This paper deals with the concept of religiousness and religion in the context of Krause´s panentheist metaphysics, understood as a life of union, as intimacy of and with God, particularly on the part of human beings and also in relation to the rest of the existing. An evolutionary review of this conception of religion is undertaken throughout Krause´s work, and the program of a philosophy of religion is traced, which, besides a metaphysical and anthropological substantiation, would address an understanding of (...) the history of religions and especially of Christianity, proposing a vision of reciprocal illumination between religion, knowledge, feeling and morality, as well as the possibility of an appealing notion of religious freedom, the hallmark of Krausism in its historical development. (shrink)

Karl Christian Friedrich Krause left an impressive oeuvre consisting of 256 books and articles, covering numerous branches of philosophy, the humanities, and science.[1] His Urbild der Menschheit, his Vorlesungen über das System der Philosophie and his Vorlesungen über die Grundwahrheiten der Wissenschaft are of particular pertinence for philosophers today. [1] See: E. M. Ureña and E. Fuchs, “Einführung in das Gesamtwerk”, in Karl Christian Friedrich Krause. Band 1: Entwurf des Systems der Philosophie, ed. T. Bach and O. Breidbach.

This essay undertakes a phenomenological inquiry into the ‘experiential structure of hip-hop’ – a structure that hip-hop artist Jay-Z (Shawn Carter) gestures towards in his text Decoded. In this book, Jay-Z argues that hip-hop has a particular power to act as the vehicle for the communication of a specific type of experience, i.e. contradictory experiences, or those which do not seem possible under the principle of non-contradiction. For instance, Tupac Shakur says of his mom that “…even as a crack (...) fiend, mama / You always was a Black Queen, mama.” The way in which hip-hop is a powerful vehicle for this communication lies, according to Jay-Z, in its very structure, which he describes using two sets of terms: rhythm/flow and music/rhyme. Using Jay-Z’s general outline, this essay attempts to complete a phenomenological analysis of hip-hop, in the effort to (1) isolate the experiential structure of hip-hop and (2) isolate, within this structure, the way in which hip-hop is able to communicate contradictory experiences. In the final analysis, the author isolates the experiential structure of hip-hop and shows how its multiple layers work to draw listeners in and induce them to experience-with the artist. (shrink)