The tradition of philosophical hermeneutics does not offer a definitive answer to the question “What is truth?” and the inquiry into the relationship between truth and interpretation. Instead, it presents a number of ways in which this question can be asked and discusses the validity and relevance of some plausible responses. Modern hermeneuticians emphasize the interpretative nature of human thought and existence. For Heidegger and Gadamer, truth concerns the way we lead our lives. Dilthey and Nietzsche contemplate the role of (...) the human sciences in a landscape of shifting historical and cultural horizons, arriving at quite different conclusions with respect to the possibility of truth and objectivity. Events and symbolic expressions are products of human intentions and desires, and must be understood as such. For Dilthey, this dimension of meaning is, so to speak, the imprint of human historicity. (shrink)

Among Edvard Munch’s many portraits of Henrik Ibsen, the famous Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose (...) a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the Norwegian dramatist in the company of key European philosophers, indeed the whole span of the European philosophical tradition from its early beginnings to its most controversial spokesman in the late 1800s. In my article, I seek to take seriously Munch’s bold and original positioning of Ibsen in the company of philosophers. Focusing on Hedda Gabler—a play about love lost and lives unlived—I explore the aesthetic-philosophical ramifications of Ibsen’s peculiar position between realism and modernism. This position, I suggest, is also reflected in Munch’s sketches for the set design for Hermann Bahr’s 1906 production of the play. (shrink)

This collection of fifteen newly commissioned essays has a dual purpose. Through an emphasis on the reception of Spinoza in German nineteenth-century thought, the volume seeks to shed new light on his work. Likewise, the focus on Spinoza’s influence in the long nineteenth century illuminates novel aspects of the philosophical lineage from idealism to Marxism, psychoanalysis, and beyond. The contributions are at the cutting edge of research on modern German philosophy, not only when it comes to canonical figures like Herder, (...) Kant, and Marx, but also philosophers whose importance has since been neglected such as Salomon Maimon and Lou Salomé. The volume will be of interest to, among others, scholars working in the history of philosophy, in intellectual history, and in Jewish, religious, and German studies. (shrink)