelling’s (...) conception of this relationship. The article focuses on the similarities between Schelling’s notion of nature’s productivity and Adorno’s understanding of natural beauty. It concludes with a discussion on Adorno’s re-evaluation of the reconciliatory power of the exemplary unity of the artwork in conjunction with Schelling’s comparison between artwork and organism, as well as his concept of the construction of nature. (shrink)

This paper considers the problem of a narrative philosophy according to F. W. J. Schelling and narrative logic according to Franklin Ankersmit. Referring to these examples, I ask whether there is any philosophy to narrative at all. First, I discuss Schelling’s views from his unfinished work “The Ages of the World,” as well as his later dialectics of mythology of revelation from the system of the ages of the world. I focus on a dialectics of figurative and speculative order, which (...) is at the core of Schelling’s project to tell philosophy in the form of poetry and demonstrate the origins of Schelling’s narrative philosophy in his early, transcendental thought. Next, I juxtapose my findings with Ankersmit’s analysis of historians’ language. I also consider whether, and how, some of these ideas can be applied in contemporary narrative research. (shrink)

The main goal of the paper is to show that Cassirer’s philosophy of symbolic forms may be viewed as a culmination of efforts of those thinkers who at the turn of the 19 th and 20 th century were a part of the so called anti-positivist movement. The paper focuses fore and foremost on those philosophers who in their attempts of grounding and defining Geisteswissenschaften were following the initial idea of Immanuel Kant’s transcendental philosophy. Cassirer’s symbolical monism is presented as (...) an attempt of identifying that “original need of human mind”, an attempt which ultimately paved way for determining and establishing a distinctively different type of reflection than the one found in natural sciences, despite all the multifariousness of seemingly unreconcilable results arrived at by different thinkers. The author argues that Cassirer’s conception – unlike those found in the works of Droysen, Dilthey, Rickert or Windelband – strives to ground Geisteswissenschaften’s conditions of possibility not on the Kantian concept of determining judgment, but on a concept of reflective judgment, i.e., not on the Kantian concept of the scheme, but on concept of symbol which in turn makes it possible to establish a methodological and symbolic-cultural unity of both natural sciences and humanities. (shrink)

Die Abhandlung entwickelt und vertritt folgende Thesen: (1) Brentanos Vier-Phasen-Theorie wurde unabhängig von Comtes Drei-Stadien-Gesetz entworfen . (2) Aber Brentano legte großen Wert darauf, die Übereinstim- mung beider Theorien zu unterstreichen . (3) Beide Theorien gehen von verschiedenen Geschichtsauffassungen aus: Comtes Theorie schließt die Geschichte der fundamentalen positiven Wissenschaften ein, die geradli- nig verläuft, stets aufwärts führt und durch keine gesetzmäßig auftretenden Verfallsphasen belastet wird, aber dennoch Stagnationen kennt . Dagegen bezieht sich Brentanos Theorie vorwiegend auf die Geschichte der Philo- (...) sophie, allerdings indirekt auch auf die schönen Künste . Dabei verlaufen die historischen Entwicklungen zyklisch und kennen Perioden des wissen- schaftlichen Auf- und Niederganges, die sich wiederholen . (4) Beide The- orien enthalten verschiedene Strategien, die auf eine grundlegende Erneu- erung der Philosophie abzielen . Für Comte gilt, dass die neue Philosophie positiv und unabhängig von der philosophischen Tradition arbeiten müsse . Dagegen vertritt Brentano die Auffassung, nach der die Philosophie von ihrer Methode her der Naturwissenschaft analog empirisch forscht und da- bei der philosophischen Tradition prinzipiell verpflichtet bleibt. (shrink)

En el presente artículo intentaré demostrar que, en el contexto sistemático de la Doctrina de la Ciencia durante el período de Jena, la intuición intelectual de Fichte puede ser comprendida como un criterio metodológico para el conocimiento teórico, y también como un criterio normativo para la praxis humana. Por un lado, la intuición intelectual puede ser entendida inicialmente como una condición de posibilidad de la actividad teórica. Aunque no puede considerarse como un método filosófico en sí mismo, el acto de (...) la intuición intelectual es un aspecto esencial del método de reflexión en la filosofía trascendental de Fichte. Por otro lado, la intuición intelectual funciona también como un criterio de certeza inmediata de la praxis, que proporciona una base sólida para toda posible reflexión trascendental sobre los principios racionales de la acción humana. (shrink)

Was ich mit dieser Artikel hier zu zeigen versuchen werde, ist eine gewisse Affinität zwischen Friedrich Wilhelm Joseph Schellings Konzeptionen und Auffassungen einer Naturphilosophie in den Jahren 1797-1801 und Hans Jonas‘ ontologisch-philosophische Biologie 1, die er in Organismus und Freiheit – Ansätze zu einer philosophischen Biologie entwickelte. Die hier zu erwähnende Schellingsche Naturphilosophie ist die in der Zeit zwischen Ideen zu einer Philosophie der Natur vom Jahr 1797 und Ueber den wahren Begriff der Naturphilosophie und die richtige Art ihre Probleme (...) aufzulösen vom Jahr 1801 entwickelte Konzeption einer Philosophie der Natur.2 Damit schließe ich mich einer These Odo Marquards an: Schelling sei der Philosophie des 20. Jahrhunderts ein Zeitgenosse inkognito. Nur wünsche ich der prominenten Reihe von Philosophen, die Marquard – zwei Jahre nach der Veröffentlichung von Organismus und Freiheit – im Jahr 1975 aufstellte, den Name ‚Hans Jonas‘ hinzufügen. Es soll somit versucht werden, die Möglichkeit dafür zu öffnen, dass die Naturphilosophie Schellings im Lichte der philosophischen Biologie Jonas‘ gesehen werden kann. Damit wünsche ich zu verdeutlichen, dass der Problembereich und frühen Philosophie Schellings durch Jonas‘ Philosophie einen Repräsentant finden, und dass sie mit der Problematik Jonas‘ eine gewisse Aktualität gewinnen könnte. (shrink)