Considering a range of present-day phenomena, from the immediacy effects of literature to the impact of hypercommunication, globalization, and sports, Hans Ulrich Gumbrecht notes an important shift in our relationship to history and the passage of time. Although we continue to use concepts inherited from a "historicist" viewpoint, a notion of time articulated in the eighteenth and nineteenth centuries, the actual construction of time in which we live in today, which shapes our perceptions, experiences, and actions, is no (...) longer historicist. Without fully realizing it, we now inhabit a new, unnamed space in which the "closed future" and "ever-available past" (a past we have not managed to leave behind) converge to produce an "ever-broadening present of simultaneities." This profound change to a key dimension of our existence has complex consequences for the way in which we think about ourselves and our relation to the material world. At the same time, the ubiquity of digital media has eliminated our tactile sense of physical space, altering our perception of our world. Gumbrecht draws on his mastery of the philosophy of language to enrich his everyday observations, traveling to Disneyland, a small town in Louisiana, and the center of Vienna to produce striking sketches of our broad presence in the world. (shrink)

The author discusses Niklas Luhmann's concept of ethics and morals. Therefore he sketches the main traits of Luhmann's theory of systems (e.g. the terms autopoiesis, system and environment, code and programme). From the system-theoretical point of view, ethics are characterized as the reflexive theory of morals. Morals are described as the communication of regard or disregard. The author shows which consequences follow from this concept by discussing problems concerning several subsystems at the same time. The problems of Luhmann's theory of (...) morals and ethics are demonstrated by analyzing the concepts of risk and responsibility. Finally, the author demands that ethics should be understood even more as social ethics which reflect upon their social foundation in a more consequent way. (shrink)

These conference proceedings consider visual and literary images of ancient Rome created by artists and scholars from Late Antiquity until the present day. The occasion for the conference was the colossal panorama Rome 312 by Yadegar Asisi that was displayed in Leipzig. The papers explore the ways and means by which the idea of Rome was developed by the individual artists and authors and transferred to the cultural context of the epoch and of the personalities involved.

Kant setzt sich im Vorwort seiner Schrift "Metaphysische Anfangsgründe der Naturwissenschaft" mit dem Vorwurf auseinander, die Deduktion der Verstandeskategorien in der "Kritik der reinen Vernunft" würde dem Gedanken einer prästabilierten Harmonie Vorschub leisten. Gleichsam ins kritische Mark getroffen weist er diesen Gedanken der dogmatischen Metaphysik zurück. Nicht zuletzt durch diesen Vorwurf angeregt überarbeitet er für die zweite Auflage seiner Kritik insbesondere die Deduktion, die sich nun in zwei Schritten vollzieht. Die Überlegungen sollen verdeutlichen, daß sich diese zwei Schritte zum einen (...) als ein analytisches und zum anderen als ein synthetisches Argument verstehen lassen. 1790 deutet Kant in seiner sogenannten "Streitschrift gegen Eberhard" allerdings in der Tat den Gedanken einer prästabilisierten Harmonie an. Wenngleich er damit eine Argumentationslücke in seinem transzendentalphilosophischen System offenbart, läßt sich doch zeigen, daß er auch hier nicht in dogmatische Metaphysik zurückfällt, sondern vielmehr aus empirischer Sicht die "Zusammenstimmung" der Erkenntnisvermögen Sinnlichkeit und Verstand erörtert. (shrink)

Everyfan -- Definitions : praise, beauty, athletics -- Discontinuities : demigods, gladiators, knights, ruffians, sportsmen, Olympians, customers -- Fascinations : bodies, suffering, grace, tools, forms, plays, timing -- Gratitude : watching, waste.

Conversation about expected translation into Ukrainian of Gumbrecht's book Production of Presence. What Meaning Cannot Convey (Stanford UP: Stanford, 2004).

Despite the great dramatists of the preceding century—Corneille, Racine and Molière—the 18th century is often considered the great age of French theatre. Obviously “the great age” should not be understood in the usual literary history sense as the “classical age”, for the structures and the content of French dramas originating in the 18th century did not have normative effects on the dramatic production of the centuries that followed. Nevertheless, we are doubly right in using the term “the great age” for (...) French theatre of this period. On the one hand, from the viewpoint of the history of theatre, because certain dramatic techniques originating toward the middle of the 18th century have, down to our own times, influenced theatre so decisively and have become so natural that they form true hermeneutical barriers to the interpretation of plays from earlier epochs. And secondly from the viewpoint of social history, for theatre attendance at that time was indissolubly linked to the everyday life—or at least to holidays and festive occasions—of various social levels in France. As a result we can no doubt consider the theatre as the decisive center of critical knowledge, the gradual transmission of which is at the very heart of the process of the Enlightenment. (shrink)

The aim of this essay is to ask whether what it calls the "presence" of things, including things of the past, can be rendered in language, including the language of historians. In Part I the essay adumbrates what it means by presence . It also proposes two ideal types: meaning-cultures , and presence-cultures . In the modern period, linguistic utterance has typically come to be used for, and to be interpreted as, the way by which meaning rather than presence is (...) expressed, thereby creating a gap between language and presence. Thus, in Part II the essay explores ways that this gap might be bridged, examining seven instances in which presence can be "amalgamated" with language. These range from instances in which the physical dimensions of language itself are made manifest, to those through which the physicality of the things to which language refers is supposed to be made evident. Of particular note for theorists of history are those instances in which things can be made present by employing the deictic, poetic, and incantatory potential of linguistic expression. The essay concludes in Part III with a reflection on Heidegger's idea that language is the "house of being," now interpreted as the idea that language can be the medium through which the separation of humans and the things of their environment may be overcome. The hope of achieving presence in language is no less than a reconciliation of humans with their world, including—and of most interest to historians—the things and events of their past. (shrink)