J.G. Fichtes Philosophie versteht sich als die einzig wahre und für alle Lebensbereiche zuständige; nach ihren Vorausstezungen und Erklärungsproblemen zu fragen, legt sich nahe. Die vorliegende Arbeit verfolgt diese Aufgabenstellung anhand einzelner Themenbereiche unter reichlicher Anführung von Textstellen aus Fichtes Gesamtwerk und der Sekundärliteratur.

Die „Grundlage der gesamten Wissenschaftslehre“ bleibt für den, der Fichte im philosophiegeschichtlichen Zusammenhang sehen will, der wichtigste Text; dies gilt auch dann noch, wenn die Akademie-Ausgabe abgeschlossen sein wird. Der Jenaer Fichte hat nicht nur auf seine Zeitgenossen am stärksten gewirkt, er war auch seinerseits damals noch am offensten für Einflüsse. Der vorliegende Kommentar – der erste, der den gesamten deutschen Text behandelt – bietet keine Paraphrase, keine Übersetzung in eine zeitgemäßere Sprache, keine „Darstellung“, die Fichtes Disposition durch eine eigene (...) ersetzt und damit – gewollt oder ungewollt – in Konkurrenz zum Original tritt. Er will vielmehr den Leser auf seinem dornigen Pfad Satz für Satz begleiten und bei keiner Schwierigkeit im Stich lassen. Die konkrete Erforschung literarischer Bezüge und Abhängigkeiten zeigt, wie sehr der „Selbstdenker“ Fichte – unbeschadet seiner Eigenständigkeit – nicht nur in der Philosophie, sondern im ganzen Geistesleben der Epoche verwurzelt ist. Durch die ausgiebigen, mit sprachlichen Erläuterungen versehenen Zitate entlegener Quellen ist der Kommentar zugleich eine Art Lesebuch. (shrink)

Inhalt: Klaus HAMMACHER: Nachruf auf Dr. Richard Schottky. Edit DÜSING: Johannes Schurr zum Gedenken. TEIL I. Jürgen STOLZENBERG: Fichtes Satz »Ich bin«. Argumentanalytische Überlegungen zu Paragraph 1 der Grundlage der gesamten Wissenschaftslehre von 1794/95. Kunihiko NAGASAWA: Intellektuelle Anschauung und Dialektik. Sven JÜRGENSEN: Die Unterscheidung der Realität in Fichtes Wissenschaftslehre von 1794. Wilhelm METZ: Fichtes genetische Deduktion von Raum undä Zeit in Differenz zu Kant. Peter ROHS: Über die Zeit als das Mittelglied zwischen dem Intelligiblen und dem Sinnlichen. Daniel BREAZEALE: Philosophy (...) as the Divided Self: On the »Existential« and »Scientific« Tasks of the Jena Wissenschaftslehre. Endre KISS: Zwischen Apriorismus und Empirismus im Kontext der Isomorphie zweier Apriorismen. Zur Rekonstruktion von Fichtes philosophischer Konzeption. TEIL II. Erich HEINTEL: Gewißheit und Wahrheit bei Fichte. H.M. EMRICH: Identität und Versprechen. Hans Georg von MANZ: Selbstgewißheit und Fremdgewißheit. Fichtes Konzeption des Anderen als Konstituens der Selbsterfassung unter Berücksichtigung der Perspektive Lévinas'. Alois K. SOLLER: Die Unbegreiflichkeit der Wechselwirkung der Geister. Das Problem einer »Interpersonalitätslehre« bei Fichte. Carla DE PASCALE: Die Trieblehre bei Fichte. Karen GLOY: Die Naturauffassung bei Kant, Fichte und Schelling. Albert MUES: Der Grund der Dualität der Materie und des Indeterminismus in der physikalischen Natur. Die Lösung eines quantenphysikalischen Rätsels. Marco IVALDO: Zur Geschichtserkenntnis nach der Transzendentalphilosophie. Faustino ONCINA COVES: Geheimnis und Öffentlichkeit bei Fichte. Frank ASCHOFF: Rückkehr zur Metaphysik? Reinholds Abkehr von der Philosophie Fichtes. Ives RADRIZZANI: Der Übergang von der Grundlage zur Wissenschaftslehre nova methodo. L. de Vos: Die Realität der Idee. TEIL III. Wilhelm LÜTTERFELDS: Fichtes Konzept absoluter Einheit - ein performativer Selbstwiderspruch? Urs RICHLI: »Ich aber fordere Sie auf, absolute Genesis ins Auge zu fassen!« Realität und absolute Negativität in Fichtes Wissenschaftslehre von 1804 und in Hegels Wissenschaft der Logik. Hartmut TRAUB: Realität und System. Das Realitätsproblem in Fichtes Theorie der Fünffachheit. (shrink)

Inhalt: TEIL I Dominik SCHMIDIG: Sprachliche Vermittlung philosophischer Einsichten nach Fichtes Frühphilosophie. Thomas Sören HOFFMANN: Die Grundlage der gesamten Wissenschaftslehre und das Problem der Sprache bei Fichte. Jere Paul SURBER: Fichtes Sprachphilosophie und der Begriff einer Wissenschaftslehre. Holger JERGIUS: Fichtes »geometrische« Semantik. TEIL II Günter MECKENSTOCK: Beobachtungen zur Methodik in Fichtes Grundlage der gesammten Wissenschaftslehre. Hartmut TRAUB: Wege zur Wahrheit. Zur Bedeutung von Fichtes wissenschaftlich- und populär-philosophischer Methode. Jürgen STAHL: System und Methode - Zur methodologischen Begründung transzendentalen Philosophierens in Fichtes (...) »Begriffsschrift«. Kunihiko NAGASAWA: Eine neue Möglichkeit der Philosophie nach der Grundlage der gesammten Wissenschaftslehre. Teil III Katsuaki OKADA: Der erste Grundsatz und die Bildlehre. Hisang RYUE: Die Differenz zwischen »Ich bin« und «Ich bin Ich«. Christian KLOTZ: Der Ichbegriff in Fichtes Erörterung der Substantialität. Alois K. SOLLER: Fichtes Lehre vom Anstoß. Nicht-Ich und Ding an sich in der Grundlage der gesamten Wissenschaftslehre. Eine kritische Erörterung. Heinz EIDAM: Fichtes Anstoß. Anmerkungen zu einem Begriff der Wissenschaftslehre von 1794. Virginia LÓPEZ-DOMÍNGUEZ: Die Deduktion des Gefühls in der Grundlage der gesammten Wissenschaftslehre. Reinhard LOOCK: Gefühl und Realität. Fichtes Auseinandersetzung mit Jacobi in der Grundlage der Wissenschaft des Praktischen. TEIL IV Marek SIEMEK: Wissen und Tun. Zur Handlungsweise der transzendentalen Subjektivität in der ersten Wissenschaftslehre Fichtes. Daniel BREAZEALE: Der fragwürdige »Primat der praktischen Vernunft« in Fichtes Grundlage der gesamten Wissenschaftslehre. Marcin POREBA: Das Problem der transzendentalen Freiheit in semantischer Formulierung. Giuseppe DUSO: Absolutheit und Widerspruch in der Grundlage der gesamten Wissenschaftslehre. Manuel JIMÉNEZ-REDONDO: Der Begriff des Grundes in Fichtes Wissenschaftslehre. TEIL V Helmut GIRNDT: Das »Ich« des ersten Grundsatzes der Grundlage der gesamten Wissenschaftslehre in der Sicht der Wissenschaftslehre von 18042. Josef BEELER-PORT: Zum Stellenwert der Grundlage aus der Sicht von 1804. Eine Interpretation des Wechsels von analytisch-synthetischer und genetischer Methode in 5 der Grundlage. (shrink)

Mit dem 19. Band der Fichte-Studien-Supplementa legen Wolfgang Class und Alois K. Soller den ersten Kommentar dieser Art zu Fichtes Grundlage der gesamten Wissenschaftslehre (kurz: Grundlage) vor. Auf den 571 Seiten werden der Titel, die Vorrede und die drei Teile der Grundlage Satz für Satz, wenn nicht gar Wort für Wort, kommentiert. Inbegriffen ist ein ausführliches Verzeichnis der benutzten Literatur, ein Sachregister zum Fichte-Text und ein Verzeichnis der zitierten Arbeiten Fichtes.

In 2000 the Wittgenstein Archives at the University of Bergen (WAB) published the CD-ROM edition of Wittgenstein’s Nachlass: The Bergen Electronic Edition (BEE). Moreover, since then WAB has worked towards complementing the static CD-ROM edition with an interactive web platform that additionally allows more user-specific and more user-tailored utilizations of WAB’s Nachlass resources. The paper describes two specific web service tools of this platform: Interactive Dynamic Presentation (IDP) of the Wittgenstein Nachlass and Semantic Faceted Search and Browsing (SFB) of Wittgenstein (...) domain metadata. The paper argues that it is only when these two tools are fully implemented and functional that WAB can adequately serve the scholarly needs of the Wittgenstein Nachlass user community. The paper discusses some selected features and functionalities of the two tools in detail. An earlier version of this paper was published as „Complementing Static Scholarly Editions with Dynamic Research Platforms: Interactive Dynamic Presentation (IDP) and Semantic Faceted Search and Browsing (SFB) for the Wittgenstein Nachlass“ in Selected Papers from the CLARIN Annual Conference 2020, ed. by C. Navarretta & M. Eskevich (Utrecht: CLARIN ERIC). In writing this paper I have benefitted from comments by K. De Smedt, N. Gangopadhyay, Ø. Gjesdal, J. Hendrickson, C. Huitfeldt, H. Al Ruweh, the Clarin 2020 conference reviewers and editors as well as Jasmin Trächtler. (shrink)

Originally presented as the author's thesis (doctoral)--Basel, 1994.

InhaltVorwort SiglenverzeichnisWerner Beierwaltes: Zum Tode von Reinhard Lauth am 23. August 2007 Marco Ivaldo: Nachruf auf Reinhard Lauth Wilhelm Lütterfelds: »Ich allein aber verstehe es recht.« Fichtes idealistischer Verstehensbegriff und seine Paradoxie Jean-François Goubet: Über die akademische Freiheit. Analyse eines sittlich, rechtlich und philosophisch grundlegenden Begriffs in Bezug auf Fichtes Antrittsrede zum Rektorenamt im Jahre 1811 Marco Rampazzo Bazzan: Idee und Gesicht in den Fünf Vorlesungen über die Bestimmung des Gelehrten Nina W. Gromyko: Das Transzendieren als grundlegende anthropologische Konstruktion in (...) Fichtes Vorlesungen über die Bestimmung des Gelehrten Valérie Kokoszka: L’Affektenlehre dans la dernière philosophie de Fichte Kaoru Hoshiba: Das Problem der Sprache bei Fichte Martin Siegel: Die Einforderung eines lebendigen Sprachvollzugs als Kennzeichen der späten Wissenschaftslehren FichtesRainer Adolphi: Die Tatsachen der Tathandlung. Über Fichtes implizite Auseinandersetzung mit den Anfängen einer ›anthropologischen‹ Depotenzierung der Vernunft Marina Bykova: Fichte’s Doctrine of the Self-Positing Subject Alexander Kudrjaschew: Die Entfaltung des Fichteschen Erfahrungsgrundes Peter L. Oesterreich: Fichte und die Kunst des PhilosophierensGiorgia Cecchinato: Fichtes Ästhetik. Eigene Reflexionen über Kunst und WissenschaftslehreManuel Jiménez Redondo: Die unzeitgemäße Aktualität Fichtes, aufgezeigt am Beispiel der Beziehung der theoretischen und praktischen Philosophie in seinem SpätwerkFranck Fischbach: De l’acte à l’être: la dernière philosophie de Fichte Marco Ivaldo: Sittlicher »Begriff« als wirklichkeitsbildendes Prinzip in der späten Sittenlehre Katja V. Taver: Interpersonalität. Von den Wolfskindern zu den Thatsachen des Bewusstseyns von 1810/11Ulrich Fritz Wodarzik: Prinzip Liebe – zwischen Natur und Freiheit beim späten FichteAlois K. Soller: Keine moralische Selbstbestimmung im Spätwerk Fichtes. Zur Genese eines VernunftdeterminismusJean-Marie Vaysse: Fichte, penseur de l’actualité. (shrink)

“Doğal din” terimi, bazen doğanın kendisinin ilahi olduğu bir panteistik doktrine atıfta bulunur. “Doğal teoloji” terimi ise aksine, başlangıçta gözlemlenen doğal gerçekler temelinde (ve bazen) Tanrı’nın varlığını savunmaya yönelik projeye atıfta bulunur. Bununla birlikte çağdaş felsefede, hem “doğal din” hem de “doğal teoloji” genel olarak, dinî veya teolojik konuları araştırmak için insana, “doğal” olan bilişsel yetilerini – akıl, algı, içgözlem- kullanma projesini ifade eder. Doğal din veya teoloji, mevcut anlayış üzerine, doğayla ilgili ampirik araştırmalarla sınırlı olmamakla birlikte ayrıca panteistik bir (...) sonuçla da bağlantılı değildir. Bununla birlikte o, özel doğal olmayan yetilere (ESP, telepati, mistik deneyim) veya doğaüstü bilgi kaynaklarına (kutsal metinler, vahiy teolojisi, inanç otoriteleri, doğrudan doğaüstü iletişim) hitap etmekten kaçınır. Genel olarak, doğal din veya teoloji (bundan böyle “doğal teoloji” olarak anılacaktır), diğer felsefi ve bilimsel girişimlerle aynı rasyonel inceleme standartlarına uymayı amaçlamaktadır ve aynı değerlendirme ve eleştiri yöntemlerine tabidir. (shrink)

Modal ontolojik argüman, Tanrı’nın varlığını sadece bilfiil gerçek olan bu dünyada değil, bütün mümkün dünyalarda göstermeye yönelik bir argümandır. Anselm’in (1033-1109) Proslogion adlı eserinin 3. bölümünde “kendisinden daha büyüğü düşünülemeyen” şeklinde tanımlanan; Tanrı’nın var olmamasının da düşünülemeyeceğini, bu yüzden de varolmamasının imkansızlığı üzerinde kurulu yeni bir argüman bulunduğunu öne süren bazı araştırmacılar, bu argümanı mümkün dünyalar semantiği yardımıyla formüle edip, “modal ontolojik argüman” şeklinde adlandırmışlardır. Çok farklı şekillerde formüle edilmiş bu argüman kabaca Tanrı’nın mümkünse zorunlu olması, dolayısıyla bilfiil gerçek olan (...) bu dünyada da var olması gerektiğini savunur. (shrink)

Çağdaş epistemoloji içerisinde, dışsalcı, güvenilirci ve erdeme dayalı epistemolojik tartışmaların bir benzerini, dini epistemoloji içerisinde etkili bir şekilde yer edinen ve reformcu epistemoloji olarak bilinen yaklaşım üzerinden görebilmek mümkündür. Alvin Plantinga, Nicholas Wolterstorff ve William Alston gibi filozofların öne çıktığı bu yaklaşımın ana iddiası, kanıta ya da argümana dayanmaksızın, Tanrı’nın varlığına inanmanın bütünüyle doğru, rasyonel, makul ve güvenilir olacağı şeklindeki bir tezdir. Kanıtın, gerekçelendirme için zorunlu bir koşul olmadığı fikri, algısal deneyimlerin gerekçelendirilmesine benzer şekilde, dini deneyimlerin de öyle olduğu ve (...) dolayısıyla, aynı epistemik statüye sahip olması gerektiğini öne süren, eşitlik tezine dayanır. İlk ortaya çıktığı günden bugüne, üzerinde çokça konuşulan ve tartışılan bir yaklaşım olan reformcu epistemoloji, özellikle son beş yıl içerisinde, oldukça farklı bir hale gelmiştir. Zira bu yaklaşımı, kanıtsalcılıkla uyumlu, erdem epistemolojisiyle bağlantılı ve diğer teistik dinler üzerinden değerlendiren yeni çalışmalar ortaya çıkmıştır. Bu nedenle, bu makalede, reformcu epistemoloji ana hatlarıyla ele alınmıştır. Beraberinde, ona yöneltilen itirazlara değinilmiş ve sonrasında, bahsi geçen yenilik iddiaları soruşturulmaya çalışılmıştır. Son olarak, teistik inancın rasyonalitesiyle ilgili, farklı bir bakış açısı sunulmuştur. (shrink)

It is widely recognized that conceptual and theoretical innovations and the employment of new instruments and experimental techniques are important factors in explaining the growth of scientific knowledge in chemistry. This study examines another dimension of research in chemistry, collaboration and co-authorship. I focus specifically on Theodore Richards’ career and publications. During the period in which Richards worked, co-authorship was beginning to become more common than it had been previously. Richards was the first American chemist to be awarded a Nobel (...) Prize and he was at the forefront in this new trend in chemistry. He collaborated more than was typical for his time, with many scientists, in different sized groups, and he often had persistent collaborative relationships, extending over a number of years. Further, it appears that these collaborations benefited Richards, his collaborators, and the field of chemistry as a whole. (shrink)

Studies of epistemic communities and collaborative research in the social sciences have deepened the understanding of how science works, and more specifically how the social dimensions of scientific practice both enable and impede social scientists in realizing their epistemic goals. Two types of studies of epistemic communities are distinguished: general theories of epistemic communities aim to construct accounts of theoretical change applicable to all social scientific specialties, whereas historical studies emphasize the contingencies that affect specific social scientific disciplines, subfields, or (...) institutions. Although collaborative research plays a less pronounced role in the social sciences than in the natural sciences, collaboration has enabled social scientists to investigate topics that would otherwise be difficult to investigate. (shrink)

The article examines Thomas Kuhn's work in the history of science with special attention to its relevance to subsequent developments in social epistemology. The article begins with a discussion of Kuhn's historical work, and the so-called historical turn in philosophy of science. It then examines Kuhn's views on textbook science, followed by an analysis of Kuhn's views on the relationship between the history of science and the philosophy of science. Then it discusses Kuhn's contributions to our understanding of the social (...) dimensions of scientific inquiry. Finally, it discusses his influence on the social epistemology of science and the sociology of science. (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)

Alvin Plantinga, analitik felsefe düşüncesi içerisinde yetişmiş ve bu gelenek içinde teistik din felsefesinin oluşumuna katkıda bulunmuş bir filozoftur. Ayrıca teizmin savunusu için yaptığı çalışmalarla, çeşitli üniversitelerden aldığı onur ödülleri ve 2017 yılında kazandığı Templeton Prize ödülüyle, haklı bir üne kavuşmuş bir şahsiyettir. Bu çalışmayı yapmamızdaki en önemli amaç, Plantinga’nın dini epistemoloji üzerine yaptığı çalışmaları analiz edip bu düşüncelerinin ardalanına dair bir tespitte bulunmaktır. Bu çalışmada yararlandığımız öncelikli kaynaklar, Plantinga’nın Nicholas Wolterstorff ile birlikte kaleme aldığı “Faith and Rationality” adlı eser (...) ile birlikte son dönem epistemik fikirlerinin çerçevesini belirleyen üç ciltlik “Warrant and Proper Function”, “Warrant: The Current Debate”, “Warranted: Christian Belief” isimli eserler olmuştur. Plantinga’nın ilk dönem epistemoloji çalışmalarının gayesini bir tür olumsuzlama diyebileceğimiz klasik temelciliğin ve evidentializmin eleştirisi oluştururken, ikinci döneminde bu eleştirilerden yola çıkarak Tanrı inancının haklı bir temelde ve güvenceye sahip olduğunu gösterme amacına yönelmiştir. Plantinga’nın teolojik fikirlerini oluşturan Kalvinci ekol, onun dini epistemolojisinin de özünü oluşturmaktadır. Plantinga’nın dini epistemolojisini iki boyutlu olarak değerlendirdiğimizde, içe dönük olarak Hristiyan inancıyla ilgilense de çalışmalarının dışsal yönünü daha genel olarak teizmin Tanrı’sı ve onun rasyonelliği oluşturmaktadır. Açıkçası Plantinga’nın epistemolojik külliyatı bir tür kavram zenginliğini de beraberinde getirmektedir. Çalışmamız içerisinde ele aldığımız kadarıyla uygun işlevsellik, tasarım planı, güvence (warrant) gibi kavramlar onun Tanrı inancının epistemik mahiyetini ortaya koymak için ne derece kararlı olduğunu göstermektedir. Netice itibariyle Tanrı inancının ve onun bilgisinin rasyonel olabileceğini ifade eden Plantinga, her ne kadar Hristiyan inancının belli bir koluna mensup olsa da diğer mezhepleri dışlamaz. Ayrıca Plantinga, birçok çalışmasında belirttiği üzere projesinin Yahudilik, İslam gibi diğer teistik dinlere yönelik olduğunu da belirtmektedir. (shrink)

The general concept of a trope – that of a non-shareable character-grounder – admits of a distinction between modifier tropes and module tropes. Roughly, a module trope is self-exemplifying whereas a modifier trope is not. This distinction has wide-ranging implications. Modifier tropes are uniquely eligible to be powers and fundamental determinables, whereas module tropes are uniquely eligible to play a direct role in perception and causation. Moreover, each type of trope theory faces unique challenges concerning character- grounding. Modifier trope theory (...) faces challenges concerning the inscrutability of predication and the incompatibility with bundle theory, whereas module trope theory faces challenges concerning character overdetermination and a collapse into austere nominalism. These differences indicate that the modifier/module distinction divides the advantages of general trope theory and thus presents the trope theorist with a pivotal choice. (shrink)

In this paper I explore Michael Loux’s important distinction between “tropes” and “tropers”. First, I argue that the distinction throws into relief an ambiguity and discrepancy in the literature, revealing two fundamentally different versions of trope theory. Second, I argue that the distinction brings into focus unique challenges facing each of the resulting trope theories, thus calling into question an alleged advantage of trope theory—that by uniquely occupying the middle ground between its rivals, trope theory is able to recover and (...) preserve the insights of these views. Ultimately, the distinction suggests that trope theory is a divided house. (shrink)

This paper investigates the emotional import of literary devices deployed in fiction. Reflecting on the often-favored approach in the analytic tradition that locates fictional characters, events, and narratives as sources of readers’ emotions, I attempt to broaden the scope of analysis by accounting for how literary devices trigger non-cognitive emotions. I argue that giving more expansive consideration to literary devices by which authors present content facilitates a better understanding of how fiction engages emotion. In doing so, I also explore the (...) somatic dimension of reading fiction. (shrink)