William James and Wisconsin, by G.C. Sellery.--The distinctive philosophy of William James, by M.C. Otto.--William James, man and philosopher, by D.S. Miller.--William James and psychoanalysis, by Norman Cameron.--The William James centenary dinner: Introductory remarks, by C.A. Dykstra. William James and the world today, by John Dewey, read by Carl Boegholt. William James in the American tradition, by B.H. Bode.--The Sunday service: William James as religious thinker, by J.S. Bixler.

Einleitung 1. KULTURPOLITISCHE IMPULSE IN RESTAURATIVER ZEIT. Hermann Lübbe. Deutscher Idealismus als Philosophie Preußischer Kulturpolitik - Walter Jaeschke. Politik, Kultur und Philosophie in Preußen - Kurt Rainer Meist. Zur Rolle der Geschichte in Hegels System der Philosophie - Karlheinz Stierle. Zwei Hauptstädte des Wissens; Paris und Berlin 2. KUNSTTHEORIE UND ÄSTHETIK IN BERLIN. Beat Wyss. Klassizismus und Geschichtsphilosophie im Konflikt. Aloys Hirt und Hegel - Gunter Scholtz. Schleiermachers Theorie der modernen Kultur mit vergleichendem Blick auf Hegel - Frank Jolles. August (...) Wilhelm Schlegel und Berlin: Sein Weg von den Berliner Vorlesungen von 1801-04 zu denen vom Jahre 1827 - Frithjof Rodi. Die Romantiker in der Sicht Hegels, Hayms und Diltheys - Wolfhart Henckmann. Solger und die Berliner Kunstszene - Annemarie Gethmann-Siefert. H. G. Hotho: Kunst als Bildungserlebnis und Kunsthistorie in systematischer Absicht, oder die entpolitisierte Version der ästhetischen Erziehung des Menschen - Gregor Stemmrich. C. Schnaase; Rezeption und Transformation Berlinischen Geistes in der kunsthistorischen Forschung 3. AKTUALITÄT DES LITERARISCHEN UND KÜNSTLERISCHEN ERBES - Hellmut Flashar. Die Entdeckung der griechischen Tragödie für die Deutsche Bühne - Siegfried Grosse. Die Rezeption des Nibelungenliedes im 19. Jahrhundert - Carl Dahlhaus. Hegel und die Musik seiner Zeit - Otto Pöggeler. Der Philosoph und der Maler. Hegel und Christian Xeller - Barbara Stemmrich-Köhler. Die Rezeption von Goethes West-östlichem Divan im Umkreis Hegels. (shrink)

In der deutschen Geistesgeschichte wurde seit Hegel und Hölderlin die Geschichte als tragischer Prozess verstanden. Ein Drama wie die Antigone des Sophokles sollte als das vollkommenste Werk der Kunst die griechische Deutung des Miteinanders der Menschen und der Götter zeigen. Hegel legte aber dar, dass die Antigone mit den Reigen ihrer Chöre auf einer modernen Bühne nicht aufführbar sei. Doch zehn Jahre nach seinem Tod dirigierte sein Hörer Felix Mendelssohn-Bartholdy in Potsdam und Berlin seine Vertonung der Antigone. Hölderlins Sophokles-Übertragungen erhielten (...) eine harte Kritik; im Zeitalter des Expressionismus griff man aber auf ihre ausdrucksvolle Sprache zurück. Als nach den Zerstörungen des Zweiten Weltkriegs gleich ein weiterer Krieg drohte, brachte Carl Orff seine Vertonung von Hölderlins Antigonä auf die Bühne. Martin Heidegger, der selber das erste Standlied der Antigone übersetzt und ausgelegt hatte, gratulierte Orff bei einer Münchener Aufführung zur 'Wiedererweckung der antiken Tragödie'. Bertolt Brecht stellte seine Bearbeitung der Antigone gegen Orffs Mythisierung. Als man diese Bearbeitung im Oktober 1989 in Ost-Berlin spielte, bejubelte das Publikum Antigones Wort an Kreon: 'Weniger (Menschen) sind es (in der DDR) geworden, seit du herrschst'. Auch in den Ruinen von Kabul wurde Antigone gezeigt. John Cranco brachte ein Antigone-Ballett ein, als er das Stuttgarter Ballett zum Weltruhm führte. Ein Maler wie Werner Scholz, einst durch die Brücke beeinflusst, zeigte Antigone auf Ölbildern. Dabei ging es, wie Hans-Georg Gadamer formulierte, nicht mehr um die überlebensgroßen Erscheinungen der Götter Homers. Schon die tragische Bühne und dann das gemalte Bild zeigten den Geschlagenen und Leidenden als den ganz menschlichen Menschen. So führt Antigones Tragödie die Menschen vor ihr Schicksal und zeigt, was Geschichte ist. (shrink)

In this first issue of the new Erkenntnis, it seems fitting to recall at least briefly the character and the main achievements of its distinguished namesake and predecessor. The old Erkenntnis came into existence when Hans Reichenbach and Rudolf Carnap assumed the editorship of the Annalen der Philosophie and gave the journal its new title and its characteristic orientation; the first issue appeared in 1930. The journal was backed by the Gesellschaft f r Empirische Philosophie in Berlin, in which Reichenbach, (...) Walter Dubislav, and Kurt Grelling were the leading figures, and by the Verein Ernst Mach in Vienna, whose philosophical position was strongly influenced by that of the Vienna Circle; a brief account of these groups, and of several kindred schools and trends of scientific and philosophical thinking, was given by Otto Neurath in his 'Historische Anmerkungen' (Vol. 1, pp. 311-314). As Reichenbach noted in his introduction to the first issue, the editors of Erkenntnis were concerned to carry on philosophical inquiry in close consideration of the procedures and results of the various scientific disciplines: analysis of scientific research and its presuppositions was expected to yield insight into the character of all human knowledge, while at the same time, the objectivity and the progressive character of science inspired the convection that philosophy need not remain an array of conflicting 'systems', but could attain to the status of objective knowledge. As a student in Berlin and Vienna during those years, I experienced vividly the exhilarating sense, shared by those close to those two philosophical groups, of being jointly engaged in a novel and challenging intellectual enterprise in which philosophical issues were dealt with 'scientifically' and philosophical claims were amenable to support or criticism by logically rigorous arguments. The 'logical analyses' and 'rational reconstructions' set forth by adherents of this program often made extensive use of the concepts, methods, and symbolic apparatus of contemporary symbolic logic, whose importance for philosophy was the subject of Carnap's article, 'Die Alte und die Neue Logik', which appeared in the first issue.. (shrink)

The West German positivist dispute in the 1960s is well known and thoroughly studied. At about the same time positivist disputes also took place in two Scandinavian countries: one in Norway and one in Sweden. What did the front lines in the debate look like in the three countries? What was the outcome of the different disputes? The main focus in the article is on the Swedish case, but some comparative perspectives relating to the three disputes will also be presented. (...) The Swedish positivist dispute originated with Gerard Radnitzky’s doctoral dissertation in theory of science, defended at the University of Gothenburg in May 1968, Contemporary Schools of Metascience (2 volumes). The dissertation caused a stir of controversy. It meant a challenge to the Swedish philsophical establishment because it leaned heavily on continental philosophers such as Karl-Otto Apel and Jürgen Habermas, who at the time were more or less unknown in Sweden. The controversy was continuated in the following years, most notably in the leftist journal Häften för kritiska studier (Notebooks for Critical Studies). (shrink)

Vorwort - Einleitung: Welt und Wirkung von Hegels Ästhetik I. KUNSTIDEAL UND KULTURPOLITIK. Otto Pöggeler. System und Geschichte der Künste bei Hegel - Helmut Schneider. Aus der Ästhetikvorlesung Hegels 1820/1821 - Lucia Sziborsky. Schelling und die Münchener Akademie der bildenden Künste. Zur Rolle der Kunst im Staat - Annemarie Gethmann-Siefert. Die Rolle der Kunst im Staat. Kontroverses zwischen Hegel und den Hegelianern II. DIE BILDENDEN KÜNSTE UND DIE HISTORIE. Heinrich Dilly. Hegel und Schinkel - Werner Busch. Wilhelm von Kaulbach (...) -peintre-philosophe und modern painter. Zu Kaulbachs Weltgeschichtszyklus im Berliner Neuen Museum - Gregor Stemmrich/Annemarie Gethmann-Siefert. Hegels Kügelgen-Rezension und die Auseinandersetzung um den eigentlichen historischen Stil in der Malerei - Wolfgang Beyrodt. Ansichten vom Niederrhein. Zum Verhältnis von Carl Schnaases Niederländischen Briefen zu Georg Forster III. MUSIK UND POESIE. Konrad Schüttauf. Melos und Drama. Hegels Begriff der Oper - Jürgen Söring. Hegel und die Romantheorie R. Wagners IV. POESIE UND WELTKULTUR. Hans-Georg Gadamer. Die Stellung der Poesie im System der Hegelschen Ästhetik und die Frage des Vergangenheitscharakters der Kunst - Dieter Bremer. Hegel und Aischylos - Clemens Menze. Das indische Altertum in der Sicht Wilhelm von Humboldts und Hegels - Barbara Stemmrich-Köhler/Annemarie Gethmann-Siefert. Von Hammer, Goethe und Hegel über Firdausi. Literaturkritik. Geschichtsbild und kulturpolitische Implikation der Ästhetik - Karlheinz Stierle. Malerei und Literatur der italienischen Renaissance in Hegels Ästhetik - Ursula Rautenberg. Ein Hegelianer unter Germanisten. Karl Rosenkranz' mediaevistische Studien. (shrink)

The article reviews the book Religiöse Erfahrung zwischen Emotion und Kognition: William James’ Karl Girgensohns, Rudolf Otto und Carl Gustav Jungs Psychologie des religiösen Erlebens [Religious Experience between Emotion and Cognition: William James, Karl Girgensohns, Rudolf Otto and Carl Gustav Jung on the Psychology of Religious Experience], by Henryk Machoń.

The article reviews the book Religiöse Erfahrung zwischen Emotion und Kognition: William James’ Karl Girgensohns, Rudolf Otto und Carl Gustav Jungs Psychologie des religiösen Erlebens [Religious Experience between Emotion and Cognition: William James, Karl Girgensohns, Rudolf Otto and Carl Gustav Jung on the Psychology of Religious Experience], by Henryk Machoń.

The pre-1932 writings of Otto Kirchheimer are often described by researchers as the work of a young ‘left-Schmittian’, a radical Marxist who gave the anti-liberal critique and theoretical apparatus of his Doktorvater Carl Schmitt a new purpose for different ‘political ends’. The danger of this approach is that fundamental divisions between the societal conceptualizations of both theoreticians are ignored in lieu of apparent terminological similarity. Through the lens of economy, it is therefore the intent of this article to (...) continue in the tradition of Alfons Söllner and Frank Schale, pushing against this assumed affinity and highlighting Otto Kirchheimer’s unique defense of liberal democracy. (shrink)

The article reviews the book Religiöse Erfahrung zwischen Emotion und Kognition: William James’ Karl Girgensohns, Rudolf Otto und Carl Gustav Jungs Psychologie des religiösen Erlebens [Religious Experience between Emotion and Cognition: William James, Karl Girgensohns, Rudolf Otto and Carl Gustav Jung on the Psychology of Religious Experience], by Henryk Machoń.

In lieu of an abstract, here is a brief excerpt of the content:Otto Rudolph Ortmann, Music Philosophy, and Music EducationDavid J. GonzolWhat is music? What should we teach when we teach music? How should we? In the early twentieth century, these most foundational questions relating to music education were addressed by the highly regarded, though less well known, educator and researcher, Otto Rudolph Ortmann. In 1922, he published an article in which he outlined a theory of musical experience, (...) developing aspects of the physics of sound, qualitative theory, and Gestalt psychology, prefiguring important ideas in music philosophy. Ortmann highly valued his theory, utilized it in other research throughout his career, and influenced others such as Carl Seashore. Few, however, seem to be aware of his work or its implications for music education.1The seminal 1922 article, "The Sensorial Basis of Music Appreciation," was written while Ortmann was teaching at the Peabody Conservatory of Music and Johns Hopkins University in Baltimore, Maryland.2 While this article has received little attention, much of his other research has been widely and well received.3 "Papa Ortmann," well beloved of family and students, had a career Gerig characterized as "a wedding between Materia Medica and Frau Musica."4 A prolific [End Page 160] researcher, superb musician, and excellent teacher, he published articles on music theory (one of which was reprinted and extended in 1983), musicology, music reading, ear training, synesthesia, and jazz.5 His research on piano performance, particularly his two books,6 is regarded as definitive; it has been discussed in a thesis and four dissertations; some of it has been replicated. In Famous Pianists and Their Technique, Gerig devoted a chapter to Ortmann.7 Ortmann's theory of listening types, in effect a theory of music cognition,8 was accepted by Robert Neidlinger, Doreen Rao, and Bennett Reimer.9 In the 1992 Handbook of Research on Music Teaching and Learning, F. R. Wilson and F. L. Roehmann praised the significance of Ortmann's body of research as undiminished in importance in music education.10It may be that Ortmann's "Sensorial Basis"theory received little attention at the time because too few were interested in such theories or in the synthesizing of science and psychology or the touching on philosophy that he employed. Although he influenced Seashore, the philosophical issues he began to explore would be developed more strongly only decades later, by philosophers such as Monroe Beardsley, Peter Kivy, and Jerrold Levinson. It seems that Ortmann's theory not only prefigures some ideas in recent music philosophy, but supports them as well. If it does, then our increased understanding of music can provide a firmer basis for developing better music education-one of Ortmann's aims. In this article I will describe his theory, sketch how it aligns with subsequent research, and consider its value today. Ortmann attempted a comprehensive explanation of music's nature; as far as his explanation is accurate, that far it can help us understand music and in turn music education.Three "Attributes"At the turn of the 1900s, it was popular to refer to "attributes" of sound. Ortmann posited that all sensation, including sound, has three types of attributes. The primary attribute he termed extensity, by which he meant the breadth of the sensation that is perceived. Extensity has three forms, transtensity (frequency), intensity (strength), and protensity (duration). These can be perceived individually but also as sound's secondary attributes, chief of which is quality. Tertiary attributes of sound are made through association, either by (a) contiguity, linking a sound's quality with things experienced near in time to the sound, or by (b) similarity, associating the quality with sensations of like extensity (for example, the expressive brightness of a sound and a light). Ortmann believed that tertiary attributes form "the threshold of musical imagination, and imagination in turn, of musical enjoyment."11 Accordingly, he concluded that music could express many things, and that this is dependent on listeners, their individual histories, and their entire field of sensations. [End Page 161]The Primary Attribute of ExtensityIn the Renaissance, Benedetti and Galileo found that pitch was related to frequency, and in 1702, Sauveur was the first to state that overtones affect timbre. In 1863, Helmholtz... (shrink)

Carl Schmitt verfügt heute über eine so breite und stets wachsende internationale Leserschaft wie kein anderer deutscher Staatsrechtslehrer des vergangenen Jahrhunderts. Sein Werk wird dabei freilich meist isoliert betrachtet und allenfalls auf den staatsrechtlichen Kontext bezogen. Im Mittelpunkt dieses Buches steht dagegen der politische Intellektuelle, der weit über die Grenzen seines Faches hinauswirkte. Besondere Aufmerksamkeit gilt dabei den Anfangs- und den Endjahren der Weimarer Republik. Während Schmitt in München Strategien zur Zähmung der Revolution entwickelte, setzte er sich in seinen (...) Berliner Jahren für eine autoritäre Transformation der Verfassung ein, die neben der äußersten Linken auch die äußerste Rechte von der Macht fernhalten sollte. Das geschah nicht nur in der Form der verfassungsrechtlichen Expertise für Regierungskreise, sondern auch durch publizistische Interventionen, bei denen der in Bonn gebildete Schülerkreis Schmitts eine tragende Rolle spielte. Zeitschriften wie Der Ring und das Deutsche Volkstum standen in der Endkrise der Weimarer Republik zeitweise vollständig unter dem Einfluß Schmittscher Ideen, und auch im breiteren Umfeld waren sie präsent, etwa in den Organen der Bündischen Jugend oder in der vielgelesenen Tat. Selbst Kritiker Schmitts konnten sich diesem Einfluß nicht entziehen, wie am Beispiel Otto Kirchheimers, Franz Neumanns, Ernst Fraenkels, Waldemar Gurians und anderer gezeigt wird. Gestützt auf nachgelassene Korrespondenzen und eine umfassende Auswertung der zeitgenössischen Publizistik gibt das Buch Aufschluß über Schmitts Netzwerk und seine politischen Strategien. (shrink)

“Who are you? Tu quis es?” The interrogator was the German philosopher and pedagogue Eduard Spranger. The subject was Carl Schmitt. The place: Berlin. The time: summer of 1945. The question was “precipitous,” as Schmitt acknowledged in Ex Captivitate Salus, the book he completed following his release from Nuremberg in 1947. “Who are you?” Who, but one of the most highly acclaimed and esteemed jurists and political thinkers of the Weimar Republic, whose writings captured the attention of Georg Lukács, (...) Karl Korsch, Felix Gilbert, Leo Strauss, Ferdinand Toennies, and whose concepts significantly influenced Walter Benjamin, Herbert Marcuse, Otto Kirchheimer, Franz Neumann, Karl Mannheim and many other intellectuals and writers on the Left and the Right? (shrink)

By revisiting late-Weimar debates between Carl Schmitt and two left-wing critics, Otto Kirchheimer and Franz L Neumann, we can shed light on the surprising alliance of populist politics with key tenets of economic liberalism, an alliance that vividly manifests itself in the political figure and retrograde policies of Donald Trump. In the process, we can begin to fill a striking lacuna in recent scholarly literature on populism, namely its failure to pay proper attention to matters of political economy. (...) We can also perhaps begin to make sense of the roots of Trump’s assault on the US federal state: formal law and its organizational basis, modern bureaucracy, represent potential restraints on the alliance of populism with neoliberalism. (shrink)

This article evaluates the effects of two types of rewards (performance-contingent versus engagement-contingent) on self-regulation, intrinsic motivation and creativity. Forty-two undergraduate students were randomly assigned to three conditions; i.e. a performance-contingent reward group, an engagement-contingent reward group and a control group. Results provide little support for the negative effects of performance rewards on motivational components. However, they do indicate that participants in the engagement-contingent reward group and the control group achieved higher rated creativity than participants in the performance-contingent reward group. (...) Alternative explanations for this finding are discussed. (shrink)

Under what conditions are people responsible for their choices and the outcomes of those choices? How could such conditions be fostered by liberal societies? Should what people are due as a matter of justice depend on what they are responsible for? For example, how far should healthcare provision depend on patients' past choices? What values would be realized and which hampered by making justice sensitive to responsibility? Would it give people what they deserve? Would it advance or hinder equality? The (...) explosion of philosophical interest in such questions has been fuelled by increased focus on individual responsibility in political debates. Political philosophers, especially egalitarians, have responded to such developments by attempting to map out the proper place for responsibility in theories of justice. This book both reflects on these recent developments in normative political theory and moves the debate forwards. (shrink)

In his historical perspective on the changes in scientific thought over the last 100 years, Carl N. Degler explores the study of social evolution and the ongoing search for human nature. In Search of Human Nature provides a detailed perspective on the reasons behind the shifting emphasis in social thought from biology, to culture, and again to biology. Degler examines why these changes took place, the evidence and people fostering these changes and why students of human nature decided to (...) accept this momentous change in thought. He suggests varying ideologies as the underlying force behind this shift in the study of social science. From Darwin's theory that human social behaviour has drastically evolved from animals, to the belief that human experience serves as the basic differentiating factor in humans, Degler provides a thorough and captivating examination of the roots of human behaviour. (shrink)