In den Begriffen Mythos, Geist und Kultur spiegeln sich die thematische Breite und der innere Zusammenhang des Denkens von Christoph Jamme, dem diese Festschrift gewidmet ist. Die versammelten Beiträge, unter anderem zur mythischen Rationalität und ihrer Transformation in der Moderne, zum deutschen Idealismus, zur Kulturtheorie und zu verschiedenen kulturellen Objektivationen in Literatur und Malerei, zeigen prismatisch die vielfältigen Formen der menschlichen Vernunft sowie die unterschiedlichen Richtungen und Wege ihrer Kritik.

The article examines the treatment of myth by Moritz, Goethe, Hegel and Schelling or the so-called 'Goethezeit'.

Il saggio ripercorre la formazione del pensiero di Hölderlin a cominciare dal suo punto di partenza, la dottrina kantiana del primato della ragion pratica e la dottrina della libertà. Il trapasso dal dualismo kantiano ad un pensiero estetico della mediazione avverrà attraverso la ricezione della critica schilleriana all’imperativo categorico, così come dell’idea fichtiana della «determinazione reciproca». Il nuovo punto di vista di Hölderlin maturerà durante il periodo jenese, inizialmente come ricerca di una mediazione tra Kant, Jacobi, Spinoza, Fichte e Reinhold. (...) Esso troverà una traduzione sul piano della teoria estetica nella prefazione alla penultima versione dell’Iperione, scritta nei primi mesi del 1795. Questa prefazione è significativa, soprattutto perché rappresenta la prima formulazione compiuta della filosofia dell’unificazione, che afferma l’analogia di teoria e prassi, in quanto forme della riflessione, che dovrebbero venire elevate da un terzo principio, la bellezza. (shrink)

The first study of its kind, The Impact of Idealism assesses the impact of classical German philosophy on science, religion and culture. This third volume explores German Idealism's impact on the literature, art and aesthetics of the last two centuries. Each essay focuses on the legacy of an idea or concept from the high point of German philosophy around 1800, tracing out its influence on the intervening period and its importance for contemporary discussions. As well as a broad geographical and (...) historical range, including Greek tragedy, George Eliot, Thomas Mann and Samuel Beckett, and key musicians and artists such as Wagner, Andy Warhol and Frank Lloyd Wright, the volume's thematic focus is broad. Engaging closely with the key aesthetic texts of German Idealism, this collection uses examples from literature, music, art, architecture and museum studies to demonstrate Idealism's continuing influence. (shrink)

I wish to discuss the constitutive conditions ‐ and aporias ‐ of the representations of the other in philosophy, sociology and cultural studies. In so doing, I show that crucial to the problem of ‘tolerance’ is the answer to such questions as: How do we represent the stranger and the other? How does this representation come into being? How can it ‐ in given instances ‐ be changed? I shall suggest that the arts may play a decisive role in this (...) process.In this paper I shall attempt to outline a double thesis: (a) the philosophical theory of the experience of something other requires the challenge of ethnology as the science of the stranger; and (b) conversely, however, ethnology itself requires a theory of cultural strangeness, which although always presupposed is never developed. I shall pursue this thesis in three stages. In the first section, I shall say something about the philosophical study of the other and its latent affinity with ethnology. In the second section, I shall take some key terms from the current dispute within ethnology over methodology, and attempt to show that the experience of something other (alien) requires a medium to express, or rather to describe, this experience. This problem of ethnographic depiction and description, lying between science and art; and the suggested solutions to this problem, developed particularly by postmodern American cultural‐anthropology, namely an aesthetisization without art, leads to the third section of this paper. This provokes the following question: what does art ‐ that moment which remains hidden within the contemporary ethnological discussion ‐ have to offer to our understanding of the (cultural) other? Further, we may ask, as paradoxical as it may at first sound, whether it is precisely from art, perhaps indeed only from art, that the way is to be found leading towards that which hasn't yet been problematized in all these contemporary intercultural debates: an ethic of intercultural understanding as the most important precondition for intercultural tolerance or toleration. (shrink)