Collection of works on literature theory, translated into Mongolian language.

Gotthold Ephraim Lessing (1729-81), thinker, dramatist and controversialist of many-sided interests, is the most representative figure of the German Enlightenment. His defence of Spinoza, who had traditionally been condemned as an atheist, provoked a major controversy in philosophy, and his publication of H. S. Reimarus' radical assault on Christianity led to fundamental changes in Protestant theology. This volume presents the most comprehensive collection to date in English of Lessing's philosophical and theological writings, several of which are (...) here translated for the first time. They are edited and translated by H. B. Nisbet, who also provides an introduction that sets them in their historical and philosophical contexts. (shrink)

Gotthold Ephraim Lessing, thinker, dramatist and controversialist of many-sided interests, is the most representative figure of the German Enlightenment. His defence of Spinoza, who had traditionally been condemned as an atheist, provoked a major controversy in philosophy, and his publication of H. S. Reimarus' radical assault on Christianity led to fundamental changes in Protestant theology. This volume presents the most comprehensive collection to date in English of Lessing's philosophical and theological writings, several of which are here (...) translated for the first time. They are edited and translated by H. B. Nisbet, who also provides an introduction that sets them in their historical and philosophical contexts. (shrink)

This book sets his life and work of Gotthold Ephraim Lessing in the context of the intellectual, social, and cultural background of eighteenth-century Europe.

En su escrito Acerca de la pregunta ¿qué significa ilustrar?, Mendelssohn afirma que el progreso de la ilustración encuentra sus límites cuando amenaza los fundamentos religiosos y morales de la sociedad. Estas suposiciones pueden ser leídas como parte de las críticas que desarrolla en Jerusalem, o acerca del poder religioso y judaísmo contra la filosofía de la historia de su amigo, Lessing. De ahí que este artículo intente mostrar cómo a partir de las diferencias entre las formas en que (...) ambos autores definen el concepto de ilustración y de perfeccionamiento del ser humano, es posible entender la defensa del pluralismo religioso de Mendelssohn ante el peligro de una unidad definitiva que Lessing fija como meta del progreso de la historia. (shrink)

Résumé — S’il fallait résumer les thèses défendues par Lessing dans le Laocoon, on arriverait à un résultat finalement malingre. L’idée que la peinture représente au moyen de « signes naturels » des corps coexistant dans l’espace, tandis que la poésie représente au moyen de « signes arbitraires » des actions se succédant dans le temps a été en effet maintes fois développée par d’autres auteurs avant l’essai de 1766. Ce constat n’ôte pourtant rien à l’intérêt du Laocoon. Car (...) cet intérêt réside ailleurs. Il se situe non pas dans l’exposé définitif de la thèse, mais dans la méthode qui y mène, une méthode que Lessing veut d’abord inductive, c’est-à-dire fondée sur l’exemple. Le présent article entend analyser la conception de la critique qui se dégage de l’essai : refus de la méthode déductive, rôle central dévolu à l’imagination, intronisation du public comme instance légitime de jugement – le tout sur fond de polémique antiwinckelmannienne.Zusammenfassung — Wollte man die in Lessings Laokoon verteidigten Thesen zusammenfassen, so würde man zu einem eher spärlichen Ergebnis kommen. Da die Malerei anhand « natürlicher Zeichen » nur koexistierende Körper im Raum und die Poesie anhand « willkürlicher Zeichen » nur sukzessive Handlungen in der Zeit darstellt, wurde in der Tat schon vor der Erscheinung dieses Traktats von anderen Autoren dargelegt. Dies gereicht aber dem Essay keineswegs zum Nachteil, denn seine Bedeutung liegt anderswo. Sie liegt weniger in dem Inhalt der Thesen selbst, als in der Methode, die zur Aufstellung dieser Thesen führt. Lessing sucht nach einer induktiven Methode, die auf der präzisen Analyse von zahlreichen Beispielen beruht. Ziel des vorliegenden Artikels ist es, den Lessingschen Kritik-Begriff zu untersuchen, der sich aus der Methodologie dieses Essays ergibt : Ablehnung der deduktiven Verfahrensweise, Erhebung der Einbildungskraft zum entscheidenden Vermögen sowohl für die Produktion als auch für die Rezeption der Kunstwerke, Inthronisation des Publikums als vollberechtigter Kunstrichter – lauter Aspekte, die vor dem Hintergrund einer scharfen Polemik gegen Winckelmann entwickelt werden. (shrink)

Résumé — S’il fallait résumer les thèses défendues par Lessing dans le Laocoon, on arriverait à un résultat finalement malingre. L’idée que la peinture représente au moyen de « signes naturels » des corps coexistant dans l’espace, tandis que la poésie représente au moyen de « signes arbitraires » des actions se succédant dans le temps a été en effet maintes fois développée par d’autres auteurs avant l’essai de 1766. Ce constat n’ôte pourtant rien à l’intérêt du Laocoon. Car (...) cet intérêt réside ailleurs. Il se situe non pas dans l’exposé définitif de la thèse, mais dans la méthode qui y mène, une méthode que Lessing veut d’abord inductive, c’est-à-dire fondée sur l’exemple. Le présent article entend analyser la conception de la critique qui se dégage de l’essai : refus de la méthode déductive, rôle central dévolu à l’imagination, intronisation du public comme instance légitime de jugement – le tout sur fond de polémique antiwinckelmannienne.Zusammenfassung — Wollte man die in Lessings Laokoon verteidigten Thesen zusammenfassen, so würde man zu einem eher spärlichen Ergebnis kommen. Da die Malerei anhand « natürlicher Zeichen » nur koexistierende Körper im Raum und die Poesie anhand « willkürlicher Zeichen » nur sukzessive Handlungen in der Zeit darstellt, wurde in der Tat schon vor der Erscheinung dieses Traktats von anderen Autoren dargelegt. Dies gereicht aber dem Essay keineswegs zum Nachteil, denn seine Bedeutung liegt anderswo. Sie liegt weniger in dem Inhalt der Thesen selbst, als in der Methode, die zur Aufstellung dieser Thesen führt. Lessing sucht nach einer induktiven Methode, die auf der präzisen Analyse von zahlreichen Beispielen beruht. Ziel des vorliegenden Artikels ist es, den Lessingschen Kritik-Begriff zu untersuchen, der sich aus der Methodologie dieses Essays ergibt : Ablehnung der deduktiven Verfahrensweise, Erhebung der Einbildungskraft zum entscheidenden Vermögen sowohl für die Produktion als auch für die Rezeption der Kunstwerke, Inthronisation des Publikums als vollberechtigter Kunstrichter – lauter Aspekte, die vor dem Hintergrund einer scharfen Polemik gegen Winckelmann entwickelt werden. (shrink)

Für die Ästhetik des 18. Jahrhunderts bezeichnet G.E. Lessings Laokoon: oder über die Grenzen der Mahlerey und Poesie (1766) einen markanten Höhe- und Wendepunkt. In Dichtung und Wahrheit äußert sich Goethe rückblickend: "Man muß Jüngling sein, um sich zu vergegenwärtigen, welche Wirkung Lessings Laokoon auf uns ausübte, indem dieses Werk uns aus der Region eines kümmerlichen Anschauens in die freien Gefilde des Gedankens hinriß. Das so lange mißverstandene ut pictura poesis war auf einmal beseitigt, der Unterschied der bildenden und Redekünste (...) klar, die Gipfel beider erschienen nun getrennt, wie nah ihre Basen auch zusammenstoßen mochten." Der Band verfolgt das Anliegen, im interdisziplinären Dialog die produktive Offenheit dieser 'unordentlichen Collectanea' (Laokoon, Vorrede) als konstitutives Element der Lessing'schen Ästhetik neu herauszuarbeiten. Lessing will keine systematische Ästhetik vorlegen, sondern 'fermenta cognitionis', die in ihrer Summe jedoch nichts weniger als ein umfassendes Panorama der ästhetischen, kunst- und kulturhistorischen Problemlagen der Zeit bieten. (shrink)

In chapter I, different types of interpretations of Lessing’s ring-parable are introduced. After a summary of them , the different types are sketched and their plausibility is evaluated . I suggest preferring the interpretation according to which Lessing suggests that, although the truth of religion is undecided, we can nevertheless be epistemically justified to continue believing in our Christian, Jewish, Muslim ...religion . In chapter II, I defend the philosophical tenability of Lessing’s solution. He does not advocate (...) the philosophically untenable idea that truth can be relativized . His contentions should be interpreted as not primarily targeting questions of truth proper but, rather, questions of justification. After sketching the difference between accounts of justification and of truth proper, I show in which fashion Lessing answers questions of justification . In chapter III, I show that a solution along Lessing’s lines brings fresh and promising resources to the study of the philosophy of religion. What I call the standard paradigmin the philosophy of religion, viz. the attempt to demonstrate the truth or falsity of religion, has provided inconclusive results in my judgment. And there is little hope that the decisive argument for or against religion will surface in the foreseeable future. Thus I suggest that, rather than devoting our energies to the standard paradigm, we should devote them to what I call the new paradigm. According to the latter, the question whether or not certain religious utterances are epistemically justified rather than the question whether they are true is crucial . Finally, I show in which fashion William James, Alvin Plantinga, and my own coherentist holism are all proponents of this new paradigm, thus intellectual allies of Lessing. (shrink)

C. F. Gellert's 1748 novel "Leben der schwedischen Gräfin von G***" portrays the moral actions of Jews as a result of good Christian conduct. In reaction, G. E. Lessing disputes this depiction in his one-act-play "Die Juden" from 1749. The recognition that a Jew could fulfill the ideals of the Enlightenment helped overcome the prejudices of Christian stage characters and of the audience, but it failed in the social circumstances of the time. Christian reception understood a "noble Jew" to (...) be a violation of the poetic principle of probability - and even for Lessing such a figure was the exception. Moses Mendelssohn, however, believed that Judaism was especially well-suited for fostering the development of certain virtues. In light of far-reaching interreligious concepts on the one hand and religiously motivated conflicts on the other, Lessing's early works reveal today the persistent value of self-critical examination concerning hidden prejudices towards religious and cultural minorities. (shrink)

L’ouvrage de Charlotte Coulombeau est entrepris en philosophe, et c’est bien en tant que telle que l’auteur s’attache à clarifier chez Lessing les rapports complexes entre philosophie, poésie, critique, métaphysique, religion, histoire et éthique. L’intérêt de cette étude pour le linguistique réside cependant dans la large part accordée au style de Lessing et à ses stratégies de communication (pp. 382-539). Monument de la littérature allemande, l’œuvre de Gotthold Ephraim Lessing a de quoi d..

L’ouvrage de Charlotte Coulombeau est entrepris en philosophe, et c’est bien en tant que telle que l’auteur s’attache à clarifier chez Lessing les rapports complexes entre philosophie, poésie, critique, métaphysique, religion, histoire et éthique. L’intérêt de cette étude pour le linguistique réside cependant dans la large part accordée au style de Lessing et à ses stratégies de communication (pp. 382-539). Monument de la littérature allemande, l’œuvre de Gotthold Ephraim Lessing a de quoi d...

The Perestroika movement recently reopened longstanding debates about the scholarly and political implications of orienting political science research around a scientific ideal derived from the natural sciences. Many Perestroikans, like earlier critics of “naturalized” political science, turned to ontology, opposing the political world to the natural world to espouse what I call a two-sciences settlement: a separate-but-equal arrangement in which political science and natural science would each operate according to distinct methodological imperatives dictated by their distinctive objects. In this article, (...) I critically appraise this divided settlement and the two-worlds ontology that underwrites it. I recover an alternative, less dualistic vision of politics and nature from Giambattisa Vico, challenging received views of him as an early architect of the two-sciences settlement. Vico’s vision of ontological hybridity, I argue, offers more robust support to the Perestroikan goals of methodological pluralism and political engagement than the two-worlds ontology Perestroikans often invoked. (shrink)

Many participatory projects in rural Africa aim indirectly to enhance development by promoting different dimensions of social capital: cooperation in networks, trust, and norms of behavior that encourage mutually beneficial action. However, it is unclear whether these development initiatives can actually influence social capital, especially in the short term. To address this question, we used semi-experimental data to investigate the effects of agricultural research and development on various indicators of social capital in the border region of Rwanda, Uganda, and the (...) DRC. Specifically, we focused on the effects of the “Integrated Agricultural Research for Development Approach” and compared it to conventional ARD efforts. We show that IAR4D has influenced the level of social capital, although not in all dimensions and not consistently for all countries. In the Democratic Republic of Congo and Uganda, for example, IAR4D strengthened the networks that link villages to the outside world, but not in other countries. We also find indications that IAR4D resulted in higher levels of intra-village networks in Rwanda and improved trust and norms of cooperation in the DRC. Finally, we showed that traditional agricultural extension has been less successful than IAR4D in increasing the level of social capital. (shrink)

La doctrine picturale du classicisme instituait le parallèle de l’image et du verbe, elle adoptait pour maxime la formule extraite d’Horace « Ut pictura poesis » (« Il en est d’une poésie comme d’une peinture »). Gotthold Ephraïm Lessing réfute cette conception dans son Laocoon en opposant les propriétés du lisible à celles du visible, et en affirmant l’impossibilité d’établir une équivalence entre elles. Il met en crise la lisibilité de l’œuvre plastique en opérant une distinction fondamentale entre (...) l’image et le mot, avec pour conséquence de séparer nettement la finalité essentielle de la peinture et celle de la poésie. Lessing défend l’idée que les moyens de la peinture correspondent aux limites de la poésie, et que les moyens de la poésie correspondent aux limites de la peinture. Ce chiasme se résout dans le théâtre qui, unissant les pouvoirs du verbe et de l’image, surmonte les limites expressives de la poésie et de la peinture en conjuguant leurs pouvoirs respectifs. (shrink)

Gotthold Ephraim Lessing, thinker, dramatist and controversialist of many-sided interests, is the most representative figure of the German Enlightenment. His defence of Spinoza, who had traditionally been condemned as an atheist, provoked a major controversy in philosophy, and his publication of H. S. Reimarus' radical assault on Christianity led to fundamental changes in Protestant theology. This volume presents the most comprehensive collection to date in English of Lessing's philosophical and theological writings, several of which are here (...) translated for the first time. They are edited and translated by H. B. Nisbet, who also provides an introduction that sets them in their historical and philosophical contexts. (shrink)

Although only one aspect of Gotthold Ephraim Lessing's diverse oeuvre, his religious thought had a significant influence on thinkers such as Kant, Hegel, Kierkegaard, and present-day liberal Protestant theologians. His thought is particularly difficult to assess, however, because it is found largely in a series of essays, reviews, critical studies, polemical writings, and commentary on theological texts. Beyond these, his correspondence, and a few fragmentary essays unpublished during his lifetime, we have his famous drama of religious toleration, (...) Nathan the Wise, and his philosophical-historical sketch, The Education of the Human Race. In these scattered texts, Lessing challenged the full range of theological views in the Enlightenment, from Protestant orthodoxy, with its belief in Biblical inerrancy, to a radical naturalism, which rejected both the concept of a divine revelation and the historically based claims of Christianity to be one, as well as virtually everything in between. Since he refused to identify himself with any of these parties, Lessing was an enigmatic figure, and a central question from his time to today is where he stood on the issue of the truth of the Christian religion. Now back in print, and with the addition of two supplementary essays, Henry E. Allison's book argues that, despite appearances, Lessing was not merely an eclectic thinker or intellectual provocateur, but a serious philosopher of religion, who combined a basically Spinozistic conception of God with a sophisticated pluralistic conception of religious truth inspired by Leibniz. (shrink)

This letter contains Lessing's most explicit observations on the distinction between poetry and prose as well as a unique proposal for emending Aristotle's interpretation of the dramatic method. Although both arguments are formulated in terms of Abbe Dubos' theory of signs, Lessing significantly modifies Dubos' doctrine by ideas derived from Alexander Baumgarten, Moses Mendelssohn, and Edmund Burke. An analysis of these modifications provides the framework for a critique of Lessing's aesthetic philosophy as a whole.

Lessing's Spinozism looms up out of the numerous intellectual riddles of the past. Almost everything has been tried in an effort to sound and weigh the exact amount of Spinozism Lessing betrayed in his conversations with Jacobi.

The conflict about the fragments of "Apologia or Defense for the Rational Reverers of God" by the Hamburg scholar Hermann Samuel Reimarus and the Counter-propositions by Gotthold Ephraim Lessing caused an uproar in the Lutheran theological world of the 18th century. Would this form of Christianity, rooted in the tradition of the Lutheran Reformation, be superseded by the Enlightenment if literary, historical and religious-philosophical criticism of the Bible were now allowed? Lessing presents his solution of the (...) problem in Axioms, which this book places in the context of his overall thought. (shrink)

Gotthold Ephraim Lessing stands out among the thinkers of the 18th century for his refusal to synthesize theology and philosophy. But due to his notorious ambivalence about religious questions, even Lessing’s contemporaries remained uncertain whether he ultimately sided with the former or the latter. The short dialogue Hercules and Omphale is, to the detriment of research on this topic, largely unknown. I show that the dialogue offers in a nutshell Lessing’s comprehensive analysis of the intellectual (...) and religious situation of his time. By calling on the mythical travesty of the Asian queen and the Greek hero, Lessing illustrates the mutual attraction that has led astray both Enlightenment philosophy and contemporary Lutheran orthodoxy. Implicitly, his diagnosis of the aberrations of philosophy and theology sheds light on Lessing’s own position. The twofold criticism is an attempt to restore theology as well as philosophy in their genuine forms and to reestablish their proper relationship. Through his twofold restitutio in integrum, Lessing is able to reopen the quarrel between orthodoxy and the Enlightenment and, thus, to radically renew the all but forgotten theologico-philosophical antagonism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:One True Ring or Many?Religious Pluralism in Lessing's Nathan the WiseChristopher AdamoIn the Central Scene of Nathan the Wise, Nathan responds to Saladin's pointed question pertaining to the "true religion" with the famous parable of the three rings.1 As John Pizer notes, Lessing deliberately crafts ambiguous fables to cultivate the reader's capacity for autonomous exercise of hermeneutic skill.2 That Gotthold Ephraim Lessing's Nathan the (...) Wise evokes a wide variety of interpretations, therefore, should be no surprise.3 However, for Pizer, Lessing's use of fable additionally represents a "key to his Enlightenment ideals, the inculcation of the idea that individuals are responsible for their own actions and for their own maturation as social beings, as later articulated by Kant" (Pizer, p. 101). If the genre of fable itself, for Lessing, serves as a pedagogic tool to cultivate in his readers the rational autonomy as envisioned by Kant in the opening lines of "What is Enlightenment?," then might that suggest Lessing's ring-parable is best read as an Enlightenment-humanist response to the theological and political problem of the plurality of revealed religions?Several recent Lessing scholars have taken this line. In his study Lessing's Philosophy of Religion and the German Enlightenment, Toshimasa Yasukata approvingly reads the parable of the rings as illustrative of Lessing's view of a "true religion" that "transcends all of the historical religions and yet underlies the truth of each.... [A] religion based on real and universal humanity."4 Astrid Oesmann, in her article "Nathan der Weise: Suffering Lessing's 'Erziehung,'" develops a similar interpretation but then, based upon it, turns a critical eye toward such a project as it requires Nathan to suppress his Judaic identity—not merely in his confrontation with Saladin but additionally by suppressing his suffering [End Page 139] at the hands of a Crusader pogrom that took the lives of his wife and seven children.5 For both these commentators, Lessing's Nathan the Wise champions a vision of a universal religion based on reason alone, for good or for ill.With this interpretation of Lessing's Nathan in the background, I intend to highlight moments in Lessing's Nathan that invite a more pluralistic reading. Both readings above interpret the ambiguous ending of the parable in light of the teleological history of revealed religion constructed by Lessing in "The Education of the Human Race" thus, implying there remains a singular, genuine, ring, i.e., a "true" religion that even may be identifiable with one of the three in question. The reading developed here interprets the ambiguous ending of the ring parable in light of the final scenes of Nathan, focusing on Recha's rich genealogical origins and her universal regard among persons of diverse faiths. The question as to which is the correct [recht] ring gives way to the question of which bearer(s) possesses a genuine [echt] ring, a significant shift in focus and reflective of Lessing's "primacy of ethics" over explanation in an approach to the plurality of revealed religions.6 Second, though both an Enlightenment reading and the present reading move the focus of religion away from orthodoxy towards a primacy of ethics, the present reading would be better equipped to respond to a charge like Oesmann's that defusing inter-religious tensions in a multicultural polity can come only by the sacrifice of one's cultural and historical particularity as Jewish, Muslim, Christian.INathan the Wise is set in Jerusalem during the close of the Third Crusade (1189–1192). A cease-fire has just been breached by the Knights Templar. Each side prepares to resume the hostilities. Previous acts of internecine violence reverberate throughout the play. Several of the play's characters suffer from (Nathan) and perpetrate (the Templar, the Sultan) sectarian violence. We discover in the first act that Saladin has just executed nineteen prisoners of war, sparing only one Templar. We discover in the fourth act that Nathan's entire family had been murdered by Crusaders roughly eighteen years previous. The political, pragmatic peace between rival parties is unraveling.The action begins when Nathan, a wealthy Jewish merchant, returns from his... (shrink)

Gotthold Ephraim Lessing stands out among the thinkers of the 18th century for his refusal to synthesize theology and philosophy. But due to his notorious ambivalence about religious questions, even Lessing’s contemporaries remained uncertain whether he ultimately sided with the former or the latter. The short dialogue Hercules and Omphale is, to the detriment of research on this topic, largely unknown. I show that the dialogue offers in a nutshell Lessing’s comprehensive analysis of the intellectual (...) and religious situation of his time. By calling on the mythical travesty of the Asian queen and the Greek hero, Lessing illustrates the mutual attraction that has led astray both Enlightenment philosophy and contemporary Lutheran orthodoxy. Implicitly, his diagnosis of the aberrations of philosophy and theology sheds light on Lessing’s own position. The twofold criticism is an attempt to restore theology as well as philosophy in their genuine forms and to reestablish their proper relationship. Through his twofold restitutio in integrum, Lessing is able to reopen the quarrel between orthodoxy and the Enlightenment and, thus, to radically renew the all but forgotten theologico-philosophical antagonism. (shrink)

In this paper, I examine the extent to which the theoretical procedures for interpreting works of visual art, which Gotthold Ephraim Lessing describes in his famous book Laocoon: An Essay Upon the Limits of Painting and Poetry, are comparable to various methods of interpretation from the tradition of hermeneutics. To achieve this, I analyse how Robert S. Leventhal and Frederick Burwick approached Lessing’s interpretation techniques and try to expand their views and apply them to Lessing’s (...) thoughts in Laocoon. I will focus on the idea that Lessing’s procedures for interpreting works of visual art depend, to a certain extend, on his methods for analysing literature. Even though these authors did not link Lessing’s thoughts to the hermeneutical theory of Friedrich Schleiermacher, I will also explore whether there are certain similarities in their views on the main constituents of the process of interpretation. (shrink)

_Spinoza’s Modernity _is a major, original work of intellectual history that reassesses the philosophical project of Baruch Spinoza, uncovers his influence on later thinkers, and demonstrates how that crucial influence on Moses Mendelssohn, G. E. Lessing, and Heinrich Heine shaped the development of modern critical thought. Excommunicated by his Jewish community, Spinoza was a controversial figure in his lifetime and for centuries afterward. Willi Goetschel shows how Spinoza’s philosophy was a direct challenge to the theological and metaphysical assumptions of (...) modern European thought. He locates the driving force of this challenge in Spinoza’s Jewishness, which is deeply inscribed in his philosophy and defines the radical nature of his modernity. (shrink)