Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser (...) concedes that there exists a phenomenological confluence between the mind-game film and contemporary European cinema. For instance, both produce characters afflicted by productive pathologies, designating new socially useful forms of agency and identity. One only needs to consult the amnesiac protagonist M (Markku Peltola) in Aki Kaurismäki’s The Man Without a Past (Mies vailla menneisyyttä, 2002) or, as regards Lars von Trier’s cinema, Beth (Emily Watson) in Breaking the Waves (1996), Selma (Björk) in Dancer in the Dark (2000), “She” (Charlotte Gainsbourg) in Antichrist (2009) or Joe (Charlotte Gainsbourg) in Nymphomaniac (2013) to evince this overlap. However, this book is more concerned with performative self-contradictions, whereby cinema-as-enunciator is put under erasure, thus aggravating the inherent discrepancies troubling Europe today. Elsaesser, indeed, evaluates a growing general disaffection with politics, the rise of populist nationalism and far-right fringe parties, as well as an increasing population of economic migrants, refugees, and asylum seekers. (shrink)

About death, grief, mourning, life after death and immortality. Why should we die like humans to survive as a species. -/- "No one wants to die. Even people who want to go to heaven don't want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life's change agent. It clears (...) out the old to make way for the new." (Steve Jobs) -/- CONTENTS: -/- Death - Philosophy of death - Religions - - Animism - - Atheism - - Buddhism - - Christianity - - Hinduism - - Islam - - Jainism - - Jehovah's Witnesses - - Judaism - - Latter-day Saints - - Spiritism - Symbolism - Personification of Death - - Notable personifications - - In mythologies - - - Hindu mythology - - - In Japan - - - Slavic paganism - - - Lithuanian paganism - - In the three monotheistic religions - - - Judaism - - - Christianity - - - In Mexico - - - Islam - Axiochos - - The characters of dialogue - - Dialogue - - Prologue - - Arguments - - Citations - Paradise - - Greco-Roman mythology - - Mesopotamian mythology and influences - - According to Judaism - - According to Christianity - - - According to Catholicism - - - According to Protestantism - - - According to the Church of Jesus Christ of Latter-day Saints - - According to Islam - - According to Hinduism - - According to modern spiritualities - - - According to the esoteric - Hell - - Mesopotamian origins - - According to Christianity - - - Names appearing in the biblical texts - - - Medieval artistic representations - - - Concepts according to Christian movements - - According to Judaism - - According to Islam - - According to Buddhism - - According to Hinduism - - According to modern esotericism - - - According to Aïvanhov - - - According to Allan Kardec - - Philosophy - - - Jewish Kabbalah - - - Sartre - - - Popular wisdom Funerals - The funeral ritual: a rite of passage - Prehistory - Ancient death customs - - The family bereavement - - Mummification - - Sarcophagi - - Funerals - - Ancient Greece - - Ancient Rome - - Celts, Germans and Scandinavians - Religious funeral rites - - Buddhism - - Judaism - Christianity - - Protestantism - - Islam - Funeral rites by continent - - In Africa - - In Europe - The contemporary era - Mourning (Grief) - - Steps - - - Death of a close - - Loss events without mourning value (white factors) - - Duration and manifestations - - Risks - - Colors - Graveyards (Cemeteries) - - First cemeteries - - Cemeteries today - Funerary art - Dolmens - - Types of dolmens - - Function - - Location - Passage graves - Cenotaphs - - Famous cenotaphs - Lanterns of the Dead Afterlife - History - Questions about death and immortality - Testimonials - - Spiritualistic experiences - - Popular literature on the afterlife - - "Memories" and reminiscences - - Early studies of the science of the 19th century and early 20th century - Types of scenarios - Some religious and philosophical concepts - - Afterlife in Buddhism - - Afterlife in Christianity - - According to Hinduism - - According to Islam - - According to Judaism - - According to Mormonism - - According to the ancient philosophies - - According to Spiritism - - According to Native American traditions - - According to Vedism - - According to Esotericism - In science - Near-death experiences - - Clinical death - - NDE frequency - - Effects of depth of NDE on survival - - Near-death experiences and shared-death experience - - - The first contemporary testimonials - - - Experience according to Moody - - - The concept of "shared death" - - - The NDE scales - - The study of Pim van Lommel - - Spiritual and patient point of view - - - Survivalists studies - - - The religious understanding of the phenomenon - - Scientific views - - - Physiological explanation - - - Psychological explanation - Reincarnation - - Religions - - - In Hinduism - - - In Jainism - - - In Buddhism - - - In Judaism - - - In Christianity - - - In Islam - - In contemporary times - - - Esotericism - - - Works of the psychiatrist Ian Stevenson - - - Radical increase in life expectancy and artificial reincarnation - - Criticism - - - Arthur Schopenhauer - - - Ramana Maharshi - - - Rene Guenon - - - Ananda Kentish Coomaraswamy - Metempsychosis - - Theories - - Ideas - Maschalismos Immortality - Immortality of the soul and religious traditions - - Buddhism - - Christianity - - Islam - - Mormonism - Contemporary perception of the immortality of the body - - Observation in the animal kingdom - - Perspectives for mankind - Immortality in science - - Alexis Carrel - - Jean Rostand - - Hayflick limit - - Étienne-Émile Baulieu and DHEA - - Aubrey de Grey - - Professor Skulachev - - Regenerative medicine - - Professor Christopher Jaeger - Eternal Return - - According to the Mesopotamians - - According to Heraclitus and the Stoics - Fountain of Youth - - History of myth and relatives myths - - - In Roman mythology, Germanic, Celtic and Irish - - - In the Middle-East - - - In Spain - - - In the Bible - - The fountain in art and literature - - Painting - - - Literature and cinema - - Persistent of the myth until today - Senescence - - Why do we age? - - Gene regulation - - Cellular senescence Undead - Ghoul - Lich - Mummy - Skeleton - Vampire - Zombie - Other legendary creatures - Creatures specific to a particular universe - Spiritism - - Point out - - Origins of spiritism - - - The traditions through the ages - - - Advent of Christianity in Europe - - - The survival of necromancy - - - The precursors - - - Relations of spiritualism to science - Mediumship - - History - - Skeptical point of view - - Favorable doctor's viewpoint - Ghosts - - Appearance - - Belief in ghosts - - Origin - - - Duality and return dead - - - Ancient roots - - Typology - - - Poltergeists - - - Revenants - - - Ghosts - - - Banshees - - - Apparitions of crisis - - - Phantasms of the living - - - Vision of his own double - - - Ghost armies - - - Ghosts of animals - - - Means of transport - - Science perspective - - - Hallucinations - - - Sleep paralysis - - - Induced ghosts - - - Aches and infrasounds - - - Magnetic fields - Vampires - - Characteristics - - - Vampire transformation - - - Identification - - - Faculties - - Protection against the vampires - - - Precautions at death and burial - - - Apotropaic objects and places - - Destruction of vampires - Zombie - - The concept - - Africa and voodoo - - - West Africa - - - South Africa - - - In Haiti (and the Caribbean) - - - Scientific research - - The "revenants" in the Western imaginary Death in art - Memento mori - - History - - - Antiquity - - - Christianity - - - Mexican syncretism - - Performing arts - - - In painting - - - In literature - - - In movies - - - In video games - - - In Japanese animation - - - In music - The iconography of Weighing of souls (Particular judgment) - - Origin - - Written sources - - Weighing in Romanesque art - - Weighing in Gothic art - - Weighing in the late Middle Ages: to a new iconography - - Weighing of souls or actions? - Poems - - Charlotte Brontë, “On the Death of Anne Brontë” - - Edgar Allan Poe, “Annabel Lee” - - Edna St. Vincent Millay, “And you as well must die” - - Emily Dickinson, “Because I could not stop for Death” - - Emily Dickinson, “If I Should Die” - - Lord Byron, “Epitaph to a Dog” - - Pablo Neruda, “Only Death” - - Stephen Crane, “God Lay Dead in Heaven” - - W. B. Yeats, “He Wishes His Beloved Were Dead” - - Rainer Maria Rilke, “Death” - Paintings - - The Three Dead Kings - - The Death of Nelson - - Beata Beatrix - Sculptures - - The Kiss of Death - - Background - - Imagery - - Angel of Grief - - Fallen Astronaut - Quotes References About the author - Nicolae Sfetcu - - By the same author - - Contact Publishing House - MultiMedia Publishing -/- DOI: 10.58679/TW44411. (shrink)

The article explores the place of women and migrants in Italian Neorealist and New Migrant cinema, arguing that New Migrant cinema continues and reworks key Neorealist tropes and tendencies. It intends to render explicit how an ensemble of films challenge the stereotypes concerning gender, national and cultural identities. Among the figures that are scrutinized are the borgatari, extracomunitari, popolane and terrone. Its main objective is to demonstrate how the cinematic expression of these figures in Italian Neorealist and New (...) Migrant cinema enhanced the reinvention of italianità and the generalised understanding of gender. It also aims to explain why the cross-fertilisation between migration studies, urban studies and gender studies is indispensable for comprehending this reinvention. Particular emphasis is placed on the shared interest of Roberto Rossellini’s Roma città aperta and Vittorio De Sica’s Il tetto in the plight over housing and the special character of the urban landscape of Rome. The article also sheds light on certain common concerns of Italian Neorealist and New Migrant cinema, especially as far as national and gender narratives are concerned. Pivotal for the reflections developed here are the roles of Anna Magnani in Roberto Rossellini’s Roma città aperta, Luchino Visconti’s Bellissima and Pier Paolo Pasolini’s Mamma Roma. (shrink)

This paper uses Martin Luther and Mao Zedong's translation strategies to philosophize anew the dialectic between the national and the global in the history of revolutions. Luther and Mao each instigated a "revolution" by translating a universal faith into a vernacular; the end product in each case was the globalization of his vernacularized faith and the export of his local revolution all over the world. By vernacularizing a universal faith, Luther and Mao respectively inaugurated a new national idiom, a new (...) national identity and, in the case of Mao, founded a new nation. The far more intriguing phenomenon which I identify – and on which I seek to make my most original contributions is: Protestantism and Maoism developed global reach not despite, but because of, their insistence on a local translation-articulation of a universalist ideology. My paper attends to both the similarities and differences between Luther and Mao. (shrink)

The Deleuzian studies on cinema highlight the importance of two semiotic regimes (movement-image and time-image) for the understanding of our aesthetical and epistemological relationship with moving images. On the contrary, this article highlights the moments of crisis between the two regimes, pointing out the generic character of uncertainty and ambiguity in the nature of mental images: once the sensorimotor scheme that dominates the cinematographic montage has been weakened, the characters, unable to act, can imagine, desire, dream, hallucinate, and remember. (...) New types of images appear: recollectionimages, dream-images, and world-images. How do these new types of images make us rethink our usual relationship with the world and with reality? With this article on cinema’s virtual and oneiric dimension, I expect to disseminate one of Gilles Deleuze’s greatest contributions to film philosophy: the distinction between the imaginary and reality. (shrink)

The philosophy of the art of living asks the age-old question of orienting one’s own life: ‘How can I live well?’ An art of living is always called for when people do not know what to do and how to go on, when the ways of life are no longer self-evident, when traditions, conventions, rules, and norms lose their plausibility and individuals begin to worry about themselves. The art of living and of its philosophy has a practical aim: It is (...) not concerned with ethical principles, but with the concrete practice of people’s everyday life, with their individual and successful lives. Friedrich Nietzsche, as he often did, pushed the problem of the art of living to the extreme, making it palpable both in its dignity and in its force. For him, the modern uncertainty of human orientation caused by nihilism pointed to art and aesthetics, which, he supposed, makes life if not justifiable, at least bearable. The arts open up a multi-perspectival seeing and hearing, they experiment with alternative forms and techniques, and create the finest sensibilities for both – Nietzsche himself, with his rich forms of philosophical writing, is an outstanding example of this. -/- The volume we present here, entails contributions of German-speaking scholars on Nietzsche and the ways of living he proposes, especially, but not alone in Dawn. The papers are selected from a book series on the common issue “Critical Art of Living,” edited by Günter Gödde, Jörg Zirfas, and others, and translated on behalf of the Foundation for Philosophical Orientation. (shrink)

This chapter explores Cicero’s reception in the German Enlightenment, a topic that has garnered less scholarly attention compared to his influence in the Anglosphere. Focusing on Johann Joachim Spalding and Christian Garve as case studies, we highlight Cicero’s profound and often underappreciated impact on German intellectual thought, particularly in shaping ideas about the human vocation (Bestimmung des Menschen)—a legacy that extends even to the towering figure of the German Enlightenment, Immanuel Kant.

ArgumentIn 1895 when the Lumière brothers unveiled their cinematographic camera, many scientists were elated. Scientists hoped that the machine would fulfill a desire that had driven research for nearly half a century: that of capturing the world in its own image. But their elation was surprisingly short-lived, and many researchers quickly distanced themselves from the new medium. The cinematographic camera was soon split into two machines, one for recording and one for projecting, enabling it to further escape from the laboratory. (...) The philosopher Henri Bergson joined scientists, such as Etienne-Jules Marey, who found problems with the new cinematographic order. Those who had worked to make the dream come true found that their efforts had been subverted. This essay focuses on the desire to build a cinematographic camera, with the purpose of elucidating how dreams and reality mix in the development of science and technology. It is about desired machines and their often unexpected results. The interplay between what “is” (the technical), what “ought” (the ethical), and what “could” be (the fantastical) drives scientific research. (shrink)

Dictionary entry of "Idealism" in the "New Dictionary of the History of Ideas".

Can we understand (German) idealism as emancipatory today, after the new realist critique? In this paper, I argue that we can do so by identifying a political theology of revolution and utopia at the theoretical heart of German Idealism. First, idealism implies a certain revolutionary event at its foundation. Kant’s Copernicanism is ingrained, methodologically and ontologically, into the idealist system itself. Secondly, this revolutionary origin remains a “non-place” for the idealist system, which thereby receives a utopian character. I (...) define the utopian as the ideal gap, produced by and from within the real, between the non-place of the real as origin and its reduplication as the non-place of knowledge’s closure, as well as the impulse, inherent in idealism, to attempt to close that gap and fully replace the old with the new. Based on this definition, I outline how the utopian functions in Kant, Fichte and Hegel. Furthermore, I suggest that idealism may be seen as a political-theological offshoot of realism, via the objective creation of a revolutionary condition. The origin of the ideal remains in the real, maintaining the utopian gap and the essentially critical character of idealism, both at the level of theory and as social critique. (shrink)

The aim of the paper is to provide a philosophical and historical background to current discussions about the changing relationships between the university and the state through revisiting the classical “Humboldtian” model of the university as discussed in classical German philosophy. This historical detour is intended to highlight the cultural rootedness of the modern idea of the university, and its close links to the idea of the modern national state. The paper discusses the idea of the university as it (...) emerges from the philosophy of Wilhelm von Humbold, Johann Gottlieb Fichte and Friedrich Schleiermacher, as well as - in the 20th century - Karl Jaspers and Jürgen Habermas. More detailed questions discussed include the historical pact between the modern university and the modern nation-state, the main principles of the Humboldtian university, the process of the nationalization of European universities, the national aspect of the German idea of culture (Bildung), and the tension between the pursuit of truth and public responsibilities of the modern university. In discussing current and future missions and roles of the institution of the university today, it can be useful to revisit its foundational (modern) German idea. In thinking about its future, it can be constructive to reflect on the evident current tensions between traditional modern expectations of the university and the new expectations intensified by the emergence of knowledge-based societies and market-driven economies. From the perspective of the tensions between old and new tasks of the university, it is useful to look back at the turning point in its history. (shrink)

In Ontological Catastrophe, Joseph Carew takes up the central question guiding Slavoj Žižek’s philosophy: How could something like phenomenal reality emerge out of the meaninglessness of the Real? Carefully reconstructing and expanding upon his controversial reactualization of German Idealism, Carew argues that Žižek offers us an original, but perhaps terrifying, response: experience is possible only if we presuppose a prior moment of breakdown as the ontogenetic basis of subjectivity. Drawing upon resources found in Žižek, Lacanian psychoanalysis, and post-Kantian philosophy, (...) Carew thus develops a new critical metaphysics—a metaphysics which is a variation upon the late German Idealist theme of balancing system and freedom, realism and idealism, in a single, self-reflexive theoretical construct—that challenges our understanding of nature, culture, and the ultimate structure of reality. (shrink)

During the period 1870-1914 the existing discipline of psychology was transformed. British thinkers including Spencer, Lewes, and Romanes allied psychology with biology and viewed mind as a function of the organism for adapting to the environment. British and German thinkers called attention to social and cultural factors in the development of individual human minds. In Germany and the United States a tradition of psychology as a laboratory science soon developed, which was called a 'new psychology' by contrast with the (...) old, metaphysical psychology. Methodological discussion intensified. New syntheses were framed. Chairs were established and Departments founded. Although the trend toward institutional autonomy was less rapid in Britain and France, significant work was done by the likes of Galton and Binet. Even in Germany and America the purposeful transformation of the old psychology into a new, experimental science was by no means complete in 1914. And while the increase in experimentation changed the body of psychological writing, there was considerable continuity in theoretical content and non-experimental methodology between the old and new psychologies. This chapter follows the emergence of the new psychology out of the old in the national traditions of Britain, Germany, and the United States, with some reference to French, Belgian, Austrian, and Italian thinkers. While the division into national traditions is useful, the psychological literature of the second half of the nineteenth century was generally a European literature, with numerous references across national and linguistic boundaries, and it became a North Atlantic literature as psychology developed in the United States and Canada. The order of treatment, Britain, Germany, and the US, follows the center of gravity of psychological activity. The final section considers some methodological and philosophical issues from these literatures. (shrink)

This examination provides a history of the problematic characterisation of Early German Romanticism (or Frühromantik) as subjectivist, and challenges this characterisation in light of recent scholarship. From its earliest critical reception in the early nineteenth century, the movement suffered from a set of problematic characterisations made by popular philosophical figures. Goethe, Hegel, Heine, Kierkegaard and others all criticised the movement for holding a dangerous subjective egoism. This characterisation remained with the Frühromantik throughout the twentieth century until it was challenged (...) by recent re-evaluations offered by figures such as Dieter Henrich, Manfred Frank, Frederick Beiser and Andrew Bowie. Their work has opened new possibilities for the re-interpretation of Frühromantik and our understanding of the movement’s religious thought. (shrink)

The Politics of Military Force uses discourse theory to examine the dynamics of discursive change that made participation in military operations possible against the background of German antimilitarist culture. Once considered a strict taboo, so-called out-of-area operations have now become widely considered by German policymakers to be without alternative. The book argues that an understanding of how certain policies are made possible (in this case, military operations abroad and force transformation), one needs to focus on processes of discursive (...) change that result in different policy options appearing rational, appropriate, feasible, or even self-evident. Drawing on Essex School discourse theory, the book develops a theoretical framework to understand how discursive change works, and elaborates on how discursive change makes once unthinkable policy options not only acceptable but even without alternative. Based on a detailed discourse analysis of more than 25 years of German parliamentary debates, The Politics of Military Force provides an explanation for: (1) the emergence of a new hegemonic discourse in German security policy after the end of the Cold War (discursive change), (2) the rearticulation of German antimilitarism in the process (ideational change/norm erosion) and (3) the resulting making-possible of military operations and force transformation (policy change). In doing so, the book also demonstrates the added value of a poststructuralist approach compared to the naive realism and linear conceptions of norm change so prominent in the study of German foreign policy and International Relations more generally. (shrink)

This article studies the academic context in which Cartesianism was absorbed in Germany in the mid-seventeenth century. It focuses on the role of Johann Clauberg (1622-1665), first rector of the new University of Duisburg, in adjusting scholastic tradition to accommodate Descartes’ philosophy, thereby making the latter suitable for teaching in universities. It highlights contextual motivations behind Clauberg’s synthesis of Cartesianism with the existing framework such as a pedagogical interest in Descartes as offering a simpler method, and a systematic concern to (...) disentangle philosophy from theological disputes. These motivations are brought into view by situating Clauberg in the closely-linked contexts of Protestant educational reforms in the seventeenth century, and debates around the proper relation between philosophy and theology. In this background, it argues that Clauberg nevertheless retains an Aristotelian conception of ontology for purely philosophical reasons, specifically, to give objective foundations to Descartes’s metaphysics of substance. In conclusion, Clauberg should not be assimilated either to Aristotelianism or to Cartesianism or, indeed, to syncretic labels such as ‘Cartesian Scholastic’. Instead, he should be read as transforming both schools by drawing on a variety of elements in order to address issues local to the academic milieu of his time. (shrink)

This paper discusses a dialectic whereby the law not only influenced medical thinking in late nineteenth-century Germany, but also underwent medicalization of its own initiative. At the end of the 1880s, social legislation was crucial in initiating the German discourse on traumatic nervous disorders. By employing doctors as medical experts in court, the law also created a new experiential realm for doctors, altering their behavior toward patients and shifting their focus from therapy to investigation. However, in the wake of (...) their experiences in court, doctors developed a dual etiology of traumatic symptoms, which included the law itself as a pathogenic element with the power to aggravate symptoms. Two medical views of law can be distinguished: some doctors claimed that it was the desire to receive the pensions offered under social legislation that induced workers to perpetuate and exaggerate their symptoms; others argued that since pension claims embroiled claimants in intimidating legal proceedings, the pathogenic effect of social legislation stemmed from fear rather than greed. (shrink)

In this essay, I look at two negative portrayals of egoism. I summarize in detail the superb All About Eve—which won six Academy Awards, including Best Picture. The movie is about the rise of a ruthlessly ambitious actress, and how she treats her main competitor. Eve Harrington worms her way into top theatrical actress Margo Channing’s inner circle by pretending to be an admirer, but she is really a schemer who wants to eclipse Margo’s star in the theater universe. However, (...) Eve runs into trouble when she attempts to manipulate tart-tongued theater critic, Addison de Witt. The movie portrays the New York theater industry as being full of narcissists. I then review the classic film noir The Third Man (1949), rated by the prestigious British Film Institute as the greatest film of the 20th century. The film centers around a charismatic, handsome criminal mastermind Harry Lime living in bombed-out post-War Vienna. Lime is a man of no conscience or empathy—a true psychopath. He cripples children by selling hospitals adulterated penicillin. But we (the audience) still feel sympathy for him. I end the piece by explaining the psychological mechanisms at work that give rise to our paradoxical sympathy. (shrink)

Gershom Scholem's commentary on Walter Benjamin's "Notes to a Study on the Category of Justice", first published in German and English in Metaphysics of the Profane, New York: Columbia University Press, 2003, pp. 174-180, with permission of Suhrkamp Verlag.

Issue number 4 of "SYMPHILOSOPHIE: International Journal of Philosophical Romanticism" is devoted to the Dutch philosopher François Hemsterhuis and 250th anniversary of the birth of the German romantics Novalis and Friedrich Schlegel. This fourth issue of the journal contains nearly 600 pages of new research articles, translations, review-essays, and book reviews. The main section on Hemsterhuis among the German Romantics was guest edited by Daniel Whistler (Royal Holloway, University of London).

This third 2021 issue of "SYMPHILOSOPHIE: International Journal of Philosophical Romanticism" contains a main dossier of new research articles guest edited by Leif Weatherby (New York University) and devoted to the topic of early German romanticism and science. In addition to the papers of this main section issue number 3 of SYMPHILOSOPHIE includes translations of primary sources and book reviews. All contents are freely available online.

Les Cahiers philosophiques de Strasbourg 52 contains an Introduction and 9 new research articles in French & English on Friedrich Schiller's philosophy in relation to German Idealism. All fully available online on Open-Edition and as free e-book. -/- Edited and introduced by Henny Blomme, Laure Cahen-Maurel, & David W. Wood. With contributions by Frederick C. Beiser, María del Rosario Acosta López, Cody Staton, Jeremy D. Hovda, Laure Cahen-Maurel, Quentin Landenne, Katia Hay, Louis Carré, and Charlotte Morel. -/- SOMMAIRE / (...) CONTENTS -/- Introduction: Friedrich Schiller, a German Idealist? (Henny Blomme, Laure Cahen-Maurel & David W. Wood) -/- 1. Frederick C. Beiser. Schiller’s Humanism -/- 2. María del Rosario Acosta López. Une dimension esthétique de la critique : la temporalité du beau dans les lettres de Schiller Sur l’éducation esthétique -/- 3. Cody Staton. In Search of Play: Schiller’s Drive Theory as a Turn Away from Kant -/- 4. Jeremy D. Hovda. Bildung between Kant and Schiller -/- 5. Laure Cahen-Maurel. Fichte avec Schiller : La querelle des Heures à la lumière de Grâce et Dignité -/- 6. Quentin Landenne. La Bildung chez Schiller et Fichte, entre esthétique et politique -/- 7. Katia Hay. On the Tragic-Sublime and Tragic Freedom: Thinking with Schiller and Schelling -/- 8. Louis Carré. Vicissitudes de l’État organique : Kant, Hegel, Schiller -/- 9. Charlotte Morel. Conjoindre idéalisme et réalisme après Hegel : Les lectures de Schiller par Lotze et Lange -/- Résumés / Abstracts. (shrink)

It is commonly assumed that the expression “an sich selbst” (“in itself”) in Kant combines with terms to form complex nouns such as “thing in itself” and “end in itself.” I argue that the basic use of “an sich selbst” in Kant’s German is as a sentence adverb, which has the role of modifying subject-predicate combinations, rather than either subject or predicate on their own. Expressions of the form “S is P an sich selbst” mean roughly that S is (...) P ‘in its own right’ or without some further ‘condition’. Accordingly, “an sich selbst” should not be treated as forming complex nouns. This analysis has significant consequences for the interpretation of “thing in itself” in particular, for it implies that the latter is not a complete nominal expression. Instead, one must treat ‘an sich selbst’ as expressing how some S is a ‘thing’, looking to the wider sentential context. I conclude with a brief account of the new significance granted to the concept of a ‘thing’ (Ding) according to the present interpretation. (shrink)

Hegel’s Phenomenology of Spirit is typically read as a work that either rehabilitates the metaphysical tradition or argues for a new form of idealism centred on social normativity. In the following, I show that neither approach suffices. Not only does the metaphysical reading ignore how the Phenomenology demonstrates that human rationality can never adequately capture ultimate reality because ultimate reality itself has a moment of brute facticity that resists explanation, which prevents us from taking it as a logically self-contained, self-justifying (...) metaphysical zone traditionally known as ‘substance,’ but it also ignores how the Phenomenology equally demonstrates that human rationality creates a historically self-unfolding universe of meaning that is, because it displays a rational systematicity and consistency unlike anything else in the world, the closest thing we have to substance, but which, given its freedom, is more correctly called ‘subject.’ Consequently, while the non-metaphysical reading rightly recognizes that the Phenomenology develops a radically innovative account of intersubjectivity, it neglects how the social theory that it develops comes fully equipped with various metaphysical commitments concerning nature, spirit, and the relationship between them without which this theory would be unintelligible. (shrink)

Russell Barkely describes ADHD as a disorder of one’s ability to self-regulate, i.e., to engage in internal self-directed actions. This raises a problem when considering the phenomenon of masking, in which a neurodivergent individual puts up a front to fit in situations with neurotypical norms. If masking is a form of self-regulation, and if ADHD is a disorder of self-regulation, then how can people with ADHD mask at all? I will argue that this problem prompts us to understand ADHD as (...) a disorder of a specific type of self-regulation, quasi-transcendent self-regulation, and that the German anarchist Max Stirner provides us with a new concept of immanent self-regulation that can account for ADHD masking. First, I perform a phenomenological analysis of my own experiences masking my ADHD in order to uncover the internal logic of immanent masking. I identify that this logic originates from an internalization of consistent social exclusion due to the social disruptiveness of one’s ADHD symptoms. Such an internalization constitutes one’s self as devalued in relation to the other, which allows this other to transcend them. Then, I argue that the progression of a logic of domination in Stirner’s psychological and historical accounts of two major ideological shifts—first, from Catholicism to Protestantism, and, second, from Socialism to Humanism—provides us with theoretical accounts of quasi-transcendent and immanent masking respectively. I conclude by proposing a possible solution to immanent masking. Using Stirner’s ethical notion of the insurrection, I propose my own notion of the micro-insurrection, and discuss the implementation of it in my life through the employment of subversive humor. I describe how this humor can destabilize the social expectations of a given context by strategically adopting the positions rendered absurd and impossible by the dominant ideology in order to locally undermine it. Micro-insurrections thus render the power relations of a space ambiguous so as to allow for free movement and free expression. (shrink)

English manuscript version of Afterword to German translation of Victor Turner's The Ritual Process. The Ritual Process is a pivotal book in the body of Victor Turner's works. The first three chapters, drawn from Turner's Henry Morgan lectures at the University of Rochester, reveal the richness and subtlety of his analysis of tribal ritual and social life. In the third chapter, he concentrates on the aspects of liminality and communitas found in Ndembu ritual and expands these in the remainder (...) of the book to universal categories of human experience. His masterful ethnography opens up to reveal the fundamental reality of the subjunctive mood in human affairs: the ritual process. In Turner's analyses of the Isoma and Wubwang'a rituals of the Ndembu of Northwestern Zambia, one sees the fantastic interplay between human affliction and symbolic renewal, between human communities and a natural environment teeming with signification. The Ndembu are revealed to be a people with a deep appreciation of the complexity of existence, and endowed with a sophisticated technics of meaning, a vast architectonic of felt, expressive forms through which to journey to those borderlands beyond human comprehensibility: death, the dead, the call of the mother-line, fecundity, transformation, the interstices of social structure. Turner reveals himself to be an initiate, not only to the rites revealed to him by the Ndembu, but to the centrality of ritual itself in tribal society and human affairs. Trained in the British structural-functionalist approach to social anthropology, Turner notes how the incessant call of the drums made him feel that he "was always on the outside looking in." Soon, however, Turner and his wife and collaborator Edith discarded their theoretical ear-plugs and answered the invitation of the drums. As observers and co-participants in Ndembu ritual the Turners' began to blaze a trail toward a new anthropology. (shrink)

The Philosophy ofLanguage belongs to the foundations of philosophical reflexion. In this volume, its central problems and strategies are explained, and the nature of sentences and other elements of language are analysed. The didactical exposition of the most important schools and thinkers makes the volume particularly interesting for readers new to the subject.

Translated by Bernard Linsky This is the first English translation of Roman Ingarden’s paper presented at the 8th World Congress of Philosophy held in Prague in 1934: “Der Logistische Versuch einer Neugestaltung der Philosophie: Eine Kritische Bemerkung”, translated here as “The Logical Attempt at a New Formulation of Philosophy: A Critical Remark”. Also translated here are brief discussions by Rudolf Carnap and Otto Neurath. These essays were published in the original German in the Proceedings of the Congress in 1936. (...) This statement of Ingarden’s criticisms of the doctrines of the Vienna Circle has been mentioned in print, but his views have not been discussed, or indeed accurately reported to date. (shrink)

This volume contains more than 60 original translations of papers written by the German philosopher Gottfried Wilhelm Leibniz (1646-1716). As well as contributing to Leibniz scholarship, it is intended to function as an introductory text for students.

This essay explores the works of German artist Gustav Metzger as a potential response to Theodor W. Adorno’s dictum “Nach Auschwitz ein Gedicht zu schreiben, ist barbarisch” (“To write poetry after Auschwitz is barbaric”). It argues that culture, as understood in the Adornian sense, is inextricably barbaric as a result of simply being after Auschwitz. Culture must acknowledge the finitude in its own ability to live up to an ethical demand in response to justice, whose arrival is infinitely deferred. (...) In spite of this, culture, and art in particular, must not refrain from the very act of writing. Metzger’s works are discussed as aesthetic responses to the “new categorical imperative” of Adorno, who addresses art’s failure in light of Auschwitz by pointing to aporias that constitute the inescapable condition of “barbarism.” This essay suggests that Metzger’s aesthetic articulations are nonbarbaric ruptures, in that they challenge our living on irresponsibly within the condition of barbarism via a constant confrontation with complicity. (shrink)

The limited aim here is to explain what John Dewey might say about the formulation of the grue example. Nelson Goodman’s problem of distinguishing good and bad inductive inferences is an important one, but the grue example misconstrues this complex problem for certain technical reasons, due to ambiguities that contemporary logical theory has not yet come to terms with. Goodman’s problem is a problem for the theory of induction and thus for logical theory in general. Behind the whole discussion of (...) these issues over the last several decades is a certain view of logic hammered out by Russell, Carnap, Tarski, Quine, and many others. Goodman’s nominalism hinges in essential ways on a certain view of formal logic with an extensional quantification theory at its core. This raises many issues, but the one issue most germane here is the conception of predicates ensconced in this view of logic. (shrink)

Following the declaration of the COVID-19 pandemic, Slavoj Žižek published a book called "Pandemic!: COVID-19 Shakes the World", which triggered a wave of reactions. In the book, he presents how the media ruthlessly exploited this subject, accentuating the panic. Many major studies have predicted the emergence of such a pandemic, but have been ignored by all governments, declaring them to be exaggerated. Žižek believes that the current pandemic has led to the bankruptcy of the current "barbaric" capitalism, wondering if the (...) path that humanity will take is a neo-communism (he describes himself as a "radical leftist" and a "communist in a qualified sense”). Žižek argues these ideas with the pandemic socio-political measures of German Chancellor Angela Merkel and the President of France, and the temporary nationalization of the railways by Boris Johnson. "Even [US President Donald] Trump transferred billions of dollars to the public. He issued calls to take over the private sector insofar as medical supplies are concerned." DOI: 10.13140/RG.2.2.12914.12484. (shrink)

Вивчення історії релігійної культури на українських теренах ранньомодерного часу передбачає ознайомленість, принаймні у загальних рисах, із тогочасним теологічним дискурсом. Загальне впровадження до основних тенденцій, напрямів, особливостей ранньомодерної католицької та протестантської теологій акумульовано у рецензованому «підручному компендіумі», який вийшов друком у рамках відомої серії Оксфордського університету «Oxford Handbook». Упорядниками видання є професор релігійної історії та історичної теології Ульріх Леенер (Університет Маркетта, США), проф. Річард Мюллер (Теологічна семінарія Кальвіна, США) та проф. Ентоні Ґреґ Роебер (Пенсильванський державний університет, США). Особливу увагу привертає проф. (...) Ульріх Леенер, який впродовж останніх років опублікував концептуальні монографії про ченців епохи Просвітництва, монастирські в’язниці ранньомодерного часу та декілька праць, присвячених католицькому Просвітництву. (shrink)

This is a chronological commentary on Kant’s writings through 1769 whose aim is to reveal that the ‘secret thorn’ driving Kant’s thought through its twists and turns is the scripture-based faith of the German Protestant tradition.

Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the (...) term “post-cinema” has been co-opted as a viable intermediary that accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. It was once presaged in 1992 that “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema, of which we are seeing the beginning, human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere.” Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. By locating post-cinema within the semblance of social media, we are allocated a newfound series of theoretical interventions, the most marked of which is that of media archeology vis-à-vis dialectical materialism. This is a lens through which Brian Winston has recently deftly decried Virtual Reality’s “empathy machine” utopic illusionism, bolstered by Chris Milk and a slew of neurohumanities researchers, steadily maintaining that the fundamental myth of “technologies of seeing” is in disguising “their artifice, their cultural formation and their ideological import.” However, this approach, which illuminates the bifurcation between Max Horkheimer/Theodor Adorno and Walter Benjamin, neglects what Benjamin identified as occurring to the work of art in the age of its technological reproducibility—a shift from a technology’s “cult value,” associated with the unique work, to its “exhibition value,” associated with the social act of viewing as part of a mass. Speaking to this divarication, Benjamin Barber, in Strong Democracy, foresaw new media’s two-fold potential—as they are organized and networked, new media and communications technologies possess the possibility to both energize citizen information and political participation but, simultaneously, to supplement the deterioration of public debate. As evinced by Mark Adrejevic’s concept of Infoglut, this two-pronged possibility has only been exacerbated by the interlocking relationship between the advent of a “glut” of information, post-truth politics, the demise of symbolic efficiency, and a renewed focus on the role of affect and emotion as “alternative modalities for thinking about the role of communication in a post-referential era.” Manuel Castells qualifies Barber’s pessimism, noting that the Internet can “be an appropriate platform for informed, interactive politics, stimulating political participation.. […] beyond the closed doors of political institutions,” but that the Internet, like any technology, “is shaped by its uses and users.” Thus, if there exists a positive correlation between exposure to post-cinema media artifacts and political participation, then I seek to explore the revelatory political possibilities of “exhibition value” by way of a particular “post-cinema” case study: the Marxist-Leninist Turkish hacktivist group Redhack’s YouTube-circulated documentary RED! (2013), a project that demanded—by way of the moving-image—to galvanize cyberprotest and democratize a “hacktivist commons. (shrink)

Why was mythology of vital importance for the romantics? What role did mythology play in their philosophical and literary work? And what common sources of influence inspired these writers across Britain and Germany at the turn of the nineteenth century? In this wide-ranging study, Owen Ware argues that the romantics turned to mythology for its potential to transform how we see ourselves, others, and the world. Engaging with authors such as William Blake, Friedrich Schlegel, Samuel Taylor Coleridge, Friedrich von Hardenberg (...) (Novalis), and Percy Bysshe Shelley, Ware shows why they believed that neither perception nor reason alone can sustain a vision of the unity of all things. A new mode of cognition is necessary, they claimed, one that revives the poetic origin of mythology and reveals our own mythmaking powers. _Return of the Gods_ investigates the rise of mythology in the British and German traditions and the romantics’ practices of reinterpreting old myths and inventing new ones. Their shared aim was nothing less than to elevate the human imagination to higher stages of self-development in which philosophy and poetry, as well as intellect and imagination, form an integrated whole. Far from calling us to return to the past, the romantics’ work on mythology points us to a future where we can live in harmony with the personal, social, and natural worlds we inhabit. Owen Ware combines intellectual history with philosophical analysis and literary criticism to offer a bold reflection on why mythology mattered for the romantics—and why it still matters today. (shrink)

Este artículo pretende establecer una relación entre la frase “Dios ha muerto” y el tema de la ciencia en Nietzsche. Para tal fin, se hará un análisis de la frase “Dios ha muerto” a la luz de la reciente interpretación hecha en el mundo alemán. En segundo lugar, nos ocuparemos de los conceptos de ausencia y caos para determinar si dichas nociones pueden ser consideradas como un paso ulterior a la “muerte de Dios”. Finalmente, revisaremos el tema de la ciencia: (...) las opiniones que Nietzsche tenía de la misma, las implicaciones que se desprenden de sus obras y, sobre todo, el nexo directo de la ciencia con dicha muerte. El vínculo entre estos temas permite una nueva comprensión del futuro de las investigaciones sobre el filósofo de Röcken. This article aims to establish a relationship between the phrase “God has died” and the theme of science in Nietzsche. For this purpose, an analysis of the phrase “God has died” will be made in the light of the recent interpretation made in the German world. Secondly, we will deal with the concepts of absence and chaos to determine if these notions can be considered as a further step to the “death of God”. Finally, we will review the subject of science: Nietzsche's views on it, the implications that stem from its works and, above all, the direct nexus of science with that death. The link between these themes leads to a new understanding of the future of research on the philosophy of Röcken. (shrink)

This book is a new interpretation of Schelling's path-breaking 1809 treatise on freedom, the last major work published during his lifetime. The treatise is at the heart of the current Schelling renaissance—indeed, Heidegger calls it "one of the most profound works of German, thus of Western, philosophy." It is also one of the most demanding and complex texts in German Idealism. By tracing the problem of ground through Schelling's treatise, this book provides a unified reading of the text, (...) while unlocking the meaning of its most challenging passages through clear, detailed analysis. This analysis shows how Schelling's implicit distinction between senses of ground is the key to his project of constructing a system that can satisfy reason while accommodating objects that seem to defy rational explanation—including evil, the origins of nature, and absolute freedom. This allows Schelling to unite reason and mystery, providing a rich model for philosophizing about freedom and evil today. (shrink)

in this article, we experience the exercise of a screen ethnocartography in agency with the film Beasts of the southern wild by the director Benh Zeitlin. We tested a film experimentation that led to a renewed writing ways of life. We bet on cinema and childhood as possibilities for creating cracks and a stutter of language for the creation of new worlds and ways of living. In cinema images less as a representation, and more as art that proposes (...) incompleteness, fissure, a hole in appearances. In childhood as an exercise of differentiation and resistance to dominant narratives in a given context. In childhood as a limiting experience of/in language, tirelessly exposing the human condition in front of the world. Thus, accompanying the main character of the plot, little Hushpuppy — a six-year-old resident of the “Charles Doucet Island”, experienced as “the Bathtub” —, we are shaken by the forms of life there, considered bestial and not recognized by city humans. Hushpuppy, his father and friends resist attempts to destroy their existence by the forms of the state that try to domesticate them, imbued with the logic that primitives must come to civilization, just as children must become adults. (shrink)

Cinema acts as a significant mediator between urban reality and the imaginary sensory experience of the fictive world. Viewing the city through the lens of a camera enables us to build new narratives. Films have captured port cities within the flows of, goods, people, and ideas, making them ever-present in shared memories, historical narratives, and urban nostalgia. Cultural production plays a role in the on-going construction of local port cultures, whether films, festivals, music, literature, theater, advertisements, or events. Telling (...) the story of the port city – it's past, present, and future; its buildings and its people – contributes strongly to the creation of port city cultures.[i] The big screen can help viewers to perceive complex port city regions, learning from their history, understanding cultural values and developing shared urban narratives to tackle the upcoming challenges. In a broader sense, port city’s ‘Cine-scape’—to use a term coined by Richard Koeck,[ii] puts the cinematic approach to port cities into the spotlight. (shrink)

Do cinematic representations of the natural world only put us in further remove from nature? A phenomenological approach shows that nature screened can produce a richer understanding of human–nature relations as these unfold in visual contact. If vision accesses the world in a unique relationship of sight, in which our contact with the world is defined by vision prior to any other interaction, the cinema offers a special setting for a phenomenology that seeks to draw-out the significance of human (...) relations with the world of nature that come before utility or action. A detailed analysis of the opening sequence of Terrence Malick’s The New World demonstrates how the act of viewing positions the viewer in relation to what she sees. This position, prior to action and with the impossibility to act is seen here as an ethical position, a position of responsibility in the Levinasian sense. Merleau-Ponty’s phenomenology of vision is put here to use alongside the hermeneutic phenomenology of Heidegger and the existential responsibility of Levinas, while subverting Levinas’ anthropocentrism and rejecting Heidegger’s limiting view of technology. The approach taken in this essay, of bringing phenomenology into productive and reflexive interaction with ecology and with film is dubbed an “eco-film-phenomenology.”. (shrink)

Abstract (German version follows): -/- This paper develops a new proposal for a coherentist business ethic in which ethically justified and empirically supported proposed solutions to economic problems are developed through a coherentist process of adjustments between the three levels of (1) conception of problem and its solution, (2) positive economic theory, and (3) ethical theories. Using an example, it illustrates how in this framework, Homann's business ethics gains in validity and relevance but loses its claim to universality. // (...) -/- Diese Arbeit entwickelt eine kohärentistische Wirtschaftsethik, in der ethisch begründete und empirisch gestützte Lösungsvorschläge für ökonomische Probleme durch einen kohärentistischen Anpassungsprozess zwischen den drei Ebenen (1) Auffassung von Problem und Lösungsansatz, (2) positive ökonomische Theorie, sowie (3) ethischen Theorien erarbeitet werden. Anhand eines Beispiels wird illustriert, wie Homanns Wirtschaftsethik in diesem Rahmen an Validität und Relevanz gewinnt, jedoch ihren Universalitätsanspruch verliert. (shrink)

Corey W. Dyck presents a new account of Kant's criticism of the rational investigation of the soul in his monumental Critique of Pure Reason, in light of its eighteenth-century German context. When characterizing the rational psychology that is Kant's target in the Paralogisms of Pure Reason chapter of the Critique commentators typically only refer to an approach to, and an account of, the soul found principally in the thought of Descartes and Leibniz. But Dyck argues that to do so (...) is to overlook the distinctive rational psychology developed by Christian Wolff, which emphasized the empirical foundation of any rational cognition of the soul, and which was widely influential among eighteenth-century German philosophers, including Kant. In this book, Dyck reveals how the received conception of the aim and results of Kant's Paralogisms must be revised in light of a proper understanding of the rational psychology that is the most proximate target of Kant's attack. In particular, he contends that Kant's criticism hinges upon exposing the illusory basis of the rational psychologist's claims inasmuch as he falls prey to the appearance of the soul as being given in inner experience. Moreover, Dyck demonstrates that significant light can be shed on Kant's discussion of the soul's substantiality, simplicity, personality, and existence by considering the Paralogisms in this historical context.Readership: Scholars and advanced students in history of philosophy, especially those working on Kant. (shrink)

Over the last thirty years, once staunchly historical cinema scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, and André Gaudreault have abandoned history for historiography and film studies for media archaeology. With increasing attention on the “database” as a symbolic metaphor for postmodernity and the decentered, networked tenants of the global present, cinema is taking on the characteristics of new media, existing in intertextual space. Thus, the term “post-cinema” has been co-opted as a viable intermediary that (...) accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. As Giorgio Agamben wrote in 1992, “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema…human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere." Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. (shrink)

Eighteenth-century German writers with broad interests in natural history, and in particular, in the kind of ethnographic reports typically included in travel and expedition narratives, had to be able to access and read the original reports or they had to work with translations. The translators of these reports were, moreover, typically forced more than usual into the role of interpreter. This was especially the case when it came to accounts wherein vocabulary did not exist or was at least not (...) settled, and more importantly where scientific understanding was uncertain or altogether lacking, a situation that could only make the creation of semantic categories all the more significant. With this state of affairs in mind, this essay concentrates on Immanuel Kant’s work to develop a specialised racial vocabulary, and does so in a manner that reveals the importance of Buffon’s account of variation as a resource for Kant, even as Kant sought to position the new vocabulary as an improved template for transforming taxonomy or Naturbeschreibung into a genuine historical science or Naturgeschichte. (shrink)

Summer with Monika (Ingmar Bergman, 1952) was a point of reference for filmmakers searching new ways of filmmaking during the 1960s and 1970s because it anticipated the characteristic reflexivity of cinematic modernity because of the protagonist’s look at the camera. By unexpectedly bursting into the narrative, this gaze becomes a self-conscious strategy aimed at disarticulating not only the cinematic fiction, but also Monika’s fiction, which has symbolically appropriated the imaginary world projected by cinema.

The German word Destruktion was used by Heidegger in the sense that philosophy should destroy some ontological concepts and the everyday meanings of certain words. Tradition allows the transmission of knowledge and sensations of continuity and connection with the past, but it must be critically evaluated so that it does not perpetuate certain prejudices. According to Heidegger, tradition transmits, but it also conceals. Tradition induces self-evidence and prevents us from accessing the origin of concepts. It makes us believe that (...) we do not need to return to that origin. Making tradition transparent dissolves the concealments it has provoked. Here I will apply this idea to the mental and the physical by suggesting that the mind-body problem has inherited occultations that are born in Descartes himself. As a result, what could be a new philosophical framework for the research in consciousness emerges: That as an individual cognitive being I cannot avoid splitting reality into what I am and what I am not, extending then the individual duality to a collective error transmitted culturally. (shrink)

The set of symbols of success is a set of cultural determinants of activity and their functioning is connected with the fundamental functions of culture as a system of historically developing supra-biological programs of life. The relevance of considering the symbolization of success in modern cinema is due to several factors. First, according to the majority of art historians and film theorists, cinema remains the leading, most widespread form of art throughout the 20th and 21st centuries. If we (...) understand art as a figurative comprehension of reality, its process and result, which is expressed in works, then the symbolization of success in cinema can be considered one of the most common practices for representing the determinants of activity through a figurative comprehension of reality. An analysis of this process in modern cinematography reveals the mechanisms of functioning of one of the elements of the totality of joint life programs as a segment of modern culture, limited by the boundaries of film communication. Secondly, the development of cinematography largely determines the fundamental changes in the culture of the 20th century. and there is no reason to believe that its influence is diminishing in recent times. Consequently, modern cinema remains one of the most important areas of cultural life, the study of which allows expanding scientific understanding of the patterns of changes taking place in culture. Thirdly, the development of information and communication technologies at the end of the 20th century. led to the fact that the value complexes of traditional cultures of different peoples of the world and expansive global neoplasms of a supranational nature (mass, elite, corporate, fandom, etc.) are simultaneously transmitted into the space of personal culture. Cinema in the new conditions only strengthened its position as the leading relay of value complexes. The special socio-forming qualities of cinema were noted both by its pioneers (L. Delluk, A. Dovzhenko, Ch. Chaplin, S. Eisenstein, etc.), scientists (B. Balash, V. A. Gottwald, E. M. Samuylenko, etc.) , and the ideologists of cultural revolutions at the beginning of the 20th century. G. Turner, in particular, drew attention to the fact that “to achieve control over the everyday representation of the world for a nation means to acquire strong power over the representation of individuals about themselves and about each other”, referring to the threat to the integrity and coherence of an individual’s understanding of the world under the pressure of foreign cultural domination over film communication. In this regard, the search for ways to relevantly measure the trends in the development of modern culture by marking in cinema the cultural determinants of activity, which are the symbols of success, seems to be an urgent theoretical and scientific-practical task, the solution of which expands the predictive potential of culture and its projective possibilities. (shrink)