The article focuses on the cartographic enactment of the topos of Ukraine as a lost homeland in contemporary German literary discourse on migration, and in particular in the body of work that conveys the voices of the “second generation” — children of the German (post-)war migration. The article analyses by way of an illustrative example Hans-Ulrich Treichel’s poem “Flight into Kyiv,” in which we find reflected the autobiographical theme of the (re)construction of the lost homeland of his father, a Volyn (...) German who fled to Germany during the Second World War to escape reprisals of the Soviet army. The main object of research are the mental maps of Ukrainian space, which largely define the way Ukraine is represented both in contemporary German social discourse and in modern German literature. A textual analysis of the poem allows us to discern how the resource of the Western European construct of Eastern Europe is instrumentalized and aesthetically arranged by German (post)migration perception to institutionalize the image of Ukraine as a “lost homeland.”. (shrink)

The 1917 February Revolution led to the reshaping of the war-era image of the German enemy. Focusing on the former imperial borderland province of the Southwestern Krai, this article unveils the national, political, and cultural considerations of the local Ukrainian and Russian-language media that affected their attitude towards the Germans. It argues that the developments of the 1917–1918 Ukrainian Revolution presented a unique case of constructing the image of the Germans due to the ongoing rivalry between (...) the respective Ukrainian and Russian national projects. The study is based on the materials of prominent Kyivan daily newspapers, thus rendering the spectrum of the region’s political thought. Built upon the concept of imagology, the article apprehends the images of “otherness” in conjunction with the actor’s own identity. (shrink)

In this chapter I will argue against both of these interpretations and will begin to develop an alternate account of imagination in experience. Against those who minimize imagination’s role, I will highlight the distinctive contribution of the imagination to experience. In particular, I will foreground the specific role that the imagination plays in making possible the distinct mental act, intermediate between intuition and experience, that Kant calls “perception [Wahrnehmung]” as the “empirical consciousness [Bewußtsein]” of appearances (cf. B207). Because perception involves (...) images essentially (cf. A120), and because Kant understands experience itself to be a “synthesis of perceptions” (cf. B218), this strongly suggests (against minimalists) that experience, too, will incorporate images into the manner in which it allows us to cognize physical objects. By highlighting the contribution of imagination prior to experience, my own account, therefore, overlaps in part with the readings that seek instead to maximize the role of imagination. Against maximalists, however, I will argue that imagination contributes only in (and after) the transition from intuition to perception, rather than already being at work in the stage of intuition itself. More specifically, I will argue that Kant takes the activity of imagination to make perception possible by acting on already-formed intuitions in order to bring about the consciousness of them, rather than to bring the intuitions about in the first place. I will also argue that this synthesis of intuitions should be kept distinct from the activity of understanding. (shrink)

This article draws on several crucial and unpublished manuscripts from the Scholem Archive in exploration of Gershom Scholem's youthful statements on mathematics and its relation to extra-mathematical facts and, more broadly, to a concept of history that would prove to be consequential for Walter Benjamin's own thinking on "messianism" and a "futuristic politics." In context of critiquing the German Youth Movement's subsumption of active life to the nationalistic conditions of the "earth" during the First World War, Scholem turns to mathematics (...) for a genuine and self-consistent theory of action. In the concept of actual infinity (in Cantor and Bolzano) he finds an explanation of how mathematics relates to "the physical" without reducing the former to an "image" of the latter, and without relying on the concept of geometric intuition. This explanation, insofar as it relies on the notion of actual infinity, provides Scholem with a conception of mathematics (and the history of mathematics) that reconciles freedom and necessity—remarks on which he outlines in his diaries and communicates to Benjamin in early March 1916. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

The German philosopher K.C.F. Krause found deep conceptual parallels between his panentheistic system and the Indian philosophy of Vedānta. This article critically examines Krause’s understanding of Vedānta and popular Hindu religion. I argue that while Krause was correct in viewing the mystical panentheistic doctrine of Vedānta as a precursor to his own philosophy, he was also frequently misled by unreliable translations and secondary texts. Krause, I suggest, was mistaken in characterizing the Hindu practice of image worship as “polytheism” and (...) “idolatry,” and I contend, from a Vedāntic standpoint, that Krause’s denial of the divinity of Jesus is inconsistent with his own panentheistic metaphysics. (shrink)

In this paper, I begin with an account of the initial distinction between likenesses and appearances, a distinction which may resemble the difference between sophists and philosophers. That distinction first arises immediately after the puzzling appearance of the noble sophist, who seems to occupy an odd space in between sophist and philosopher. In the second section, I look more closely at the noble sophist, and on what that figure might tell us about images and the use of images. I also (...) attempt to use the insights provided by the noble sophist in an investigation of the kind of images that Plato the author produces. This raises the question of the general notion of image as it appears in the Sophist, and especially of the dual nature of all images, which in turn invites reflection on certain features of the examination of being and non-being late in the dialogue. Finally, I return to the deception inherent in images, and I argue that this dialogue does not present the possibility of completely honest images. Nevertheless, I hope to show that some uses of deceptions and images are better than others. (shrink)

In this paper, I am predominantly interested in interpretations of emotional states portrayed in images of the face. In particular, the interpretations which have grown around the series of busts by Franz Xaver Messerschmidt, as well as those which attempt to expound Bill Viola’s video works. I will refer to aspects of physiognomy, artistic practices and aesthetics, in order to show what each of these tells us about our attitude to the body and emotions and what happens to the body (...) while a person is experiencing an emotion. My aim is to demonstrate how the act of depicting the body, regarded as a cognitive process in an artistic medium accompanied by a special kind of aesthetic experience, becomes a means of communication which is capable of conveying a universal message and of allowing us to define our attitude to the body. (shrink)

This dissertation re-examines the principal philosophical thrusts of the German Enlightenment period, from the perspective of their totalizing-mythological function, and investigates how this function is criticized by the non-totalizing function of myth found within the primary mythical images in the work of Goethe, Nietzsche, Rilke, and Walter Benjamin. ;Utilizing the revolutionary book by Hans Blumenberg on the function of myth in German Idealism and Romanticism, I instigate a discourse between Blumenberg's totalizing work on myth and the negative-dialectical work on myth (...) as proposed by Theodor Adorno. I locate the German origins of this negative-dialectical myth-making in the work of Goethe, specifically his non-totalizing image, Wilhelm Meister. I locate the development of this use of myth in Nietzsche's Zarathustra, and, finally, trace a similar function at work in Rilke's Malte and Walter Benjamin's historical materialist. ;Contrary to Habermas, who argues that Nietzsche opened up two roads to postmodernity, one leading to the "ontologization of aesthetics" and the other to the "totalizing critique" of reason , I put forth the argument that the Nietzschean "two roads" metaphor is useful but needs to be re-shaped, configuring one road toward the mythological history and historical mythology of Rilke and Walter Benjamin, and another road the Theodor Adorno's "thorough critique" of reason. ;The need to revise Habermas's "two roads to post-modernity" theory mythographically, rests on the primary investigation of this dissertation: to trace by de-scription the practical incarnation of the word on German soil . I define this process of "practical incarnation" as that word which subversively desires to de-scribe and trans-figure the neurotic -psychotic structure that has defined the parameters of Western discourse, at least since neo-Platonic Christianity influenced cultural codifications of the West. Finally, I maintain that the primary image of criticism which emerges from the dialectical work of the writers herein, is the image of man-child, a classless, non-totalizing image implicit in Goethe's Wilhelm Meister, and developed in the Kind-Mensch constellation in the work of Nietzsche, Rilke, and Walter Benjamin. (shrink)

In The Gay Science (1882), Nietzsche heralded the problem of nihilism with his famous declaration “God is dead,” which signalled the collapse of a transcendent basis for the underpinning morality of European civilization. He associated this collapse with the rise of the natural sciences whose methods and pervasive outlook he was concerned would progressively shape “an essentially mechanistic [and hence meaningless] world.” The Russian novelist Turgenev had also associated a scientific outlook with nihilism through the scientism of Yevgeny Bazarov, a (...) character in Fathers and Sons. A century or so later, can we correlate relevant scientific results and the nihilistic consequences that worried these and other nineteenth-century authors? The aversion of empirical disciplines to such non-empirical concepts as personhood and agency, and their methodological exclusion of the very idea of value would make this a difficult task. Recent neuroscientific (MRI) investigations into free will might provide a useful starting point for anyone interested in this sociological question, as might the research results of experimental or evolutionary psychologists studying what they take human beings to be. In this paper, I turn instead to a more basic issue of science. I will question the universality of a principle of identity assumed by a scientific understanding of what it means for anything to exist. I will argue that the essential features of human existence present an exception to this principle of identity and thereby fall outside the grasp of scientific inquiry. The basis of this argument will be an explanation of why it is nonetheless rational for us to affirm personhood, agency, moral values, and many more concepts that disappear under the scrutiny of the sciences. (shrink)

The present religious constitution of the Federal Republic of Germany is the product of protracted historical conflicts and political settlements that began in the sixteenth century. The mediation of these conflicts and settlements and the piecemeal establishment of the constitution was the achievement of imperial public law and diplomacy. Germany’s religious constitution—a secular and relativistic juridical framework protecting a plurality of confessional religions—pre-dated liberalism and democracy, and owes nothing to normative philosophical constructions of individual freedoms and rights, or social justice (...) and moral community. Rather, it was the product of a political compromise between warring confessional blocs, and of the institutions of public law that were the instruments and effects of this compromise. (shrink)

The overarching theme of Locke’s Image of the World, by Michael Jacovides, is that Locke’s belief in the best science of his day shapes his philosophy in important ways. Jacovides contends that “by understanding the scientific background to Locke’s thoughts, we can better understand his work” (1), including both his positions and his arguments for those positions. To a lesser extent, Jacovides’s book also treats Locke as a case study in thinking about how much scientific theory should influence philosophy. (...) While much of the science Locke relies on is incomplete or problematic, and so leads him into errors, Jacovides is sympathetic to Locke’s approach of using the best scientific theories to help develop and justify his philosophical positions. Throughout the book Jacovides shows how science – Locke’s study of medicine, and later Boyle’s corpuscularianism, and then later Newton’s physics – influence Locke’s thinking on a variety of topics. The result is an impressive account of the history of science at a critical point in its development through the lens of one of the great philosophers of that time. (shrink)

The German Tradition of Self-Cultivation (Bil dung) and its Historical Meaning. This article aims at analysing the historical meaning of the German ideal of self-cultivation (Bildung), considering its different uses and interpretations over time. Based on the historical semantics of Reinhart Koselleck and the bibliography on the subject, it reconstructs the core transformations in its semantic structure from the beginnings in the late Middle Ages to its institutionalization in the German school system in the nineteenth century. The development of the (...) ideal of Bildung in Germany is characterised by the tension between its function as means of integration through education and its function as instrument of social distinction. The reflexion on this educational ideal is presented as a counterpoint to some of the contemporary educational practices, based on the imperatives of the market and the neoliberal management of human capital. (shrink)

Martin Heidegger as Interrogator: The Final Paradigm By Daniel Fidel Ferrer. Copyright©2024 Daniel Fidel Ferrer. All rights reserved. Attribution-NonCommercial-NoDerivs CC BY-NC-ND. Imprint 1.0. 2024. All Rights are reserved. Intended copies of this work can be used for research and teaching. No change in the content and must include my full name, Daniel Fidel Ferrer. Enjoying reading and disagreeing. Publisher: Kuhn von Verden Verlag. Language: English and German. Includes bibliographical references and an index. Pages 1-316. Index total pages is 524. Ontology. (...) 2. Metaphysics. 3. Philosophy, German. 4. Thought and thinking. 5. Kant, Immanuel, 1724-1804. 6. Schelling, Friedrich Wilhelm Joseph von, 1775-1854. 7. Hegel, Georg Wilhelm Friedrich, 1770-1831. 10. Philosophy, Modern -- 20th century. 11. Philosophy, Modern -- 19th century. 12. Practice (Philosophy). 13. Philosophy and civilization. 14. Postmodernism. 15. Nietzsche, Friedrich Wilhelm, 1844-1900. 16. Heidegger, Martin, 1889-1976. 17. Ferrer, Daniel Fidel. Table of Contents Mottos Division I. Discussion of the title pages 2-6 Prologue pages 7-14 Heidegger, what do we know about him? page 15-22 Early Heidegger pages 23-41 What are the periods in Heidegger’s thought? pages 42-51 Preface and Setting the Stage pages 52-65 Introduction pages 66-82 Heidegger on Questioning pages 83-94 The Crisis or Krisis in philosophy? pages 95-106 Does Heidegger have a philosophy? pages 107-127 Heidegger about the Nature of Teaching pages 128-132 Heidegger against philosophy as a worldview or the standpoint of standpointlessness pages 133-137 Heidegger’s world-famous book Being and Time (Sein und Zeit, SuZ, 1927) pages 138-153 Heidegger’s second attempt Beiträge zur Philosophie (Vom Ereignis) (1936-1938) pages 154-162 Heidegger on the image of the Bridge pages 163-170 Conclusion pages 171-188 -/- Division II. Engagement with Heidegger on history of philosophy (metaphysics). Reinigung as cleaning, purifying pages 189-191 What is Heidegger’s Metahistory of philosophy? pages 192-243 Appendix A. Reconstruction of a partial letter from Martin Heidegger to Dieter Sinn. Dated. 24 August 1964. pages 244-248 Appendix B. Martin Heidegger's Dialogue and Critical Debate with Hegel. pages 249-253 Appendix C. Heidegger on Pain (Schmerz) pages 254-257 Appendix D. Update: 2023 Oct 24. Daniel Fidel Ferrer replies to Professor Thomas Sheehan (Sein question) pages 258-269 Appendix E. Five Habilitations done with Martin Heidegger. Habilitationsschrift pages 270-272 Heidegger Bibliography Individual Lectures Vortrag or Vorträge. Detailed pages 273-294 Heidegger‘s Gesamtausgabe (HGA or GA). Note GA 72 has yet to be published (2024). pages 295-299 Letters. Briefe. Briefwechsel. Not complete pages 300-303 Heidegger Studies / Heidegger Studien / Etudes Heideggeriennes (list of Heidegger texts) pages 304-305 Jahresgaben der Martin-Heidegger-Gesellschaft (from the internet) (list of Heidegger texts) pages 306-308 Additional References (bibliographies) pages 309-310 Heidegger Index Projects by Daniel Fidel Ferrer page 311 -/- Martin Heidegger Audio Recordings pages 312-313 -/- Additional acknowledgements pages 314-315 -/- Letter from Hermann Heidegger to Daniel Ferrer den 5.2.2002. In German. Hermann Heidegger’s response to the Barbara Fiand collection being in the USA. -/- One of the thesis: there is no Heidegger philosophy. Read more… -/- “What always counts in the lecture-courses is the manner of proceeding - the sequence of steps - not a claim to final truths. The lecture-courses never wrap up in a completeness and in seemingly "finishing off" the works interpreted, but rather in the inner fullness of the hidden dynamics of questioning.” GA 66. Besinnung (1938/39). GA 66: 421. (shrink)

This article is an inferential analysis of the Bloody Night and Open Truth: a Nollywood movie series that reflects the rot in Nigerian Police. The objective of this paper is to identify the image problems of the Nigerian Police as reflected by the Nollywood movie series. The study adopts a content analysis approach. Acts of bribery, false allegations, extra-judicial killings, torture and attempts to suppress justice are all exposed as perpetrated by the senior and junior officers of the Nigerian (...) police. Apart from the majority of corrupt officers; there are some non-corrupt Nigerian police officers who are emblems of justice and truth as shown in the behaviour of some characters in the movie. Their desire for truth represents a new and positive image of the Nigerian police. The study concludes that there is hope for a committed and rebranded Nigerian Police if the Nigerian Government should do the needful. The study recommends an improvement in wages, sustained retraining and punishment of police officers found wanting. (shrink)

In 1960, Kevin Lynch wrote The Image of the City, which transformed the way design professionals and social scientists dealt with the urban form and design. The Evaluative Image of the City follows the work of Lynch and further explores the role of human evaluations of the cityscape. This book describes how to assess, plan, and design the appearance of cities to please inhabitants. It presents a series of studies on evaluative images and discusses methodologies, findings, and applications (...) to design and planning at various stages. Designers, planners, and businesspeople, as well as the general public, will find this book a valuable guide for improving the image of their surroundings. (shrink)

This book is an anthology about transformation processes. It brings together contributions that were made during the 16th International Congress of the German Society for Semiotics 2021. Due to the Corona pandemic, it was finally not held in attendance at the TU Chemnitz, in Germany, but took place online. 11 sections with different focuses from archaeology, architecture, design, digital humanities, on the body, from the field of literature & youth and subcultures, media, fashion, environment, and carto/atlas semiotics and sign philosophy (...) had each published their own call for papers. -/- The focus of the IMAGE & Cultural study sections' call, published with the volume, was to understand images as agents - according to art and cultural studies scholar Aby M. Warburg - and to recognize and understand not only their potential for cognition, but also their potential for action. As an active part of culture, they not only convey it, but at the same time stimulate action. In this respect, images can be understood not only as documents and testimonies of collective history, but also as active carriers and repositories of affectively effective elements of communication. As agents of cultural transformation processes, images take on a status of their own within the human capacity for expression and action. The essays in this volume bear eloquent witness to this. (shrink)

Medieval and early modern devotional works rarely receive serious treatment from philosophers, even those working in the subfields of philosophy of religion or the history of ideas. In this article, I examine one medieval devotional work in particular—the Middle High German image- and verse-program, Christus und die minnende Seele (CMS)—and I argue that it can plausibly be viewed as a form of medieval public philosophy, one that both exhibited and encouraged philosophical innovation. I address a few objections to my (...) proposal—namely, that CMS is neither public enough nor that it counts as proper philosophy—and I attempt to defend CMS’s public philosophical credentials in light of these objections. I conclude with a brief discussion of how devotional texts like CMS can help us do innovative public philosophy today. (shrink)

Objective: We aimed to investigate the image quality of paranasal sinus computed tomography (CT) scans obtained with the “Advanced intelligent Clear-IQ Engine” (AICE) software and ultra-low dose parameters in patients with prediagnosed rhinitis, sinusitis or nasal septum deviation. -/- Methods: The first 50 patients (31 men and 19 women, aged 18-70 years) who agreed to participate in our prospectively planned study were included in the study. Imaging of the patients was performed with a 160-slice multidetector CT device Canon Aquilion (...) Prime SP (Canon Medical Systems, Otawara, Japan). Tube voltage of 80 kV and tube current of 40 mA were chosen. The effective radiation dose (ED) was calculated based on the “dose-length product” (DLP) information of each patient. Evaluation of images was made on reformat images made with “AiCE Bone” filter in the axial and coronal planes. All images were double-blindly evaluated by 2 radiologists out of 5 points (5 = very good; 1 = not diagnostic). The visibility of 17 bilateral important anatomical landmarks examined on paranasal sinus CT was scored (0 = not visible; 2 = completely visible). In the evaluation of images, the agreement between radiologists was evaluated with Kappa statistics. -/- Results: The median ED value of the CT protocol was 0.015±0.001 mSv [range 0.012-0.017 mSv]. The overall image quality of the images in our study was interpreted as 4 (good) or 3 (moderate) for all patients. Inter-research agreement was 92%. Most of the anatomical landmarks evaluated were completely visible. Six (bilateral of three) anatomical landmarks could be partially visible in some patients. -/- Conclusion: Combining the ultra-low dose CT protocol and the AiCE reconstruction algorithm makes it possible to achieve very low ED values ​​in paranasal sinus CT scans and still obtain sufficient image quality in indications such as septum deviation and sinusitis. (shrink)

In this paper, I argue that culture plays a pivotal role for understanding Nietzsche’s own normative commitments. My argument develops as follows: Section 2 shows that Nietzsche advances an ideal of self-cultivation (Bildung) which is derived from the existential role of culture, elevating a peculiar concept of artistic creativity to ground his perfectionist understanding of value. Section 3 traces Nietzsche’s image of Goethe as exemplar of creative excellence. I contend that Nietzsche portrays Goethe as a male genius, rendering his (...) concept of self-cultivation entrenched in the cultural imagery of his time. The fin de siècle was obsessed with the image of genius as well as the relationship of creativity and gender. Moreover, as towering figure of German culture after the founding of the German Empire in 1871, Goethe was a frequent example of creative genius. Section 4 deepens the discussion of the role of gender in Nietzsche’s concept of creativity, exploring how the essentialist gender psychology of his mature works curtails the creative potential of women and explains his dismissal of feminism. (shrink)

This article is a commentary of the section 5.552 of the Tractatus, about the “experience” that is necessary to understand logic, from the point of view of the so called continental philosophy. In this commentary are tackled some questions: what is exactly this “experience”?; what does mean that logic is a speculative image of the world?; how are the relations between logic and metaphysics (the two components of philosophy, according to Wittgenstein)? All these questions lead us to the conception (...) of philosophy present in the Tractatus and to the role, so important, the two following problems play in this book: the reflection on the philosophical method and the transcendental character of being. Just for this it is necessary to take it seriously the opposition between speaking of something and speaking about something, employed in the final section and so clear in German as habitually mistranslated. (shrink)

Background. A growing interest in discursive nature of Nobel lectures resulted in a number of studies which emphasize their rhetorical force to influence public opinion and to popularize ideas in different spheres of human life. Analyzing Literature Laureates’ lectures, most researchers focus on linguistic means and the personality of the Nobelist himself/herself. However, characteristics of a writer proper have not been dealt with indepth. This article maintains our previous study, which indicates a close relationship between the content component of the (...) Nobel lecture and the laureate’ outlook; the lecture itself can be regarded as a brief but extremely powerful expression of his/her human and professional qualities. -/- Purpose. The aim of this paper is to examine how literature laureates interpret the notion of a writer in their Nobel lectures and to identify main common themes in creating this collective image. -/- Methods. A method of linguistic description and observation, a descriptive method, and a contextual-interpretation method were employed to analyse the sample of 17 Nobel lectures. -/- Results. The outcomes of our study indicate that Nobel lectures are extremely powerful expression of prizewinners’ human and professional qualities. We have devised a set of five themes, namely the writer’s social duty, his/her destiny, literary background, tools, and literary outcome to describe the collective image of a writer. Within the framework of our research, literary background falls into two subthemes (literary heritage and a personal writing process); discussing the writer’s toolkit, we focus on language and words. -/- Discussion. Our findings show that laureates develop the concept “writer” to varying degrees but all of them stress a direct interconnection between an active social position and the writer’s destiny. Further research can involve the in-depth study of a definite Nobel lecture in terms of the compositional structure and employed linguistic means. (shrink)

In 1804, when asked by the aspiring writer Clemens Brentano why she had chosen to publish her work, Karoline von Günderrode wrote that she longed “mein Leben in einer bleibenden Form auszusprechen, in einer Gestalt, die würdig sei, zu den Vortreflichsten hinzutreten, sie zu grüssen und Gemeinschaft mit ihnen zu haben.” In light of this kind of statement, it is perhaps not surprising if, despite some exceptions, much of the still relatively scant literature on Günderrode reads her works largely in (...) terms of how they articulate and manifest Günderrode’s desires, frustrations, and character, for the most part ignoring their imaginary, creative, and intellectual aspects. This interpretation of the author’s works as biography is, in Günderrode’s case, often accompanied by an interpretation of her biography, particularly her suicide, as literary work. This paper is not the first to question the conflation of Günderrode’s life, death, and writing, but it is one of only a handful that aim to address the autopoietic element of Günderrode’s work in a way that does not reduce her writings to biographical and psychological expressions, or Günderrode herself to an image – or a legend – encapsulated by her writings and her relationship to them. This paper argues that Günderrode’s own position on what the self is has been largely neglected as a result of this conflation, and that taking this position into account changes how we understand Günderrode’s articulations of self in her writings. Thus this paper has two goals: to address difficulties in articulating and even constituting oneself sincerely when one’s efforts are unrecognized, belittled, censored, and forced to conform to the conventions of a society in which one is marginalized; and to unearth a neglected and potentially rich account of the modern self. (shrink)

Ancient Greek philosophers were the first to postulate the possibility of explaining nature in theoretical terms and to initiate attempts at this. With the rise of monotheistic religions of revelation claiming supremacy over human reason and envisaging a new world to come, studies of the natural order of the transient world were widely considered undesirable. Later, in the Middle Ages, the desire for human understanding of nature in terms of reason was revived. This article is concerned with the fundamental reversal (...) of attitudes, from “undesirable” to “desirable”, that eventually led into the foundations of modern science. One of the earliest, most ingenious and most interesting personalities involved was Eriugena, a theologian at the Court of Charles the Bald in the 9th century. Though understanding what we call nature is only one of the several aspects of his theological work, his line of thought implies a turn into a pro-scientific direction: the natural order is to be understood in abstract terms of ‘primordial causes’; understanding nature is considered to be the will of God; man encompasses the whole of creation in a physical as well as a mental sense. Basically similar ideas on the reconciliation of scientific rationality and monotheistic religions of revelation were conceived, independently and nearly simultaneously, by the Arab philosopher al-Kindi in Bagdad. Eriugena was more outspoken in his claim that reason is superior to authority. This claim is implicit in the thought of Nicholas of Cusa with his emphasis on human mental creativity as the image of God’s creativity; and it is the keynote of Galileo’s ‘Letter to the Grand Duchess Christina’ some 800 years later, the manifesto expressing basic attitudes of modern science. -/- This article in English is based on the monography (in German): A. Gierer “Eriugena, al-Kindi, Nikolaus von Kues - Protagonisten einer wissenschaftsfreundlichen Wende im philosophischen und theologischen Denken”, Acta Historica Leopoldina 29 (1999), Barth Verlag in MVH Verlage Heidelberg, ISBN: 3-335-00652-6, which is also available online on this server. -/- -/- . (shrink)

Primary and secondary processes are the foundational axes of the Freudian mental apparatus: one horizontally as a tendency to associate, the primary process, and one vertically as the ability for perspective taking, the secondary process. Primary process mentation is not only supposed to be dominant in the unconscious but also, for example, in dreams. The present study tests the hypothesis that the mental activity during REM-sleep has more characteristics of the primary process, while during non-REM-sleep more secondary process operations take (...) place. Because the solving of a rebus requires the ability to non-contexually condensate the literal reading of single stimuli into a new one, rebus solving is a primary process operation by excellence. In a replication of the dream-rebus study of Shevrin and Fisher (1967), a rebus, which consisted of an image of a comb (German: “Kamm”) and an image of a raft (German: “Floß”), resulting in the German rebus word “kampflos” (Engl.: without a struggle), was flashed subliminally (at 1 ms) to 20 participants before going to sleep. Upon consecutive awakenings participants were asked for a dream report, free associations and an image description. Based on objective association norms, there were significantly more conceptual associations referring to Kamm and Floß indexing secondary process mentation when subjects were awakened from non-REM sleep as compared to REM-awakenings. There were not significantly more rebus associations referring to kampflos indexing primary process mentation when awakened from REM-sleep as compared to non-REM awakenings. However, when the associations were scored on the basis of each subject’s individual norms, there was a rebus effect with more idiosyncratic rebus associations in awakenings after REM than after non-REM-sleep. Our results support the general idea that REM-sleep is characterized by primary process thinking, while non-REM-sleep mentation follows the rules of the secondary process. (shrink)

I consider the intertextuality between Chinese and Western thought by exploring how images, metaphors, and ideas from the texts associated with Zhuangzi and Laozi were appropriated in early twentieth-century German philosophy. This interest in “Lao-Zhuang Daoism” encompasses a diverse range of thinkers including Buber and Heidegger. I examine how the problematization of utility, usefulness, and “purposiveness” in Zhuangzi and Laozi becomes a key point for their German philosophical reception; how it is the poetic character of the Zhuangzi that hints at (...) an appropriate response to the crisis and loss of meaning that characterizes technological modernity and its instrumental technological rationality; that is, how the “poetic” and “spiritual” world perceived in Lao-Zhuang thought became part of Buber's and Heidegger's critical encounter and confrontation with technological modernity; and how their concern with Zhuangzi does not signify a return to a dogmatic religiosity or otherworldly mysticism; it anticipates a this-worldly spiritual or poetic way of dwelling immanently within the world. (shrink)

In opposition to the mainstream of a contemporary thought dened as individualist and critical against the traditional values of Western Civilization, on one side,and to the reactionary recovery of a fake image of the Middle Ages, on the otherside, some authors of the early twentieth century belonging to the German lan- guage area found in the monastic spirituality and the medieval theological tra-ditions the source for thinking a new kind of society. Aim of this paper is, there- fore, to (...) focus authors like Paul Landsberg, Hugo Ball, Martin Heidegger, RomanoGuardini, to show the crucial role of this philosophical tradition and his topics inthe discussions about a reformation of the contemporary society and a rethinkingof some principles of the Western Civilization. (shrink)

German Romanticism is commonly associated with nationalism rather than cosmopolitanism. Against this standard picture, I argue that the early German romantic author, Novalis (Georg Philipp Friedrich von Hardenberg, 1772–1801) holds a decidedly cosmopolitan view. Novalis’s essay “Christianity or Europe” has been the subject of much dispute and puzzlement ever since he presented it to the Jena romantic circle in the fall of 1799. On the basis of an account of the philosophical background of Novalis’s romanticism, I show that the (...) class='Hi'>image of the Middle Ages sketched in “Christianity or Europe” plays a symbolic role and should not be taken as a literal description of the historical past or as a blueprint for the future. Rather, the romantic picture of medieval Europe serves to evoke poetically the ideal of a cosmopolitan re-unification of humanity. (shrink)

Everyday our vision travels across time and space. We see images in the media about atrocities, disruptions, crises, famine, and wars. And in each case our sense of injustice is awakened. We feel outrage and indignation based upon our ideals and value systems which were formed through our traditions and religions. But in this age where the power of media and information is so powerful, what we see is often manufactured to appeal to our values. While these values circulate among (...) the images we see in cyberspace, these manipulations are rooted in certain realities: geography, natural resources, and power relationships. Our values are managed to serve the control of resources and territory. They serve the deeper reality of geography and geopolitics. How then are these ideals and values created, manipulated, and opposed across various pivots or boundaries, between East and West, between the individual and the collective? Through English geographer Sir Halford Mackinder’s concepts of “pivot” and “heartland”; German philosopher Carl Schmitt’s importance of “nomos”; and French writer Victor Segalen’s reflections on the loss of cultural diversity, we outline this priority of geography. By examining these writers, we can begin to ask if our ideals and values have any real moral or theological significance, or if they are merely effects of the competition between powers. Can ideals and values lead to real change and development, or are they merely leashes to guide us based on the aims of power? (shrink)

Sunohara Yuuri and Akita Masami’s series of six seppuku films (1990) are solely constituted by images of fictionalized death, revolving around the prolonged self-torture of a lone figure committing harakiri. I contend that the protagonist’s auto-immolation mirrors a formal death, each frame ‘killing’ the moment it represents. My analysis aims to explore how the solipsistic nature of selfhood is appositely symbolized by the isolation of the on-screen figures and the insistence with which the six films repeat the same scenario of (...) protracted agony across the cycle. The centralization of suffering, I argue, parallels the distance between viewer and image with the isolating nature of embodied existence. Thus, this article seeks to probe the relationship between form and content, asking what the image of death reveals about the death of the image. -/- . (shrink)

"Lukács 1933-1942. Irrationalism in the Age of Fascism". This essay reconstructs the philosophical and historiographical premises to Georg Lukács’ research on irrationalism conducted during the period of Nazi rule in Germany. To this end, the Author focuses chiefly on two posthumous works: How Did Fascist Philosophy Arise in Germany? (1933) and How Did Germany Become the Centre of reactionary Ideology? (1941-1942). After a brief historical contextualization, the Author illustrates the main purpose of these texts: to free German philosophy and culture (...) between the XIX and XX century from those irrationalistic elements asserted and nourished by Fascist philosophy. He then analyzes Lukács’ concept of reason in its three fundamental aspects, namely the methodological link with Marx’s historical image of the political development of Europe during the XIX century, the theoretical debt to Hegel’s critique of immediacy and the connection with some ethical points already discussed during the Goethezeit. (shrink)

Michelle’s thesis explores the extent to which a researcher could contribute to change by engaging leaders in conversations that might intensify commitment to or the direction of their actions around socio-environmental decline in Bermuda as a country historically organised in the tradition of an entrepreneurial for-profit enterprise. The framing of a space to reflect on highlighted the significance of time that led to the bricolage design of a heuristic device called a moon gate. Time, the keystone of the moon gate, (...) created a prism lighting up the twists and turns of kaleidoscopic images of the chaos of the markets and the creative diversity of human and nonhuman participants. She undertook a philosophical approach with her study of the contested space of time around sensitivity to maintaining a fulcrum point based on the wellbeing of people and planet. (shrink)

Through an analysis of the ultimate telos of the world and of the subject’s striving in Schelling, the late Fichte, and Friedrich Schlegel—as well as via such concepts as the absolute, bliss, nothingness, God, chaos, and irony—this essay reconfigures German Idealism and Romanticism as spanning the conceptual space between two poles, world-annihilation and world-construction, and traces the ways in which these thinkers attempted to resolve what this essay calls the "transcendental knot," or to think the way the world is without (...) absolutizing it. (shrink)

Through an analysis of Kierkegaard’s and Dostoevsky’s approaches to the theme of the death of Christ – one of the major leitmotifs in the debate of their contemporaries conveyed through theological and philosophical considerations, but also expressed in novels and in art – I show how the thinkers comprehended and articulated in their works the religious challenges awaiting the modern man.

The article explores the striking coincidences in Heidegger's and Blanchot's account of the image as death mask. The analysis of the respective theories of the image brings forth two radically divergent conceptions of thinking as "laying patent" (Heidegger) and of thinking as "laying bare" (Blanchot).

More than 50 years after the publication of Thomas Kuhn’s seminal book, The Structure of Scientific Revolutions, this volume assesses the adequacy of the Kuhnian model in explaining certain aspects of science, particularly the social and epistemic aspects of science. One argument put forward is that there are no good reasons to accept Kuhn’s incommensurability thesis, according to which scientific revolutions involve the replacement of theories with conceptually incompatible ones. Perhaps, therefore, it is time for another “decisive transformation in the (...) image of science by which we are now possessed.” Only this time, the image of science that needs to be transformed is the Kuhnian one. Does the Kuhnian image of science provide an adequate model of scientific practice? If we abandon the Kuhnian picture of revolutionary change and incommensurability, what consequences would follow from that vis-à-vis our understanding of scientific knowledge as a social endeavour? -/- The essays in this collection continue this debate, offering a critical examination of the arguments for and against the Kuhnian image of science as well as their implications for our understanding of science as a social and epistemic enterprise. (shrink)

In 2016, a multidisciplinary body of scholars within the International Commission on Stratigraphy—the Anthropocene Working Group—recommended that the world officially recognize the Anthropocene as a new geological epoch. The most contested claim about the Anthropocene, that humans are a major geological and environmental force on par with natural forces, has proven to be a hotbed for discussion well beyond the science of geology. One reason for this is that it compels many natural and social scientists to confront problems and systems (...) that transgress traditional disciplinary boundaries, and as a result, calls for interdisciplinary research are now gaining traction. Proponents of such transgressions have dubbed the new scientific order that will result “Anthropocene Science”, and rhetoric notwithstanding, such discussions exemplify how recent changes within science justify rethinking a prevailing image of how science is done, and with it, the working relationship between scholars in the humanities, natural scientists, and social scientists. (shrink)

‘The Image of Thought’ could be considered to be the most important piece of writing in the entire Deleuzian corpus. This is the chapter of Difference and Repetition that several decades later, Deleuze claims is the ‘most necessary and the most concrete’ (Deleuze 1994: xvii) section of the book, and the one that provides a basis for his later work with Guattari. Here, Deleuze engages with two basic issues. First, he separates out his conception of thinking, and with it, (...) philosophy, from prior philosophical approaches, explaining why the difference of his philosophy from prior systems itself differs from the traditional relationship between philosophical positions. Second, he raises the question of how one should begin to philosophise. As we will see, philosophy often operates by the recognition of implicit presuppositions in prior thinkers, and their refutation. Descartes, for instance, criticises Aristotle for presupposing the transparency of categories such as rational and animal. Kant, in turn, criticises Descartes for presupposing the determinability of his own foundational moment, the cogito. If we see the development of philosophy as the unmasking and critique of presuppositions of prior systems, then the endpoint of philosophy will be a system entirely without presuppositions. This is the goal Hegel aims at with his system of absolute idealism. Deleuze’s claim is that such a model of the progress of philosophy itself operates within one overarching assumption: the good will of thinking. In this essay, I want to relate these questions of thinking and beginnings to the work of one of Deleuze’s predecessors. Deleuze writes of Ludwig Feuerbach that ‘Feuerbach is among those who have pursued farthest the problem of where to begin.’ (Deleuze 1994: 319) As we shall see, prefiguring Deleuze, Feuerbach accuses Hegel of operating within ‘an image of Reason’. While Feuerbach is famous as a precursor of Marx, and for his critique of traditional accounts of religion, I want to here focus on an early piece by Feuerbach, his Critique of Hegelian Philosophy. Here Feuerbach sets out the limitations of traditional philosophical accounts, and provides the groundwork for his own later materialism. Deleuze discovered Feuerbach through his friend Althusser’s translation of his work, published in 1960. While many of the intuitions behind Deleuze’s critique of the image of thought can be found within a broader pantheon of thinkers, including Nietzsche, Bergson, and Foucault, the specific mechanics of Deleuze’s criticism bear a striking resemblance to the formulation of the critique of philosophy in Feuerbach’s earlier thought. I want to explore this connection, first by looking at the dialectical interrelation of two thinkers, Descartes and Hegel, to get a sense for how criticism in philosophy typically operates. I then want to move on to look at Feuerbach’s critique of Hegel and philosophy more generally, drawing out several aspects that will be taken up by Deleuze himself. I will then look at some of the ways in which Deleuze goes beyond Feuerbach by recognising some of the limitations that persist in Feuerbach’s own analysis. I will conclude by showing how Deleuze’s desire to think the two common acceptations of aesthetics together (the artistic and the sensible) bring Feuerbach into relation with an unexpected figure: the playwright and poet, Antonin Artaud. (shrink)

Nagarjuna and Quantum physics. Eastern and Western Modes of Thought. Summary. The key terms. 1. Key term: ‘Emptiness’. The Indian philosopher Nagarjuna is known in the history of Buddhism mainly by his keyword ‘sunyata’. This word is translated into English by the word ‘emptiness’. The translation and the traditional interpretations create the impression that Nagarjuna declares the objects as empty or illusionary or not real or not existing. What is the assertion and concrete statement made by this interpretation? That nothing (...) can be found, that there is nothing, that nothing exists? Was Nagarjuna denying the external world? Did he wish to refute that which evidently is? Did he want to call into question the world in which we live? Did he wish to deny the presence of things that somehow arise? My first point is the refutation of this traditional translation and interpretation. 2. Key terms: ‘Dependence’ or ‘relational view’. My second point consists in a transcription of the keyword of ‘sunyata’ by the word ‘dependence’. This is something that Nagarjuna himself has done. Now Nagarjuna’s central view can be named ‘dependence of things’. Nagarjuna is not looking for a material or immaterial object which can be declared as a fundamental reality of this world. His fundamental reality is not an object. It is a relation between objects. This is a relational view of reality. Reality is without foundation. Or: Reality has the wide open space as foundation. 3. Key terms: ‘Arm in arm’. But Nagarjuna did not stop there. He was not content to repeat this discovery of relational reality. He went on one step further indicating that what is happening between two things. He gave indications to the space between two things. He realised that not the behaviour of bodies, but the behaviour of something between them may be essential for understanding the reality. This open space is not at all empty. It is full of energy. The open space is the middle between things. Things are going arm in arm. The middle might be considered as a force that bounds men to the world and it might be seen as well as a force of liberation. It might be seen as a bondage to the infinite space. 4. Key term: Philosophy. Nagarjuna, we are told, was a Buddhist philosopher. This statement is not wrong when we take the notion ‘philosophy’ in a deep sense as a love to wisdom, not as wisdom itself. Philosophy is a way to wisdom. Where this way has an end wisdom begins and philosophy is no more necessary. A.N. Whitehead gives philosophy the commission of descriptive generalisation. We do not need necessarily a philosophical building of universal dimensions. Some steps of descriptive generalisation might be enough in order to see and understand reality. There is another criterion of Nagarjuna’s philosophy. Not his keywords ‘sunyata’ and ‘pratityasamutpada’ but his 25 philosophical examples are the heart of his philosophy. His examples are images. They do not speak to rational and conceptual understanding. They speak to our eyes. Images, metaphors, allegories or symbolic examples have a freshness which rational ideas do not possess. Buddhist dharma and philosophy is a philosophy of allegories. This kind of philosophy is not completely new and unknown to European philosophy. Since Plato’s allegory of the cave it is already a little known. The German philosopher Hans Blumenberg has underlined the importance of metaphors in European philosophy. -/-. (shrink)

Since the 1980's, the influence of context-based curricula has been growing in curricula and has been taking place in advance of improving the image of chemistry. This article argues that chemical societies should focus on a better understanding of the negative image of chemistry, by supporting historical and philosophical research. Based on that, chemistry curricula should change.

Текст Десяти заповедей Библии предписывает поклоняться только единому Богу и запрещает создавать изображения Бога и изваяния. Цель данной статьи исследовать взгляды Мендельсона, Когена и Кассирера на связь между предписанием поклоняться единому Богу и запретом идолопоклонства в иудаизме. В статье рассматривается вопрос, почему Мендельсон и Коген определяют запрет на изображение Бога как запрет, характеризующий сущность иудаизма как религии разума. Анализируя понятие знака, Мендельсон объясняет поклонение идолам как непонимание указывающей функции знака; подобное непонимание ведет к ошибочному восприятию. Коген раскрывает с помощью этого (...) запрета уникальность истинного Бога иудаизма. Понятия знака и символа в текстах Мендельсона стали ключевыми для философии Кассирера. Посредством этих понятий он создает свою философию культуры и теорию восприятия. Мой аргумент состоит в том, что в свете философии Кассирера, идолопоклонство (как ошибочное восприятие) характеризует не только ушедшие в прошлое этапы развития религиозного сознания, но также является необходимым моментом в структуре восприятия. Abstract: The text of the Decalogue in the Bible orders to worship the one God and forbids creating images of God and any cultic statues. The aim of this paper is to inquiry the views of Mendelssohn, Cohen, and Cassirer - the Jewish German-speaking rational philosophers - regarding the link between the precept to worship the one God and the prohibition of the idolatry in Judaism. Why idolatry was identified with making images of God? The article will investigate the arguments, according to which Mendelssohn and Cohen define the prohibition of God’s images in Judaism as the essential law for religion based on reason. Mendelssohn’s understanding of idolatry is a result of his theory of sign. Analysing the concept of sign, Mendelssohn explains idol worship as misunderstanding of the sign’s function to denote things. Idolatry, in his terms, is an erroneous perception. For Cohen the prohibition of God’s images reveals the uniqueness of the true God of Judaism. The unique God has no image, and to make image of him is the same as to create another god. Mendelssohn’s concepts of sign and symbol became key concepts for Cassirer’s philosophy of culture and theory of perception. My final argument is that in light of Cassirer's philosophy, idolatry (defined previously as erroneous perception) characterizes not only past stages of religious consciousness, but also constitutes necessary moment in the structure of perception. -/- . (shrink)

From the comparative framework of writing on the meaning of ritual in the field of the history of religions, this essay argues that one of the major problems in Benjamin’s thinking is how to make certain forms of materiality stand out against other forms. In his early work, the way that Benjamin deals with this problem is to call degraded forms “symbolic”, and those forms of materiality with positive value, “allegorical”. The article shows how there is more than an incidental (...) connection with the recent approach to ritual in the field of history of religions, seeing that Benjamin too wants to set out the significance of certain material forms against those that are “ritualistic” and hence false. It is argued that he treats the latter in his essay on Elective Affinities and the former in his Trauerspiel. The key claim is that the way material forms stand out as meaningful is akin to the Kantian description of the aesthetic attitude, which identifies how certain formations warrant and attract reflective attention and underpin moral orientation. The point is significant since Kantian aesthetics is an object of polemical attention across Benjamin’s heterogeneous corpus. Moreover, the approach shows the main difficulty in Benjamin’s treatment of sensible forms: what are the criteria he uses to distinguish the “bad” way a sensible form has of being meaningful from the “good”? (shrink)

The hope of finding new methods of predicting the course of historical processes could be connected with the recent developments of the theory of self-organisation, also called synergetics. It provides us with knowledge of constructive principles of co-evolution of complex social systems, co-evolution of countries and geopolitical regions being at different stages of development, integration of the East and the West, the North and the South. Due to the growth of population on the Earth in blow-up regime, the general and (...) local instability of development is increasing. The social world seems to go towards a unity, a sustainable commonwealth through pulsations rather than monotonously. It goes via alternation of disintegration, even if partial, and getting more powerful integrations of structures. There is a path of multiple reduction of temporal and material expenses, a path of a resonant excitation of desirable and — no less important — feasible in a given social system structure. In the case of the right topology of integration of geopolitical structures an arising whole organisation can accelerate its tempo of evolution. 1999 Elsevier Science Ltd. All rights reserved. (shrink)

This paper argues that Karoline von Günderrode’s unique account of the socially constructed self provides a model for satisfying relationships and a stable self on the basis of a fragmented and untransparent subjectivity. Günderrode views experience as a discontinuous series of moments out of which a self can be constructed in two ways, both involving interactions with others. One of these is narrative; the other is a form of immediate experience, including experiencing together with others, that precedes narrative accounts of (...) identity. For Günderrode, the most important ways of interacting with others involve sharing thoughts, feelings and experiences without attempting to integrate these into a more holistic image of, or story about, the person with whom one is interacting. The result is a model for relationships between transitory, opaque selves that creates a basis for social interaction and the construction of identity that can survive and flourish without a stable self that is completely known to itself and others. -/- This journal is open access and includes so many wonderful articles. (shrink)

In searching for the origins of current conceptions of science in the history of physics, one encounters a remarkable phenomenon. A typical view today is that theoretical knowledge-claims have only relativized validity. Historically, however, this thesis was supported by proponents of a conception of nature that today is far from typical, a mechanistic conception within which natural phenomena were to be explained by the action of mechanically moved matter. Two of these proponents, Hermann von Helmholtz and his pupil Heinrich Hertz, (...) contributed significantly to the modernization of the conception of science. Paradigmatic for their common contribution to this development is the way in which they employed the concept of image. By considering the origin and the different meanings of this concept we may trace a line of development which begins with Helmholtz's original claim that a universally and forever valid theory provides a unique representation of nature. It continues with the realization that the status of scientific knowledge is capable of revision; and it arrives at Hertz's admission that a variety of theories over a domain of objects is possible, at least at times. (shrink)

This article examines Machiavelli’s image of humanity. It argues against the prevailing views that characterize it either as pessimistic or optimistic and defends the thesis that the Florentine has a realist image of humanity. Machiavelli is a psychological egoist who conceives of man as a being whose actions are motivated by his drives, appetites, and passions, which lead him often to immoral behavior. Man’s main drives are “ambition” (ambizione) and “avarice” (avarizia). This article also investigates Machiavelli’s concept of (...) nature and shows that, for him, the constancy of human nature is the central premise that makes the scientific analysis of politics possible. Despite the fact that human drives and capabilities are the same at all times, good laws, military training, and religion allow man to be changed and educated toward “virtue” (virtù). To make such changes in man, however, presupposes a good legal and political order. Machiavelli justifies the state because of its capacity to reshape human nature and to improve man. The state is not only a coercive power but a moral institution. This leads to the conclusion that Machiavelli does not separate politics from morality as most scholars claim. (shrink)

I offer a critical review of several different conceptions of the activity of foundational research, from the time of Gauss to the present. These are (1) the traditional image, guiding Gauss, Dedekind, Frege and others, that sees in the search for more adequate basic systems a logical excavation of a priori structures, (2) the program to find sound formal systems for so-called classical mathematics that can be proved consistent, usually associated with the name of Hilbert, and (3) the historicist (...) alternative, guiding Riemann, Poincaré, Weyl and others, that seeks to perfect available conceptual systems with the aim to avoid conceptual limitations and expand the range of theoretical options. I shall contend that, at times, assumptions about the foundational enterprise emerge from certain dogmas that are frequently inherited from previous, outdated images. To round the discussion, I mention some traits of an alternative program that investigates the epistemology of mathematical knowledge. (shrink)

Historical evidence shows that mental symptoms were constructed in a particular historical and cultural context (19th Century alienism). According to the Cambridge model of symptom-formation, mental symptoms are mental acts whereby sufferers configure, by means of cultural templates, information invading their awareness. This information, which can be of biological or semantic origin, is pre-conceptual and pre-linguistic and to be understood and communicated requires formatting and linguistic collocation. Mental symptoms are hybrid objects, that is, blends of inchoate biological or symbolic signals (...) and cultural configurators. "Culture" plays a very deep role in symptom-formation because templates can attenuate or abolish the specificity of the biological signals involved. This means that signals from different brain sites can be configured as the same symptom and signals from the same site as different symptoms. Although always present, the neurobiological substratum is not fundamental in the understanding and management of mental symptoms. These can only be comprehended in relation to the manner of their construction and the cognitive and emotional biographies of each patient. Direct interference with the brain sites involved may dull mental symptoms but is unlikely to offer long-term cure. If the configuratory style and needs of the patient are not understood and dealt with, he is likely to keep re-constituting or replicating his symptoms in relation to other biological signals. In summary, mental symptoms are not passive happenings but genuine mental acts. Hence, the manner and motivation of their construction may be more important than the signal of brain distress that might have provoked them in the first place. (shrink)