The German text of Cohen’s Spinoza on State & Religion, Judaism & Christianity (Spinoza über Staat und Religion, Judentum und Christentum) first appeared in 1915 in the Jahrbuch für jüdische Geschichte und Literatur. Two years before, in the winter of 1913, Cohen taught a class and a seminar on Spinoza’s Theological-Political Treatise at the Hochschule für die Wissenschaft des Judentums. This was Cohen’s first semester at the Hochschule, after retiring from more than thirty years of teaching at the University of (...) Marburg. Cohen’s fame at the time was at its zenith, and his move to the Hochschule was a cause for celebration and excitement. According to the testimony of some students who attended the Tractatus Theologico-Politicus seminar, Cohen left no place for any expression of dissent (regrettably, the academy frequently encourages such authoritarian behavior). The text of Spinoza on State, which was the product of this seminar, still bears the marks of this “didactic” attitude. It is bombastic and feebly argued. Thus, in one moment of emotional crescendo in the text, we can literally hear Cohen shout: When Spinoza, with merciless severity, makes his own nation the object of contempt – at the time that Rembrandt lived on the same street and immortalized the ideal type of the Jew - no voices rises in protest against this humanly incomprehensible betrayal. Such patriotic rhetoric is quite typical of Cohen’s Spinoza on State, as the work reads more like a series of rants against the devil incarnated (“the demonic spirit of Spinoza”) in the figure of the traitor from Amsterdam than like a sustained and serious philosophical polemic. From time to time, one can observe hints of critical arguments, but hardly any are fleshed out. The text is also replete with rudimentary factual and interpretative errors. Thus, when Cohen argues that Spinoza traces his pantheism to Jewish sources, Cohen erroneously cites Spinoza’s reference in E2p7s to “some of the Hebrews [quidam Hebraeorum]” who argued for the identity of Sekhel, Maskil, and Muskal (the Intellect, the Intellecting Subject, and the Intellected Object) – a Maimonidean doctrine that has nothing to do with pantheism – while the text Cohen clearly had in mind was Spinoza’s claim, in Letter 73, that the traditions (traditionibus) of the “ancient Hebrews [antiquis Hebraeis]” agree with Spinoza’s claim that “all things are in God.” Similarly, and on the very same page, Cohen ascribes to Spinoza the claim that “the God of the Old Testament is only a body,” a claim which is nowhere to be found in Spinoza’s works, and which can be inferred from Spinoza’s text only through a patent fallacy. If I may add one last example, consider the following passage from Cohen’s Spinoza on State: [For Spinoza] divine law is grounded in our mind. Yet this does not mean that our mind bears responsibility for producing and obeying the law. Instead, it means that, by definition, the human mind and God are identical, inasmuch as He exists in the human mind. Hardly any claim in this brief passage is correct. Yet, what is most striking is Cohen’s derivation of the identity of God and the human mind from the claim that God exists in the human mind. If I exist in North America, this obviously does not imply that I am identical to North America (there are, for example, a couple of North American porcupines and alligators that are distinct from me). What rule of inference Cohen sought to employ in this argument, and how this impressive inference of the identity of God and the human mind is supposed to square with Cohen’s view of Spinoza as a pantheist – i.e., as considering the physical nature to be divine – is beyond my grasp. Instead of tracking down the dozens of crude errors and fallacies in Cohen’s text, I would like to concentrate here on one crucial issue: Cohen’s critique of Spinoza’s pantheism. By doing this, I will have to pass silently over a couple of surprising agreements between the two figures, such as the (false) claim that all of the prophets of the Hebrew Bible taught the same universal and simple morality. My discussion of pantheism will be divided into two sections. In the first, I will examine Cohen’s understanding of Spinoza’s pantheism. In the second, I will briefly examine the historical validity of Cohen’s claim that pantheism is a Christian doctrine, diametrically opposed to Judaism. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

Spinoza’s interpretation of the election of the Hebrews in the third chapter of the Theological Political Treatise enraged quite a few Jewish readers of the nineteenth and twentieth centuries. The rise of nationalism, and the demand of loyalty to one’s own genos brought about a certain style of patriotic writing aimed at Spinoza’s “betrayal.” In a series of lectures on the eve of the Great War, Hermann Cohen portrayed Spinoza as a person of “demonic spirt” and as “the great enemy (...) who emerged from our midst.” In a stream of words more akin to shouting than to analytic discourse, Cohen protested against what he took to be the universal complacency regarding Spinoza’s treachery: “When Spinoza, with merciless severity, makes his own nation the object of contempt – at the time that Rembrandt lived on the same street and immortalized the ideal type of the Jew - no voice rises in protest against this humanly incomprehensible betrayal.” Cohen was right in identifying in Spinoza an absence of ethnic patriotism. I, for one, find this absence a virtue rather than a vice, and in this chapter I will argue, inter alia, that in rejecting ethnic normativity Spinoza was consistent with a dominant strand of rabbinic thought. What precisely was so offensive in Spinoza’s words in chapter three of the TTP? A common reading of this chapter suggests that Spinoza presents the election of the Hebrews as merely political and not spiritual in nature, thus downgrading the importance of the election. This reading is not absolutely groundless, but it is highly imprecise, for as we shall shortly see, for Spinoza, God’s (genuine) election of the Hebrews indicates the political weakness of their state, rather than its strength. Apart from pointing out this important corrective, I will also attempt in this essay to evaluate Spinoza’s critique of the election of the Hebrews, the result of which might lead us to some highly unexpected conclusions. In the first section of this chapter I present an outline of Spinoza’s interpretation of the connection between the Hebrews’ belief in being chosen, and the xenophobic nature of their ancient state. In the second section, I discuss Spinoza’s interpretation of the election of the Hebrews in chapter three of the TTP, and show that on Spinoza’s sardonic reading it was nothing but luck which allowed the Hebrew state to survive for a rather long time in spite of its poor political constitution. The third and final part provides a defense of Spinoza’s critique of the notion of chosenness. I will argue, first, that chosenness has never been granted the status of theological doctrine or principle of faith within rabbinic Judaism. I will then point out the significant religious problems with the notion of chosenness, suggesting however two exceptions in which belief in chosenness might still be defensible. I will conclude this section with a discussion of rabbinic views on the conversion of minors, arguing that according to the mainstream rabbinic view, being a Jew is a merit only on the condition that a person is pious, a view which is not far from Spinoza’s own claims in the third chapter of the TTP. (shrink)

In this essay, I briefly review ten of the best bio flicks of artists. After laying out my criteria for assessing biographical films about artists, I review my ten choices. These films are: The Agony and the Ecstasy; Frida; Local Color; The Moon and Sixpence; Girl with the Pearl Earring; Pollock; Rembrandt; Moulin Rouge; Modigliani; and Lust for Life. For each film, I try to explain the ways in which the directors were able to show the artist’s creative processes (...) and personal challenges. (shrink)

Este artículo explora ciertas conexiones entre la representación de la mortalidad en el retrato y el tratamiento filosófico de nuestra necesidad de ser reconocidos por los demás. En primer lugar, se examina la conexión que establece Georg Simmel en su estudio filosófico sobre Rembrandt entre la capacidad del artista para representar en sus retratos individuos irrepetibles, y su capacidad para capturar la finitud de los mismos en tanto que seres mortales. Tras señalar que ninguna de las explicaciones de Simmel (...) sobre el carácter trágico de los sujetos de los retratos de Rembrandt resulta completamente satisfactoria, recupero los escritos de Rousseau sobre nuestra necesidad de ser reconocidos por los otros, para argumentar que consideramos que los otros son insustituibles porque son capaces de satisfacer esta necesidad ; y que es, precisamente, a esta clase de insustituibilidad a la que apunta Simmel al enlazar los conceptos de individualidad y mortalidad en sus escritos sobre los retratos de Rembrandt. A partir de este punto, sostengo que las ideas anteriores son, de hecho, centrales para la comprensión de la escritura psicoanalítica de Melanie Klein, y, en particular, al planteamiento de Klein sobre la percepción de las otras personas por parte de los niños, que relaciona con sus ansiedades acerca de la posibilidad de la pérdida irreparable de esas personas; su planteamiento de que la condición de persona del otro se debe a que los percibimos como fuentes de reconocimiento; y su análisis de la pintura de retratos como una actividad con la que abordar estas ansiedades. (shrink)

Since the beginning of the 21st century, technologies like neural networks, deep learning and “artificial intelligence” (AI) have gradually entered the artistic realm. We witness the development of systems that aim to assess, evaluate and appreciate artifacts according to artistic and aesthetic criteria or by observing people’s preferences. In addition to that, AI is now used to generate new synthetic artifacts. When a machine paints a Rembrandt, composes a Bach sonata, or completes a Beethoven symphony, we say that this (...) is neither original nor real art, but simply the complex imitation and reproduction of existing products of human culture. We face the old question concerning the nature of creativity: what kind of recombination of ideas, unusual analogies, and conceptual connections are considered the mark of originality? Can AI produce artworks? Could machines reach a point at which we consider them genuinely creative? We also need to investigate the challenges posed by AI-art to the notion of authoriality: Who is the author of an artificially generated artifact? An artificial system could be considered just an artist’s and a programmer’s tool. However, we are also fascinated by the idea of autonomous artificial creativity in the aesthetic domain, as a manifestation of highly intelligent behavior. This paper will try to define some key questions around what could it mean to consider a machine creative or even equipped with artistic intentionality. (shrink)

Maimonides’ Latin translation of Moreh Nevukhim | Guide for the Perplexed, was the most influential Jewish work in the last millennia (Di Segni, 2019; Rubio, 2006; Wohlman, 1988, 1995; Kohler, 2017). It marked the beginning of scholasticism, a daughter of Judaism raised by Jewish thinkers, according to historian Heinrich Graetz (Geschichte der Juden, L. 6, Leipzig 1861, p. xii). Printed by Gutenberg's first mechanical press, its influence in the West went as far as the Fifth Lateran Council (1512 — 1517) (...) "where scholars were encouraged to remove the difficulties which seemed to divide the whole of theology and philosophy (Leibniz, Théodicée, 11)." For centuries, the Guide revolutionized the curriculum of school instruction by reintegrating the natural laws of thought in the sphere of faith (the fourth of which became Leibniz’ Principle of sufficient reason). This complete collection of notes expounds the ideas of the Guide and features all the passages selected and rewritten by Leibniz. This first complete annotated bilingual translation of the original manuscripts in Latin serves as an entry point to the faith in conformity with Reason. This complete collection of notes expounds the ideas of the Guide as selected and rewritten by Leibniz, the famous mathematician inventor of computer arithmetic, considered the last universal genius. The first complete bilingual translation in three centuries features on the front cover Rembrandt's Philosopher in meditation, and a recommendation from Leibniz's himself on the back: "Rabbi Maimonides' excellent book, A Guide for the Perplexed, is more philosophical than I imagined and worthy of careful reading." According to Malbim’s translator, Noah Rosenbloom, the book’s epigraph indicates that nineteenth-century Rabbi Leibush ben Yehiel Michel Wisser, also known as Malbim, was familiar with Leibniz’ Theodicy. In Leibniz’ anthology of the Guide, the reader can get a detailed glimpse of Leibniz' impressions of Maimonides. The Foreword by Leibniz' translator Lloyd Strickland suggests that there were sympathies and perhaps even overlaps between the thoughts of both universal luminaries. -/- . (shrink)

The Louvre Museum is the largest of the world's art museums by its exhibition surface. These represent the Western art of the Middle Ages in 1848, those of the ancient civilizations that preceded and influenced it (Oriental, Egyptian, Greek, Etruscan and Roman), and the arts of early Christians and Islam. At the origin of the Louvre existed a castle, built by King Philip Augustus in 1190, and occupying the southwest quarter of the current Cour Carrée. In 1594, Henri IV decided (...) to unite the palace of the Louvre with the palace of the Tuileries built by Catherine de Medicis. The Cour Carrée was built by the architects Lemercier and then Le Vau, under the reign of Louis XIII and Louis XIV. The Department of Paintings currently has about 7,500 paintings (of which 3,400 are exposed), covering a period that goes from the Middle Ages to 1848 (date of the beginning of the Second Republic). By including the deposits, the collection is, with 12,660 works, the largest collection of ancient paintings in the world. With rare exceptions, the works after 1848 were transferred to the Musée d'Orsay when it was created in 1986. CONTENTS: Louvre Museum - Variety of exhibited works - The Royal Palace - The collections - - Eastern antiquities - - Arts of Islam - - Egyptian Antiquities - - Greek, Etruscan and Roman Antiquities - - Paintings - - - French school - - - Northern Schools (Flanders, Netherlands, Germany) - - - Italian School - - - Other schools Painting - Definitions - Painting genres - - The landscape - - Still life Paintings - FRANCOIS BOUCHER - - Vulcan presenting arms to Venus for Aeneas - RAPHAEL - - Portrait of Baldassare Castiglione - RUBENS - - Helena Fourment with children - LOUIS DAVID - - Madame Récamier - REMBRANDT - - Portrait of Heindrickje Stoffels - VELAZQUEZ - - Portrait of the Infanta Margarita - SIMONE MEMMI - - Jesus Christ walking on Calvary - JAN STEEN - - The Bad Company - HANS HOLBEIN - - Erasmus - CORREGGIO - - Mystic Marriage of Saint Catherine - LANCRET - - Conversation - JAN VAN DER MEER (VERMEER) - - The Lacemaker - VAN DYCK - - Charles I at the Hunt - FRANÇOIS CLOUET - - Elisabeth of Austria (1554-1592), Wife of Charles IX and Queen of France (1570 - 1574) - DELACROIX - - The Barque of Dante - EL GRECO - - Saint Louis, King of France, and a page - REMBRANDT - - Pilgrims at Emmaus (The Supper at Emmaus) - GERARD DAVID - - Marriage at Cana - RAPHAEL - - Portrait of Dona Isabel de Requesens, Vice-Queen of Naples - RUBENS - - La Kermesse (The Village Fête, or Noce de village) - FRANS HALS - - The Gypsy Girl - DECAMPS - - The Sonneurs - HOLBEIN THE YOUNGER - - Anne of Cleves - P. PRUD’HON - - Psyche transported to Heaven - PHILIPPE DE CHAMPAIGNE - - Portrait of Richelieu - LANCRET - - The Autumn - L. DAVID - - Madame Seriziat - COROT - - Recollection of Mortefontaine - LEONARDO DA VINCI - - La belle ferronnière - CORREGGIO - - Venus and Cupid with a Satyr - WATTEAU - - Pilgrimage to Cythera (The Embarkation for Cythera) - NICOLAS POUSSIN - - The Inspiration of the Poet - PRUD’HON - - The Empress Josephine (1763-1814) - FRAGONARD - - The Bathers - H. RIGAUD - - Louis XIV (1638–1715) - TERBURG - - The Concert - LEOPOLD ROBERT - - The Pilgrimage to the Madonna of the Arch - LARGILLIERE - - Family Portrait - MANTEGNA - - Parnassus - MEMLING - - The Virgin and Child between St James and St Dominic - FRAGONARD - - The Music Lesson - JEAN VAN EYCK - - The Virgin of chancellor Rolin - PAOLO VERONESE - - Susannah and the Elders - FRANÇOIS BOUCHER - - Diana leaving her bath - GÉRICAULT - - The Raft of the Medusa - MURILLO - - Assumption of the Virgin - CLAUDE GELLEE (LORRAIN) - - Ulysses returning Chryseis to her father (Marine, setting sun) - INGRES - - Madame Riviere - E. MURILLO - - The Young Beggar - GREUZE - - The Broken Pitcher - PIETER DE HOOCH - - Card players in an opulent interior - POUSSIN - - Et in Arcadia ego - QUENTIN MATSYS - - The moneylender and his wife - ANDREA SOLARIO - - Madonna with the Green Cushion - TITIEN - - Woman with a Mirror - DAVID TENIERS (the Younger) - - The Works of Mercy - LEONARDO DA VINCI - - Mona Lisa (La Gioconda) - Armand Dayot . (shrink)

This paper explores some connections between depictions of mortality in portrait-painting and philosophical (and psychoanalytic) treatments of our need to be recognized by others. I begin by examining the connection that Georg Simmel makes in his philosophical study of Rembrandt between that artist’s capacity for depicting his portrait subjects as non-repeatable individuals and his depicting them as mortal, or such as to die. After noting that none of Simmel’s explanations of the tragic character of Rembrandt’s portrait subjects seems (...) fully satisfactory, I then turn to Rousseau’s writing on our need for the recognition of others in order to argue that (1) it is at least as sources for the satisfaction of this need that other persons figure for us as irreplaceable (in a way that contrasts with the kinds of satisfaction that intersubstitutable things afford us); and that (2) it is exactly this kind of irreplaceability that Simmel is gesturing at in connecting the concepts of individuality and mortality in his writing on Rembrandt’s portraits. For the remainder of the paper I argue that the foregoing ideas are in fact central to the psychoanalytic writing of Melanie Klein, and in particular (a) Klein’s understanding the infant’s apprehension of other persons as internally related to their anxieties about the possibility of those persons’ irretrievable loss; (b) her understanding that it is as sources of recognition that others’ personhood is made salient to us; and (c) her treatment of portrait-painting as an activity for working through those aforementioned anxieties. (shrink)

HISTÓRIA DA SOCIOLOGIA: O DESENVOLVIMENTO DA SOCIOLOGIA I -/- A SOCIOLOGIA NA ALEMANHA -/- -/- HISTORY OF SOCIOLOGY: THE DEVELOPMENT OF SOCIOLOGY I -/- SOCIOLOGY IN GERMANY -/- -/- -/- Emanuel Isaque Cordeiro da Silva – IFPE-BJ, CAP-UFPE e UFRPE. E-mail's: [email protected] e [email protected]. WhatsApp: (82)9.8143-8399. -/- PREMISSA -/- Na Alemanha, a Sociologia foi profundamente influenciada pela discussão filosófica, histórica e metodológica que se desenvolveu entre o final do século XIX e o início do século XX. Em seus fundamentos encontra-se (...) o pensamento de vários filósofos, como Johann Gottlieb Fichte (1762 -1814), Friedrich Wilhelm Joseph von Schelling (1775 -1854), Friedrich Daniel Ernst Schleiermacher (1768 -1834), Georg Wilhelm Friedrich Hegel (1770 -1831) e Friedrich W. Nietzsche (1844-1900). -/- O representante mais expressivo da Sociologia alemã é Max Weber (1864-1920). Outros pensadores, entretanto, contribuíram significativamente para a formação e o desenvolvimento da Sociologia na Alemanha, entre os quais Ferdinand Tönnies (1855 -1936), Werner Sombart (1863-1941), Georg Simmel (1858-1918) e os estudiosos que a partir da década de 1920 constituíram a chamada Escola de Frankfurt. -/- A obra desses autores liga-se fortemente ao processo de unificação alemã, promovido somente após o triunfo de Otto von Bismarck na Guerra Franco-Prussiana (1871), e à aceleração da industrialização alemã. Esses dois fatores conferiram à Alemanha uma situação muito diferente da de outros países europeus. -/- A alteração nas estruturas de poder, na Alemanha, não ocorreu por meio de uma revolução, como na França, mas por um acordo entre a bur-guesia industrial e os grandes proprietários de terra, tendo em vista uma transição mais adequada aos seus interesses. -/- Vale salientar, em nota, que após a Guerra Franco-Prussiana (1870-71), os príncipes alemães se reuniram no palácio de Versalhes (França), onde aclamaram Guilherme I, da Prússia, como o imperador alemão. Assim surgia o Império da Alemanha, em 1871. -/- A burguesia industrial não estava preocupada em alterar de modo significativo a estrutura fundiária, e os grandes proprietários, que se encastelaram na burocracia estatal, não permitiram a formulação de uma legislação trabalhista que prejudicasse os interesses da burguesia. Assim se fez uma mudança “por cima”, sem levar em conta os interesses dos trabalhadores urbanos ou rurais. Destacam-se aqui dois importantes soció-logos alemães: Georg Simmel e Max Weber, pela presença no Brasil. Depois, brevemente, falar-se-á aqui da famosa Escola de Frankfurt. -/- 1. Georg Simmel (1858-1918) -/- Nascido em Berlim, Georg Simmel é um pensador difícil de enquadrar em alguma tendência ou campo específico do conhecimento. Vamos ler um trecho do que escreveu sobre ele o sociólogo brasileiro Leopoldo Waizbort: -/- Quem tentar esboçar a fisionomia de Georg Simmel (1858-1918), logo se encontra em meio a dificuldades que são características próprias daquilo que se quer apreender. Simmel sempre postulou para seu próprio pensamento uma mobilidade e uma plasticidade para se adaptar ao seu objeto – uma multiplicidade de direções, uma defesa do fragmento –, que se opõem a toda tentativa de fixação e acabamento, a toda pretensão de sistema. Por isso todos os rótulos que lhe são atribuídos, apesar de possuírem seu teor de verdade, sempre soam tão falsos: vitalismo, relativismo, esteticismo, formalismo, irracionalismo, psicologismo, impressionismo e tantos mais. Disto também é exemplo o fato de Simmel, hoje considerado, ao lado de Max Weber e Ferdinand Tönnies, um dos “pais” da sociologia alemã, não poder ser classificado sem mais como “sociólogo”, sob pena de se perderem várias outras dimensões que são essenciais ao seu pensamento (WAIZBORT, 2000. p. 11). -/- G. Simmel foi o último dos sete filhos de um próspero comerciante judeu convertido ao cristianismo. Com a morte do pai, herdou uma fortuna considerável que lhe permitiu independência para desenvolver a vida acadêmica. Estudou História e Filosofia na Universidade de Berlim, onde foi aluno das mais importantes figuras acadêmicas da época. Em 1881, defendeu uma tese sobre Immanuel Kant e recebeu o título de doutor em Filosofia. Entre 1885 e 1914, lecionou Filosofia, Ética e Sociologia na Universidade de Berlim, mas nunca foi incorporado formalmente à universidade. -/- Ocupou o cargo de professor titular de Filosofia somente em 1914, em Estrasburgo, cidade onde permaneceu até a morte, em 1918. -/- Na virada do século XIX para o século XX na Alemanha, houve uma intensa efervescência filosófica, cultural e artística, cenário em que se desenvolveram a psicanálise, a teoria da relatividade, o positivismo lógico e a música atonal. Nesse cenário, Simmel tornou-se um conferencista muito aclamado e escreveu artigos e ensaios sobre os mais variados temas da Filosofia, como lógica, teoria do conhecimento, ética, estética ou metafísica, além de temas da Psicologia, da Sociologia, da História e da religião. -/- Escreveu também muitas biografias (de Johann Wolfgang von Goethe, de Friedrich Nietzsche, de Immanuel Kant e de Rembrandt, entre outros). -/- Suas obras sociológicas mais importantes são: Da diferenciação social (1890), A filosofia do dinheiro (1907), Sociologia (1908) e Questões fundamentais da Sociologia (1917). Georg Simmel teve influência marcante no desenvolvimento da Sociologia na Alemanha, nos Estados Unidos (em especial na Escola de Chicago) e na França (em Durkheim e seus colaboradores diretos). Suas obras foram traduzidas para o francês e o inglês, muitas vezes antes de ser publicadas em alemão. -/- 2. Max Weber (1864-1920) -/- Max Weber nasceu em 21 de abril de 1864, em Erfurt, e morreu em Munique, em 1920. De família abastada, teve uma educação formal de boa qualidade, o que lhe permitiu uma erudição notável. Com 18 anos, ingressou na Universidade de Heidelberg, onde escolheu como área de concentração o Direito e como correlatas a História, a Filosofia e a Economia. Nessa universidade, teve o primeiro contato com os escritos de Immanuel Kant e com neokantianos, os quais nunca deixou de lado em seus estudos. -/- Em 1889, concluiu o doutorado em Direito Comercial com uma tese sobre a história das sociedades comerciais da Idade Média. Em 1891, defendeu outra tese: A importância da história agrária romana para o direito público e privado. Em 1894, tornou-se professor de Economia na Universidade de Freiburg e, dois anos depois, transferiu-se para a Universidade de Heidelberg. -/- A partir de 1897, acometido de uma depressão profunda, não conseguiu desenvolver as atividades acadêmicas. Entre 1902 e 1903, retomou as atividades intelectuais, mas fora da universidade, pois não tinha condições psicológicas para ministrar aulas. No ano seguinte, tornou-se coeditor do Arquivo de Ciências Sociais, publicação muito importante para o desenvolvimento dos estudos sociológicos na Alemanha. -/- Entre agosto e dezembro de 1904, viajou, com Ferdinand Tönnies e Werner Sombart, aos Estados Unidos, por ocasião da Exposição Universal de Saint-Louis, onde entrou em contato com as igrejas e seitas protestantes daquele país e também com vários escritos de Benjamin Franklin (1706-1790), o que foi fundamental para suas pesquisas sobre a relação entre a ética protestante e o capitalismo. -/- Em 1907, recebeu uma herança significativa. A partir de então, dedicou-se exclusivamente à investigação histórica e sociológica. Em 1909, colaborou na fundação da Sociedade Alemã de Sociologia. Ao ser deflagrada a Primeira Guerra Mundial, em 1914, Weber foi convocado como oficial da reserva para dirigir um hospital militar. Entre as atividades no hospital encontrou tempo para continuar a escrever partes do livro que foi publicado postumamente por sua esposa, com o título Economia e sociedade. Além disso, desenvolveu estudos sobre ética econômica e as religiões universais e escreveu uma série de artigos para os grandes jornais da Alemanha. Nesses artigos, criticou a estrutura partidária do país e a burocratização das esferas políticas na Alemanha, afirmando que aquela situação ainda era a herança de Otto von Bismarck. -/- Em 1917, pronunciou uma conferência – A ciência como vocação – e produziu um escrito, no qual explicitou seu método – Ensaio sobre neutralidade axiológica nas ciências sociológicas e econômicas. -/- Pelas ideias expostas em debates e nos jornais e por sua erudição, Max Weber, após a derrota alemã na Primeira Guerra Mundial, fez parte da comissão que redigiu, em 1919, a nova constituição política alemã, conhecida como a Constituição de Weimar. -/- Pode-se afirmar que a vida de Max Weber foi dedicada aos estudos, à pesquisa e à participação ativa na política alemã de seu tempo, por meio de conferências e artigos para jornais e revistas. -/- Weber não media esforços para analisar e com-preender mais profundamente os temas que elegia. Aprendeu grego e hebraico para ler a Bíblia no original, espanhol para ler os documentos sobre as companhias de navegação e comércio espanhol, russo para ler os jornais sobre os acontecimentos na Rússia de 1905 até a revolução de 1917, inglês para ler os textos estadunidenses sobre a vida religiosa e a ética dos protestantes. -/- Para Max Weber, o indivíduo é o núcleo de análise por ser o único que pode definir intenções e finalidades para seus atos. Desse modo, o ponto de partida da Sociologia é a compreensão da ação dos indivíduos, atuando e vivenciando situações sociais com determinadas motivações e intenções. Instituições como Estado e família só ganham sentido quando vistas da perspectiva das relações sociais. Assim, Max Weber não concebe a sociedade como um bloco, uma estrutura una, mas como uma teia de relações capazes de produzir sentido. -/- A obra de Max Weber é vasta e engloba história, direito e economia, passando pelas questões religiosas, pelos processos burocráticos, pela análise da cidade, da música e, enfim, pela discussão metodológica das ciências humanas e dos conceitos sociológicos. -/- Entre os seus escritos, podemos destacar: A ética protestante e o “espírito” do capitalismo (1904-1905/1920), A ciência como vocação (1917), A política como vocação (1919), Economia e sociedade (1920), História geral da economia (1923) e Ensaios reunidos de sociologia da religião (1917/1920). -/- Outros sociólogos alemães mantiveram-se em atividade após a Primeira Guerra Mundial, como Ferdinand Tönnies, Leopold von Wiese (1876 -1969), Hans Freyer (1887-1969) e Franz Oppenheimer (1864 -1943), que fundou, em 1919, a primeira cátedra de Sociologia na Alemanha, em Frankfurt. -/- 3. A Escola de Frankfurt -/- Logo após a morte de Max Weber, abriu-se um novo horizonte para a Sociologia alemã com a fundação do Instituto de Pesquisa Social, vinculado à Universidade Johann Wolfgang Goethe de Frankfurt, que ficou conhecido como Escola de Frankfurt. Em 1923, um grupo de intelectuais – entre eles Friedrich Pollok (1894-1970), Leo Löwenthal (1900-1993), Karl August Wittfogel (1896-1988), Max Horkheimer (1895-1973) e Theodor Adorno (1903-1969) – desenvolveu uma análise da sociedade contemporânea com base em concepções filosóficas de Immanuel Kant, Friedrich Hegel e Friedrich Nietzsche, em visões sociológicas de Karl Marx e de Max Weber e no pensamento de Sigmund Freud. -/- Os integrantes do grupo de Frankfurt pretendiam desenvolver uma teoria crítica da sociedade capitalista e buscavam explicar fenômenos que iam da análise da personalidade autoritária à indústria cultural. Mantiveram a crítica ao positivismo e ao pragmatismo, procurando demonstrar a necessida-de de refletir sobre as condições que permitiram a emergência do nazismo e sobre o significado dessa ideologia. As reflexões desses intelectuais culminaram com uma crítica à razão instrumental e às formas de controle sobre a sociedade contemporânea. -/- Além dos estudiosos citados, são representantes desse pensamento Walter Benjamin (1892-1940), Erich Fromm (1900-1980) e Herbert Marcuse (1898-1979), entre outros. Todos os integrantes da Escola de Frankfurt precisaram sair da Alema-nha por causa da perseguição nazista. Adorno e Horkheimer voltaram ao país depois do fim da Segunda Guerra Mundial. Deram continuidade à Escola de Frankfurt, entre outros, Jürgen Habermas (1929-), da segunda geração, e Axel Honneth (1949-), da terceira e atual geração. -/- REFERENCIAL TEÓRICO -/- CUIN, C. H.; GRESLE, F. História da Sociologia. Trad. Roberto Leal Ferreira. São Paulo: Ensaio, 1994. -/- CULTURAL, A. Max Weber. Textos selecionados. 2ª ed. São Paulo: Abril Cultural, 1980. (Col. Os Pensadores). -/- NOVA, S. V. Introdução à Sociologia. 6ª ed. São Paulo: Atlas, 2004. -/- SILVA, A. et al. Sociologia em movimento. 2ª ed. São Paulo: Ática, 2016. -/- VANDENBERGHE, F. As sociologias de Georg Simmel. 1ª ed. Petrópolis: Vozes, 2018. -/- WAIZBORT, L. As aventuras de Georg Simmel. São Paulo: USP, Curso de Pós-Graduação em Sociologia/Editora 34, 2000. -/- SBS - Sociedade Brasileira de Sociologia PUCRS - PPG em Ciências Sociais Avenida Ipiranga, 6681 - Partenon CEP: 90619-900 - Porto Alegre, RS [email protected] Emanuel Isaque © 2019. (shrink)

This collection, the first broadly interdisciplinary volume dealing with Spinozan thought, asserts the importance of Spinoza’s philosophy of immanence for contemporary cultural and philosophical debates.