Die vernachlässigte Rolle des mittelalterlichen Hofes als Institution der Wissenskultur steht im Zentrum des auf die Höfe in Sizilien und Kastilien im 13. Jahrhundert konzentrierten Bandes, in dem zugleich allgemeine Charakteristika höfischer Wissenskultur herausgearbeitet werden. Einen Schwerpunkt des Buchs bildet die Erforschung des naturwissenschaftlichen Wissens am Hofe Friedrichs II., einen weiteren die Herrschaftslegitimation, einen dritten schließlich der kastilische Hof. Die friderizianische Herrschaftslegitimation wird sowohl in der Ikonologie als auch aus soziologischer Perspektive beleuchtet. Der "Liber Introductorius" des Michael Scotus, ein Werk (...) enzyklopädischen Charakters, findet gründliche Untersuchung, wobei der Blick der Interpreten auf das Gesamtwerk und die Textentstehung gerichtet ist. Detailliert, dabei zugleich kontrovers diskutiert, weist der Band den Weg der verbreitetsten mittelalterlichen Falkenkunde vom Orient über den staufischen Hof in den Okzident nach. Durch die Analyse der Beschaffung, Übersetzung und Lektüre an Höfen, Universitäten sowie in Städten werden die Wege und Funktionen von Wissen erhellt. (shrink)

Im Zentrum dieses Bandes steht die Untersuchung des Wechselspiels und der Eigenlogik von Politik, Religion und Philosophie im Mittelalter und in der Frühen Neuzeit. Untersucht wird die Differenzierung religiöser und politischer Diskurse im Medium der aristotelischen Philosophietradition. Den Leitgedanken bildet dabei die Frage nach der Art und Weise, in der verschiedene Autoren jener Epoche – teils affirmativ, teils polemisch – auf Aristoteles und seine Philosophie Bezug nahmen und so zur Herausbildung einer bestimmten Form von Politischem Aristotelismus beitrugen, der religiöse und (...) philosophische Argumentationen in ihren Geltungsansprüchen kritisch gegeneinander abhebt. Die diachrone Perspektive und die Gleichzeitigkeit von historischer und philosophischer Betrachtungsweise der Studien dieses Buchs fördern nicht nur bedeutende Ergebnisse im Hinblick auf die jeweils untersuchten Autoren und Problemzusammenhänge zutage, sondern erproben anhand des Politischen Aristotelismus zugleich ein Deutungsmuster für das Verhältnis von Wissenskultur und gesellschaftlichem Wandel überhaupt. (shrink)

The book examines the discourse on attention emerging in the European Enlightenment (1650-1780) with a focus on German philosophy and literature. It argues that this discourse influenced the formation of aesthetic philosophy in the eighteenth century. Notable figures discussed include René Descartes, G.W.F. Leibniz, Christian Wolff, and Alexander Baumgarten.

Episodic memory has been analyzed in a number of different ways in both philosophy and psychology, and most controversy has centered on its self-referential,autonoeticcharacter. Here, we offer a comprehensive characterization of episodic memory in representational terms and propose a novel functional account on this basis. We argue that episodic memory should be understood as a distinctive epistemic attitude taken toward an event simulation. In this view, episodic memory has a metarepresentational format and should not be equated with beliefs about the (...) past. Instead, empirical findings suggest that the contents of human episodic memory are often constructed in the service of the explicit justification of such beliefs. Existing accounts of episodic memory function that have focused on explaining its constructive character through its role in future-oriented mental time travel do justice neither to its capacity to ground veridical beliefs about the past nor to its representational format. We provide an account of the metarepresentational structure of episodic memory in terms of its role in communicative interaction. The generative nature of recollection allows us to represent and communicate the reasons why we hold certain beliefs about the past. In this process, autonoesis corresponds to the capacity to determine when and how to assert epistemic authority in making claims about the past. A domain where such claims are indispensable are human social engagements. Such engagements commonly require the justification of entitlements and obligations, which is often possible only by explicit reference to specific past events. (shrink)

In this article I discuss what I am calling “ally aesthetics.” I suggest a set of necessary, though not necessarily sufficient, considerations for the creation of successful instances of ally art. Focusing on three case studies, I propose some key characteristics of ally aesthetics, such as its contextual/temporal nature and how that relates to success and the importance of understanding the place of the ally aesthetic within the larger movements they are allying with.

Episodic representations can be entertained either as “remembered” or “imagined”—as outcomes of experience or as simulations of such experience. Here, we argue that this feature is the product of a dedicated cognitive function: the metacognitive capacity to determine the mnemicity of mental event simulations. We argue that mnemicity attribution should be distinguished from other metacognitive operations (such as reality monitoring) and propose that this attribution is a “cognitive gadget”—a distinctively human ability made possible by cultural learning. Cultural learning is a (...) type of social learning in which traits are inherited through social interaction. In the case of mnemicity, one culturally learns to discriminate metacognitive “feelings of remembering” from other perceptual, emotional, action-related, and metacognitive feelings; to interpret feelings of remembering as indicators of memory rather than imagination; and to broadcast the interpreted feelings in culture- and context-specific ways, such as “I was there” or “I witnessed it myself.” We review evidence from the literature on memory development and scaffolding, metacognitive learning and teaching, as well as cross-cultural psychology in support of this view before pointing out various open questions about the nature and development of mnemicity highlighted by our account. (shrink)

Thoughts may have a subject — they may concern a certain topic —without having an object in the sense of being directed upon a referent. It is argued that, once this distinction is acknowledged, a third position between Meinong and Russell can be established. There will then be objectless thoughts which need not be false in view of the non-existence of their purported referents. But there will also be object-dependent thoughts which have their referents necessarily. Neither logically proper names nor (...) non-existing objects need to be introduced if we allow for cases when we are mistaken about what kind of thoughts we are considering. This result is achieved via an analysis of fictional names and a free logic which includes a nonpredicating use of general terms in sentences imitating the logical form of predications. (shrink)

A condensed history of philosophy from the Pre-Socratics through to the 1960s, now extended to include the latest developments of Analytical philosopy. This new complemented edition follows the division of the original text into four parts: Ancient Philosophy, Medieval Philosophy, Modern Philosophy (17th and 18th century), and 19th and 20th century Philosophy. It contains a new preface and introduction, and a new fifth part on Analytical Philosophy by the Cambridge-based philosopher Clare Hay, carrying the story into the 21st century.

In “Some Remarks on Extending and Interpreting Theories with a Partial Truth Predicate”, Reinhardt [21] famously proposed an instrumentalist interpretation of the truth theory Kripke–Feferman ( $\mathrm {KF}$ ) in analogy to Hilbert’s program. Reinhardt suggested to view $\mathrm {KF}$ as a tool for generating “the significant part of $\mathrm {KF}$ ”, that is, as a tool for deriving sentences of the form $\mathrm{Tr}\ulcorner {\varphi }\urcorner $. The constitutive question of Reinhardt’s program was whether it was possible “to justify the (...) use of nonsignificant sentences entirely within the framework of significant sentences”. This question was answered negatively by Halbach & Horsten [10] but we argue that under a more careful interpretation the question may receive a positive answer. To this end, we propose to shift attention from $\mathrm {KF}$ -provably true sentences to $\mathrm {KF}$ -provably true inferences, that is, we shall identify the significant part of $\mathrm {KF}$ with the set of pairs $\langle {\Gamma, \Delta }\rangle $, such that $\mathrm {KF}$ proves that if all members of $\Gamma $ are true, at least one member of $\Delta $ is true. In way of addressing Reinhardt’s question we show that the provably true inferences of suitable $\mathrm {KF}$ -like theories coincide with the provable sequents of matching versions of the theory Partial Kripke–Feferman ( $\mathrm {PKF}$ ). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Raphael PAUL BAROLSKY The essence of all appreciation and analysis of art is the translation of visual perceptions into compelling verbal form. —Ralph Lieberman cultural unity Horace Walpole, Sir Joshua Reynolds, Johann Wolfgang Goethe, Eugène Delacroix, Honoré Balzac, Friedrich Hegel, Charles Baudelaire, Friedrich Nietzsche, Pierre Renoir, Nathaniel Hawthorne, August Wilhelm von Schlegel, Heinrich von Kleist, Franz Grillparzer, Fyodor Dostoyevsky, Ivan Turgenev, Wilhelm Heinrich Wackenroder, George Eliot, Jean-Auguste (...) Dominique Ingres, Roger Fry, Bernard Berenson, Theodor Hetzer, Roberto Longhi, Heinrich Wölfflin, and Stendhal are among the many essayists, critics, novelists, poets, painters and art historians who have responded to Raphael’s work as painter, architect or archeologist over the centuries. I can well imagine all of those listed above, among many others, united in an imaginary painting similar to the School of Athens—in other words, a vision that reconciles their various views of the world in a harmony analogous to the unity of philosophers in Raphael’s great fresco. Raphael is a towering figure in the history of European culture. The year 2020 was the 500th anniversary of the death of the great painter in Rome at the age of thirty-seven. In the wake of recent exhibitions that commemorated the artist’s achievement, I propose to touch briefly and lightly on a few aspects arion 28.2 fall 2020 100 reflections on raphael of Raphael’s life and works. Please think of these remarks as a series of suggestions, not attempts at definitive interpretation. I think of this essay as a rather experimental piece. THE SCHOOL OF ATHENS i should like to begin with a few brief remarks on what must be Raphael’s most famous work of art. I mean his School of Athens (fig. 1), which is, like Leonardo’s Mona Lisa and Last Supper or like Michelangelo’s David and Creation of Adam, an image widely known and admired. What more is there to say about The School Of Athens, one of the central images in the Stanza della Segnatura? You might spend the rest of your life reading about this great work and never understand it fully. Nevertheless, I want to focus for a moment on a central detail of the work and, on the basis of my description, point to a significant aspect of the fresco that has been universally overlooked. First the description, then the aperçu. Fig. 1. School of Athens. Ca. 1510–1512. Photo Credit : Erich Lessing / Art Resource, NY. Paul Barolsky 101 At the center of the School of Athens we behold the two great philosophers of classical antiquity: Plato and Aristotle. Plato holds a copy of his Timaeus, a dialogue that concerns the harmony of the heavens; Aristotle holds a copy of his Ethics, a work that pertains to human relations in this world. It was the goal of Renaissance thinkers to create a harmony or concord of the thought of these philosophers: a Concordia Platonis et Aristotelis. Raphael’s fresco, as is well known, presents the visual ideal of such harmony. Whereas Aristotle gestures downward, alluding to this world, in which his Ethics matter, Plato points heavenward, evoking the order of the cosmic realm described in Timaeus. Raphael makes visible the ideal of concordia when he movingly pictures the way in which the two philosophers gaze into each other’s eyes, as if to suggest this harmony. Borrowing from the language of Raphael ’s friend, Baldassare Castiglione, Raphael renders “the joining” of their souls. The monumental architecture of the scene, which echoes Bramante and has taproots in Piero della Francesca and Perugino, consists of three barrel-vaults beyond which we see patches of blue sky and puffs of cloud (fig. 2). The grandiose architecture of the image magnifies Raphael’s philosophers. Within this architectural framework, Plato’s gesture is deeply meaningful, since it prompts the viewer to look up and thus ascend toward the perfection of the celestial realm, beyond the imperfections of the physical world. Above the first barrel vault in the fresco we behold a section of the drum of a dome which is open to the sky. Within this section of drum there are two columns that are lined up directly... (shrink)

In this essay, Johannes Giesinger comments on the current philosophical debate on educational justice. He observes that while authors like Elizabeth Anderson and Debra Satz develop a so-called adequacy view of educational justice, Harry Brighouse and Adam Swift defend an egalitarian principle. Giesinger focuses his analysis on the main objection that is formulated, from an egalitarian perspective, against the adequacy view: that it neglects the problem of securing fair opportunities in the competition for social rewards. Giesinger meets this objection (...) by expressing two basic theses: First, he argues that Brighouse and Swift themselves fail to give an adequate account of fair competition; and, second, he shows that the adequacy view provides the theoretical resources to face this problem. (shrink)

Several promising approaches have been developed to represent conscious experience in terms of mathematical spaces and structures. What is missing, however, is an explicit definition of what a ‘mathematical structure of conscious experience’ is. Here, we propose such a definition. This definition provides a link between the abstract formal entities of mathematics and the concreta of conscious experience; it complements recent approaches that study quality spaces, qualia spaces, or phenomenal spaces; and it provides a general method to identify and investigate (...) structures of conscious experience. We hope that ultimately this work provides a basis for developing a common formal language to study consciousness. (shrink)

Despite the rekindling of an often bitter debate as to the meaning of Martin Heidegger’s involvement with National Socialism, little has been done to address afresh the texts themselves of the period in question and the problematic to which Heidegger conceived he was applying himself. Defying Enlightenment universalism, Heidegger asserts that meaningful human existence requires a belonging in a particular historical community whose integrity must be sustained in what he calls “Auseinandersetzung,”---confrontation. This paper attempts to show how “Auseinandersetzung,” itself Heidegger’s (...) translation of the Greek word “polemos,” underlies central concepts of Heidegger”s ontology, influencing his views on work, art, and great creators. The current controversy lends us an opportunity to reflect on the meaning of fascism and the foundation for politics in a global era. (shrink)

What kind of education is needed for democracy? How can education respond to the challenges that current democracies face? This unprecedented Handbook offers a comprehensive overview of the most important ideas, issues, and thinkers within democratic education. Its thirty chapters are written by leading experts in the field in an accessible format. Its breadth of purpose and depth of analysis will appeal to both researchers and practitioners in education and politics. The Handbook addresses not only the historical roots and philosophical (...) foundations of democratic education, but also engages with contemporary political issues and key challenges to the project of democratic education. (shrink)