Caspar David Friedrich was the quintessential Romantic figure, portraying the Sublime in his landscape paintings. The Romantic period, particularly in Germany, England, and France, was characterized by the full development of aesthetics as a separate branch of philosophy. The terrible Sublime was contrasted with the more formal elements of Beauty. In this paper, Dr. dela Cruz similarly compares the inarticulable aesthetic sensibility and the more formal method of logical analysis, underscoring her own transition from philosophy to creative (...) writing. She provides a philosophical analysis of what picture theorists call the “visual metaphor” in Friedrich’s key works, in particular “The Wanderer Above a Sea of Fog” and “On the Sailingboat.” Her engagement with these works takes the form of a creative piece—an ekphrastic poem—integrated in a philosophical paper, which is also simultaneously about the aesthetics of that literary form. (shrink)

The German painter Caspar David Friedrich’s The Monk by the Sea, a picture that has played an important role in accounts of the prehistory of twentieth-century abstract art, is significant among other reasons because it bravely refused painting’s narrative vocation and in so doing radicalized the optics characteristic of the contemporary aesthetics of the sublime. Friedrich’s contemporary, the novelist and dramatist Heinrich von Kleist, intuited precisely this in his scintillating comments on the painting at the time (...) it appeared. Invoking the shocking idea that looking at The Monk by the Sea is like seeing through eyes whose lids have been cut off, he recognized that Friedrich had transformed the canvas into the locus not so much of narration and signification as of sensation. This article leans on the terms devised by Gilles Deleuze to explain the paintings of Francis Bacon in order to explore the seminal shift in the relationship between spectator and composition that Friedrich’s canvas dramatizes with such compelling power. (shrink)

There are various perspectives from which the meaning of historicism can be understood. Historically, the interpretation of historicism has predominantly been interested in either questions concerning historical methodology, or the relationship between the natural and human sciences, or the normative consequences of historicism. My intention is not to cast doubt upon the legitimacy of these different research approaches, but rather to supplement them by confronting the meaning of historicism from the perspective of a different question. Did historicism in the late (...) 18th and the early 19th centuries formulate a notion of historical chance or of historical contingency, a notion of what is neither necessary nor impossible in history but rather the result of accident and chance? To answer this question, I begin with Reinhart Koselleck's interpretation of historicism presented in two rather short essays, "Der Zufall als Motivationsrest in der Geschichtsschreibung" and "Über die Verfügbarkeit von Geschichte". In the next step of my analysis, I confront Koselleck's interpretation of the historicist sensibility for contingency and chance with Odo Marquard's conceptual distinction between two notions of contingency and chance. This line of argumentation gives rise to a definition of historicism as a theoretical sensibility for the "fatefully accidental" (Marquard). I further support this claim with an analysis of Savigny's legal history, of Schleiermacher's theology and of the "anti-Faustian" (Werner Busch) art of Caspar David Friedrich. Historicism ultimately teaches us that history is never the exact outcome of the intentions of historical actors. Though human beings undeniably act in history, they cannot make history or at least cannot make it as they please. It is in this regard that I find, in my concluding remarks, Hermann Lübbe's description of historicism as a "sermon of human finitude" to be wholly accurate. (shrink)

Beginning with the assertion that earth is the elemental place that grants an abode to humans and to other living things, in Senses of Landscape the philosopher John Sallis turns to landscapes, and in particular to their representation in painting, to present a powerful synthetic work. Senses of Landscape proffers three kinds of analyses, which, though distinct, continually intersect in the course of the book. The first consists of extended analyses of distinctive landscapes from four exemplary painters, Paul Cezanne, (...) class='Hi'>Caspar David Friedrich, Paul Klee, and Guo Xi. Sallis then turns to these artists’ own writings—treatises, essays, and letters—about art in general and landscape painting in particular, and he sets them into a philosophical context. The third kind of analysis draws both on Sallis’s theoretical writings and on the canonical texts in the philosophy of art (Kant, Schelling, Hegel, and Heidegger). These analyses present for a wide audience a profound sense of landscape and of the earthly abode of the human. (shrink)

Since the Romantic period, painters have no longer made use of traditional Christian iconography to express religious transcendence. Taking their cue from Schleiermacher’s Reden Über die Religion , painters have sought for new, personal ways to express religious transcendence. One example is Caspar David Friedrich’s Monk by the Sea . Rosenblum argues, in his Modern Painting and the Northern Romantic Tradition , that there is a parallel between Friedrich and the abstract expressionist Rothko with respect to (...) the expression to religious transcendence. In this article I investigate how the experience of transcendence that Rothko’s paintings want to evoke is to be described. Is it an experience of the sublime in the Romantic tradition? Is it the evocation of the ultimate in accordance with Tillich’s broad concept of religion? Does it display affinity between Rothko and the first generation of abstract painters such as Kandinsky and Malevich? Or is it a transcendent experience that cannot be situated so easily within the options supplied? After determining Rothko’s understanding of transcendence, some issues will be brought up that could be fruitful for Christian theology. (shrink)

Since the Romantic period, painters have no longer made use of traditional Christian iconography to express religious transcendence. Taking their cue from Schleiermacher's Reden Über die Religion, painters have sought for new, personal ways to express religious transcendence. One example is Caspar David Friedrich's Monk by the Sea. Rosenblum argues, in his Modern Painting and the Northern Romantic Tradition, that there is a parallel between Friedrich and the abstract expressionist Rothko with respect to the expression to (...) religious transcendence. In this article I investigate how the experience of transcendence that Rothko's paintings want to evoke is to be described. Is it an experience of the sublime in the Romantic tradition? Is it the evocation of the ultimate in accordance with Tillich's broad concept of religion? Does it display affinity between Rothko and the first generation of abstract painters such as Kandinsky and Malevich? Or is it a transcendent experience that cannot be situated so easily within the options supplied? After determining Rothko's understanding of transcendence, some issues will be brought up that could be fruitful for Christian theology. (shrink)

Joachim Ritter und andere versuchten es, Geisteswissenschaften durch „Kompensationstheorie“ zu rechtfertigen. Ritter zufolge ersetzen die Geisteswissenschaften die infolge des Modernisierungsprogresses ausgelösten Verluste und Risiken. Die Kompensationstheorie scheint eine Rechtfertigung der Geisteswissenschaften in Bezug auf die Dynamik der modernen Welt zu bieten. Prima facie erscheint dies attraktiv, zu Zeiten, wenn der Erfolg der Naturwissenschaften und Technologie augenfällig ist und die Geisteswissenschaften in die Defensive gedrängt werden. Der Artikel erhebt jedoch vier Einwände gegen die Kompensationstheorie: Die Theorie sei durch ein antiquarisches Interesse (...) an der Geschichte geprägt; sie ziehe lediglich die konservatorische Funktion der Geisteswissenschaften in Erwägung; sie stufe die Geisteswissenschaften zu einem bloßem Anhang und zu einer bloßen Ergänzung kultureller Änderung herunter; und schließlich überschätze sie die Fähigkeit der Geisteswissenschaften, die Verluste und Risiken der Modernisierung im Gleichgewicht zu halten. Eine Abhandlung über die Kirchengeschichte kompensiert keine modernen Glaubensverluste. Ein Essay über Caspar David Friedrich stellt keinerlei Ausgleich für eine zerstörte Landschaft dar. Die Überzeugung, jeder Verlust oder Schaden finde seine Kompensation, stützt sich vermutlich auf den religiösen Glauben an Vergebung oder auf die philosophischen Argumente für die Theodizee. Die Schlussfolgerung lautet: Die Geisteswissenschaften sollten nicht durch Argumente der Nützlichkeit gerechtfertigt werden. Sie sind „nützlich“, weil sie überhaupt nicht nützlich sein müssen. (shrink)

Joachim Ritter, ainsi que d’autres auteurs, ont tenté de justifier les sciences humaines à l’aide de la théorie de la « compensation ». Selon lui, les lettres compensent les pertes et les risques engendrés par la progression de la modernisation. La théorie de la compensation semble offrir une justification aux lettres par rapport à la dynamique du monde moderne. Ce qui prima facie paraît intéressant dans une époque où le triomphe des sciences naturelles et de la technologie est manifeste, alors (...) que les sciences humaines doivent défendre leur position. L’article examine quatre critiques à l’égard de la théorie de la compensation : cette théorie est marquée par une approche obsolète de l’histoire ; elle ne tient compte que de la fonction conservatrice des sciences humaines ; elle dégrade ces dernières en les considérant comme annexes aux changements culturels ; enfin, elle surévalue la capacité des sciences humaines à constituer un contrepoids aux pertes et aux risques engendrés par la modernisation. Disserter sur l’histoire de l’église ne compense pas la perte actuelle de la foi. Un essai sur Caspar David Friedrich ne représente pas une compensation pour un paysage ruiné. La croyance que pour chaque perte ou chaque dommage existe une compensation est probablement liée à la croyance religieuse dans le pardon ou aux arguments philosophiques en matière de théodicée. La conclusion est que les lettres ne doivent pas se justifier par des arguments utilitaires. Elles sont « utiles » car elles n’ont pas à être utiles du tout. (shrink)

Sažetak Joachim Ritter and others tried to justify the humanities with a theory of “compensation”. According to Ritter, the humanities compensate the losses and risks caused by the progress of modernization. The theory of compensation seems to offer a justification of the humanities in relation to the dynamics of the modern world. Prima facie it seems to be attractive in times when the success of natural sciences and technology is evident and the humanities are put on the defensive. The article, (...) however, raises four objections to the theory of compensation: the theory is characterized by an antiquarian interest in history; it takes into consideration only the conservative function of the humanities; it degrades the humanities to a mere appendix and supplement of cultural change; and it overestimates the competence of the humanities to balance the losses and risks of modernization. A treatise on the history of the church does not compensate modern losses of faith. An essay on Caspar David Friedrich is no compensation for a ruined landscape. The belief that every loss and damage finds its compensation probably refers back to the religious belief in forgiveness or the philosophical arguments for theodicy. The conclusion is that the humanities should not be justified by arguments of utility. They are “useful” because they do not have to be useful at all. (shrink)

We start by presenting three different views that jointly imply that every person has many conscious beings in their immediate vicinity, and that the number greatly varies from person to person. We then present and assess an argument to the conclusion that how confident someone should be in these views should sensitively depend on how massive they happen to be. According to the argument, sometimes irreducibly de se observations can be powerful evidence for or against believing in metaphysical theories.

The accessibility of art in Germany underwent a fundamental change over the course of the 18th century. Aristocratic collectors opened their doors to the general public, and new museums were dedicated exclusively to art. This development parallels the concurrent development of aesthetics in philosophy and the conception of the autonomy of art. Its theoretical foundation was provided by Kant in his third critique with such completeness that the standards of beauty he worked out emerge as constitutive elements of the art (...) museum. The Romantic movement reinforced the trend in what proved to be an ambivalent way. The general accessibility of art was well suited to its transgression of boundaries, but it necessitated a new, less contingent mode of demarcation between the work of art and the observer. That became an occasion for »Romanticization« of both the artwork and its audience, demonstrated here by August Wilhelm Schlegel’s conversation on art Die Gemählde. It is further elucidated by Friedrich Schlegel’s Nachricht von den Gemählden in Paris and its echo in two texts published by Kleist: The novella Die Heilige Cäcilie oder die Gewalt der Musik and the essay on Caspar David Friedrich’s painting Mönch am Meer that was drafted by Clemens Brentano and Achim von Arnim and radically modified by Kleist. (shrink)

Negative self-views have proved to be a consistent marker of vulnerability for depression. However, recent research has shown that a particular kind of cognitive conflict, implicative dilemma, is highly prevalent in depression. In this study the relevance of these conflicts is assessed as compared to the cognitive model of depression of a negative view of the self. In so doing, 161 patients with major depression and 110 controls were assessed to explore negative self-construing (self-ideal discrepancy) and conflicts (implicative dilemmas), as (...) well as severity of symptoms. Results showed specificity for the clinical group indicating a pattern of mixed positive and negative self-descriptions with a high rate of conflict. Regression analysis lent support to the conflict hypothesis in relation to clinically relevant indicators such as symptom severity, global functioning. However, self-ideal discrepancy was a stronger predictor of group membership. The findings showed the relevance of cognitive conflicts to compliment the well-consolidated theory of negative self-views. Clinical implications for designing interventions are discussed. (shrink)

This work is for scholars, researchers and students in history and philosophy of science focusing on Logical Empiricism and analytic philosophy (of science). It provides historical and systematic research and deals with the influence and impact of the Vienna Circle/Logical Empiricism on today's philosophy of science. It also explores the intellectual context of this scientific philosophy and focuses on main figures and peripheral adherents.

Until quite recently, mind-body dualism has been regarded with deep suspicion by both philosophers and scientists. This has largely been due to the widespread identification of dualism in general with one particular version of it: the interactionist substance dualism of Réné Descartes. This traditional form of dualism has, ever since its first formulation in the seventeenth century, attracted numerous philosophical objections and is now almost universally rejected in scientific circles as empirically inadequate. During the last few years, however, renewed attention (...) has begun to be paid to the dualistic point of view, as a result of increasing discontent with the prevailing materialism and reductionism of contemporary scientific and philosophical thought. Awareness has grown that dualism need not be restricted to its traditional form and that other varieties of dualism are not subject to the difficulties commonly raised against Descartes' own version of it. -/- Interest in these alternative versions of dualism is growing fast today, because it seems that they are capable of capturing deep-seated philosophical intuitions, while also being fully consistent with the methodological assumptions and empirical findings of modern scientific work on the human mind and brain. The object of this book is to provide philosophers, scientists, their students, and the wider general public with an up-to-date overview of current developments in dualistic conceptions of the mind in contemporary philosophy and science. (shrink)

The definitive scholarly edition and new translation of all three versions of Hölderlin’s poem, The Death of Empedocles, and his related theoretical essays.

David Friedrich Strauss is a central figure in 19th century intellectual history. The first major source for the loss of faith in Christianity in Germany, his work Das Leben Jesu was the most scandalous publication in Germany during his time. His book was a critique of the claims to historical truth of the New Testament, which had been the mainstay of Protestantism since the Reformation. As the father of unbelief, his critique of Christianity preceded that of Nietzsche, Marx, (...) Feuerbach, and Schopenhauer. His views imposed a harsh fate upon him - he was persecuted for his beliefs by religious and political authorities and was denied employment in the university and government, forcing him to live as a free-lance writer. He led a wandering and isolated life as an outcast. Here, Frederick C. Beiser studies the intellectual development of Strauss and recounts his fate, which began in faith as a young man but finally ended in unbelief. (shrink)

Annotation. A new translation of Schelling's Die Philosophie der Kunst, 1859 with extensive commentary by the translator, Douglas W. Stott. Annotation copyrighted by Book News, Inc., Portland, OR.

This book is a collection of secondary essays on America's most important philosophic thinkers—statesmen, judges, writers, educators, and activists—from the colonial period to the present. Each essay is a comprehensive introduction to the thought of a noted American on the fundamental meaning of the American regime.

David Hume wurde am 26. April 1711 zu Edinburgh als der zweite Sohn Joseph Hume's oder Home's, Herrn auf Ninewells, in der Grafschaft Berwickshire geboren. Er verlor seinen Vater bald, genoss jedoch durch die liebevolle Sorgfalt ...

Each contributor to this book has used personal experience as the basis from which to frame his individual sociological perspectives. Because they have personalized their work, their accounts are real, and recognizable as having come from 'real' persons, about 'real' experiences. There are no objectively-distanced disembodied third person entities in these accounts. These writers are actual people whose stories will make you laugh, cry, think, and want to know more.