Beerling, R. F. Denken over de dood.--Westerman Holstijn, A. J. Bestaat er wel een doodsdrift?--Mulisch, H. Anekdoten rondom de dood.--Stokvis, B. De dood en het recht.--Lorda Alaiz, F. M. De Spanjaard en de dood.--Brugsma, W. L. Doden en laten doden.--Sperna Weiland, J. Mijn zoon hier was dood .... --Constandse, A. L. De vrijwillige dood.--Froe, A. de, Mulisch, H., Lammers, H. Gesprek met J. Zeldenrust.--Andreus, H. Reacties van een lezer.

The moral authority of advance directives as a vehicle of precedent autonomy is highly problematic in cases of severe dementia of the Alzheimer’s type. It is unclear how personal values and interests can be enforced by means of such an advance directive; at the stage of severe dementia the distal binding powers of precedent autonomy have expired; and the moral costs of removing another human being from life are very high. It transpires that in fine drawing up an advance directive (...) in the face of Alzheimer is an inappropriate method of orchestrating one’s future care and death. This leaves persons diagnosed with Alzheimer’s disease with two morally preferable alternatives. One is that they accept that, when severe dementia is setting in, autonomy is not an issue; others decide. The second is that they commit pre-emptive suicide after Alzheimer’s disease is diagnosed. (shrink)

Gevaar – werkelijk gevaar, de dreiging van de dood – maken wij als burgers van een moderne samenleving gelukkig maar weinig mee. Mochten we er al eens mee te maken krijgen, dan is dat meestal in een vorm waarin we machteloos zijn er iets tegen te doen: wanneer ons vliegtuig naar beneden stort, is het de piloot die de stuurknuppel in handen heeft; en wanneer een gezwel in ons lichaam gevonden wordt, zullen we op de oncoloog moeten vertrouwen. Wij strijden (...) nooit zelf voor ons leven. Daarmee is voor ons een basiservaring, de ervaring van het overleven, verloren gegaan. (shrink)

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Colleges, gegveven in het Studium generale aan de Vrije universiteit van Amsterdam in het eerste semester van het academiejaar 1977-'78.

Whereas the Upanishads contain much which is, strictly speaking, of little interest to the historian of Indian thought, the Pre-Upanishadic texts are not completely devoid of passages which are of special importance for anyone who endeavours to trace the origin and oldest form of the main texts of classical Indian philosophy. Too often the difference between Upanishads and Pre-Upanishadic literature has been exaggerated ; too often the philosophical importance of the ritualistic speculations contained in the Brahmanas has been undervalued ; (...) too often these texts have been neglected by the compilers of handbooks. One of those points which have not always received due attention concerns the theoretic foundation of the belief in the possibility of gaining the victory over death and of the efforts to realize this ambition. One of the most important problems in which the Indians have always been interested is the relation between the One and the Many, between this phenomenal world and its source and ground. Already in the Rgveda opinions differ : it has been a divine architect who made the phenomenal world ; it has been an anonymous primeval deity who became a golden germ from which a demiurge was born ; the world has arisen from the impersonal One who desired to create the world, etc. In the course of time these creators and ideas of the original One fused into the great figure of Prajapati, „the Lord of Creatures”. This God, who occupies a central position in the Brdhmawa-texts originally was what he was to remain in popular belief : the deity presiding over biological creation. In the ritualistic speculations of the authors of the Brahmanas he is the Creator, the Father of gods and anti-gods, the origin of creation. In the beginning Prajapati was alone, he was ,all this’, he was the universe in ,concentrated’ and unmanifested form. By way of emanation and self-differentiation he became the manifested universe, including the creatures. After this creative activity he is empty and exhausted, because he has ,entered the universe' or rather transformed himself into the universe. His strength, force and health can however be recovered and restored by means of rites. The world and the creatures which emanated from Prajapati were not perfect ; they were a discontinuum, disintegrated, in the power of death. In order to make life possible and to make the world habitable Prajdpati instituted rites. Prajapati is in the Brahmanas identified with the highest and most general categories ; he is the year, i.e. the complete cycle of time comprising the past and the future, totality and completeness. The year, viewed as an integral structure is the fundamental basis of all that happens. Being also the rite, the sacral act, Prajapati is on the other hand the earthly counterpart of the great cosmic drama. On these two identifications the ritualistic system of these authors is constructed. Among these authorities Sandilya. occupies a prominent place. The mundane events oscillating between the poles of birth and death, of genesis and decay, rites are needed to reintegrate what has become decomposed. They are however also to restore the original unity and totality, to co-ordinate the non-co-ordinated phenomena, to reconstruct Prajapati, to restore his original oneness. The rites reduce, temporarily it is true and with regard to the individual who has them performed, the phenomenal multiplicity to a reintegrated totality, in which the diversity of Prajapati's emanation has been destroyed, and the original unity and oneness has been restored. This theory underlies the structure of the great Fire-altar , by which the sacrificer identifies himself with Prajapati whose original unity is restored. By performing this elaborate ritual the personality of the sacrificer was transformed into a new and divine existence, which was no longer subject to the imperfections proper to this world. That is to say : the sacrificer acquires ,immortality' , he transcends the limits of phenomenal time, he becomes sarva, i.e. safe-andsound, whole. Prajapati-the year will not destroy the man who identifies himself with the totality, with Prajapati-the year, and who has acquired an insight into the meaning of this identification ; that man overcomes disintegration and discontinuity, he gains the victory over death, that is to say : he attains to a sound and complete condition. In the course of time the personal Prajapati and the impersonal Brahman are identified. In the early Upanishads the latter becomes the great fundamental principle. These works resume on the one hand ancient speculations a part of which has been preserved in the Rg- and Atharvavedas, and utilize, on the other hand, the ritualistic theories of the Brdhmawas. The tendency of their authors is however to dissociate themselves from ritualism. Emphasizing the quest for the salvation and spiritual welfare of the individual they go into the problem of the ,Soul' , that is the ,self' or the very core of the personality, which is essentially different from all phenomenal plurality. The hitman is identified with the Punira, the primeval man out of whom the universe arose. It follows that the Atrmn is also cosmic. According to Udddlaka Arum it is the subtle essence of all that exists. All the important potencies in the universe are said to be its manifestations. However, in these works . Htman and Brahman tend to fuse and the great teacher Ydjwavalkya concluded to their being identical. Ordinary men do not understand this identity, but the few who are able to arrive at this highly important insight gain the victory over the imperfections and contingencies of empirical existence. They experience the ecstatic and unanalysable condition of unity, the undifferentiated Plenum or Totality, the ,All'. They know that they are truly Brahman or Sarvam. Now, it is most important to attain to this condition, which implies the victory over death, before one is to die the worldly death. The man who dies without having escaped death will die again and again in the hereafter. Whereas the ritualists attempt to protect themselves from this much feared ,repeated death' by means of rites, especially by the construction of the Fire-altar, the teachers whose words are recorded in the early Upanishads ascribed the delivering power to the esoteric knowledge of the ,under lying theory', to the knowledge of the ritual-cosmic interrelations : the man who knows the relevant speculations will be released. This belief in the redeeming power of the rites and the ,theory' on which they are based was also of special importance with regard to the development of the Karman-doctrine. Thus ritual and spiritual identification with the One which is the Totality, the Primeval Being, the Creator, the Atman enables man by experiencing a transformation to conquer phenomenal time and death. (shrink)

Saner onderzoekt de mythe van Orfeus. Hij beschrijft de oudere 'Ishtar mythe', waarin de macht van muziek reeds aan bod komt, en wijst op de relatie tussen deze mythe en de Orfeusmythe. Het essay handelt over de onmacht van Orfeus.

Kolakowski gaat in op de begrippen vereren en afgoderij vanuit een katholiek standpunt.

Janik beschrijft in zijn filosofische essay aan de hand van een aantal filosofische posities zijn visie op het thema afgoderij en de rol die religie speelt in een seculiere wereld.

Can we face our own death? We all know, of course, that we will once die. But do we, can we, really face up to the fact, can we live in a way that really takes it into account? Many philosophers have doubted that we can. Some of them appeal to conceptual arguments, for example the Epicurean argument that we cannot attribute any personal value to the state of our non-existence, because it is not a state of us. Others appeal (...) to phenomenological arguments. At all other times when a possibility that we treasure is not actualized, we are left to deplore the fact, but this particular loss is more encompassing than any other loss. I argue that the conceptual arguments are interesting but in the end unconvincing. The phenomenological arguments, on the other hand, fail to show that it is impossible to live in full consciousness of our mortality, but they explain why it is so difficult for us. Finally, I consider what this tells us about the will to die. (shrink)

Beschouwing vanuit een filosofisch perspectief van bio-ethische onderwerpen met een rooms-katholieke achtergrond.

Although many have identified similarities between the arts, the question as to what principle they would share has proved difficult to answer. This article unfolds three crucial moments in the search for an answer to the question of the singularity and plurality of art: Batteux’s attempt to reduce the arts to one principle in The Fine Arts Reduced to a Single Principle (1746), the early idealist-romantic attempt to synthesize the arts in The Earliest System-Program of German Idealism (1798), and Nancy’s (...) recent attempt, in The Muses (2006), to understand the Hegelian End of Art as a beginning of the arts in plural. (shrink)

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De stilte in Mahlers symfonieën en de stilte die Wittgenstein bepleit zijn eenzelfde stilte; ze zijn beide een reactie op Nietzsches notie van de dood van God en de crisis van de wetenschap. Deze stilte is een moment van puur luisteren. Het is een moment van catharsis en een uiting van persoonlijke of stilzwijgende gedachten die niet objectief, dat wil zeggen in wetenschappelijke proposities, kan worden gerepliceerd. Catharsis drukt geen kennis uit, maar een direct, ongemedieerd weten dat we zijn.

In this article I propose to understand inertia in art as a “disposition to meaning”. I compare inertia in art with that of a face of a person recently deceased. To acquaintances, i.e. to family and friends, it holds a promise of memories (of the deceased); to all the others the corpse offers the possibility of a projection of meanings. Art is made of plain, or extra-ordinary stuff, which is turned into artistic material. The artist is to bring the inert (...) potency of stuff to artistic life, and to turn it into something that is expressive. If she is successful, then the work will offer its audience a concentrated, absorbing experience. Art is autonomous in that the aimed for experience is morally neutral. In the view of many contemporary artists, such experiences fail art’s deeper significance: absorbing experiences are, simply, too easy. If artists want to really move the audience (to emotion), or so they feel, they should also move the audience into action. Wanting to achieve this is not just difficult; it is a paradox. (shrink)

Materializing absence, Jenny Hockey, Carol Komaromy and Kate Woodthorpe -- Never say die: CPR in hospital space, Susie Page -- Making hospice space, Ken Worpole -- Dying spaces in dying places, Carol Komaromy -- The materialities of absence after stillbirth: historical perspectives, Jan Bleyen -- Distributed personhood and the transformation of agency: an anthropological perspective on inquests, Susan Langer -- Behind closed doors? corpses and mourners in English and American funeral premises, Sheila Harper -- Private grief in public spaces: interpreting (...) memorialisation in the contemporary cemetary, Kate Woodthorpe -- Wandering lines and cul-de-sacs: trajectories of ashes in the United Kingdom, Leonie Kellaher, Jenny Hockey and David Prendergast -- Natural burial: the de-materialising of death?, Andy Clayden, Jenny Hockey and Mark Powell -- What will the neighbours say? reactions to field and garden burial, Tony Walter and Clare Gittings -- Memorialising the suicide victim: "walking the walk," Caroline Simone -- Potent reminders: an examination of responses to roadside memorials in Ireland, Una McConville and Regina McQuillan -- Geographies of the spirit world, Douglas J. Davies -- Recovering presence, Jenny Hockey, Carol Komaromy and Kate Woodthorpe. (shrink)

Vlak vóór zijn terechtstelling gaf Sokrates aan zijn leerling Krito de opdracht 'nog een haan te offeren aan Asklepios', de god van de gezondheid. Niet omdat hij door zijn dood van het leven genezen zou zijn, maar omdat een leven in onwaarheid erger zou zijn dan de dood. Maar wat betekent leven in waarheid concreet? Op basis van zijn eigen ervaringen en een intense lectuur van de filosofische klassieken tracht Ludo Abicht die vraag te beantwoorden. Het atheïsme in dit boek (...) is de kinderziekte van het antiklerikalisme ontgroeid; het rationalisme houdt rekening met de realiteit van gevoelens en passies. (shrink)

‘Ik vind het idee van het sterven vreselijk, want ik houd van het leven zolang ik het werkelijk kan leven. Maar de dood is een gift van de goden, een manier om aan het leven te ontsnappen als het werkelijk ondraaglijk is. Hoewel ik een filosofisch systeem heb ontworpen, bevat dat geen levensfilosofie. Ik heb een levensfilosofie, namelijk blijven leven tot ik omval.’.

In zijn werk uit de jaren voor zijn dood in 1984 verruilt Foucault de nadruk op de ‘macht’ voor een onderzoek naar de ‘zorg voor zichzelf’. Dit artikel geeft een overzicht en interpretatie van dit late werk van Foucault. Bovendien wordt de actuele betekenis ervan geïllustreerd door het in te zetten voor een analyse van maatschappelijke problemen rond nieuwe technologieën. Juist de wending in Foucaults late werk maakt dat zijn benadering blijvende waarde krijgt voor de analyse van actuele problemen, omdat (...) hij meer dan ooit tevoren op positieve wijze zijn eigen gedachten uitwerkt. De ontmanteling van ‘het subject’ uit zijn eerdere werk wordt nu aangevuld met aanknopingspunten om te onderzoeken hoe in onze eigen tijd nieuwe vormen van subjectiviteit worden voortgebracht. (shrink)

In dit klassieke essay van de grote kunshistoricus Erwin Panfosky komt vast te staan dat het zinnetje ‘Et in Arcadia ego’, van oudsher te vinden op kunstwerken en in verhalen die Arcadië als thema hebben, tegenwoordig een andere betekenis krijgt dan vroeger. Waar wij het simpelweg vertalen als ‘Ook ik was in Arcadië’, een vertaling die past bij ons beeld van een idyllisch, pastoraal landschap, had het oorspronkelijk een veel minder onschuldige lading. Overtuigend toont Panofsky aan, door te verwijzen naar (...) onder meer Vergilius, Sannazaro en Guercino, dat de ‘ik’ die in het citaat spreekt niemand minder is dan de Dood. De juiste vertaling is dan het sinistere, moralistische ‘Ook in Arcadië heers ik, de Dood’: de Arcadiërs wordt gemaand hun sterven te gedenken. Panofsky maakt duidelijk dat de foutieve interpretatie, met alle gevolgen van dien voor het arcadisch thema, zijn oorsprong heeft bij Nicolas Poussins beroemde Et in Arcadia Ego-composities. Zijn essay maakt dat het lieflijke arcadische landschap alsnog zijn onschuld verliest, en dat ook voor ons de dood opnieuw tot Arcadië toetreedt. (shrink)