The advent of intelligent artificial systems has sparked a dispute about the question of who is responsible when such a system causes a harmful outcome. This paper champions the idea that this dispute should be approached as a conceptual engineering problem. Towards this claim, the paper first argues that the dispute about the responsibility gap problem is in part a conceptual dispute about the content of responsibility and related concepts. The paper then argues that the way forward is to evaluate (...) the conceptual choices we have, in the light of a systematic understanding of why the concept is important in the first place—in short, the way forward is to engage in conceptual engineering. The paper then illustrates what approaching the responsibility gap problem as a conceptual engineering problem looks like. It outlines argumentative pathways out of the responsibility gap problem and relates these to existing contributions to the dispute. (shrink)

In this article, we discuss recent evidence from experimental economics on the impact of social preferences on workplace behavior. We focus on situations in which a single employer interacts with multiple employees. Traditionally, equity and efficiency have been seen as opposing aims in such work environments: individual pay-for-performance wage schemes maximize of efficiency but might lead to inequitable outcomes. We present findings from laboratory experiments that show under which circumstances partially incomplete contracts can create equitable work environments while at the (...) same time reaching surprisingly efficient outcomes. (shrink)

We present sound and complete sequent calculi for the modal mu-calculus with converse modalities, aka two-way modal mu-calculus. Notably, we introduce a cyclic proof system wherein proofs can be represented as finite trees with back-edges, i.e., finite graphs. The sequent calculi incorporate ordinal annotations and structural rules for managing them. Soundness is proved with relative ease as is the case for the modal mu-calculus with explicit ordinals. The main ingredients in the proof of completeness are isolating a class of non-wellfounded (...) proofs with sequents of bounded size, called slim proofs, and a counter-model construction that shows slimness suffices to capture all validities. Slim proofs are further transformed into cyclic proofs by means of re-assigning ordinal annotations. (shrink)

Interpersonal sensitivity, particularly threat of potential exclusion, is a critical condition in borderline personality disorder (BPD) which impairs patients’ social adjustment. Current evidence-based treatments include group components, such as mentalization-based group therapy (MBT-G), in order to improve interpersonal functioning. These treatments additionally focus on the therapeutic alliance since it was discovered to be a robust predictor of treatment outcome. However, alliance is a multidimensional factor of group therapy, which includes the fellow patients, and may thus be negatively affected by the (...) exclusion-proneness of BPD patients. The aim of this pilot study was to examine the predictive value of threat of social exclusion for the therapeutic alliance in MBT-G. In the first part of the study, social exclusion was experimentally induced in 23 BPD inpatients and 28 healthy subjects using the Cyberball paradigm, a virtual ball tossing game. The evoked level of threat was measured with the Need-Threat Scale (NTS) which captures four dimensions of fundamental human needs, i. e. the need for belongingness, for self-esteem, for control, and for a meaningful existence. In the second part of the study, therapeutic alliance was measured on three dimensions, the therapists, the fellow patients and the group as a whole, using the Group-Questionnaire (GQ-D). BPD patients scored higher in their level of threat according to the NTS in both, the inclusion and the exclusion condition. The level of threat after exclusion predicted impairments of the therapeutic alliance in MBT-G. It was associated with more negative relationships, lower positive bonding and a lower positive working alliance with the fellow patients and lower positive bonding to the group as a whole whilst no negative prediction of the alliance to the therapists was found. Consequently, our translational study design has shown that Cyberball is an appropriate tool to use as an approach for clinical questions. We further conclude that exclusion-proneness in BPD is a critical feature with respect to alliance in group treatments. In order to neutralize BPD patients’ exclusion bias, therapists may be advised to provide an “inclusive stance”, especially in initial sessions. It is also recommendable to strengthen patient to patient relations. (shrink)

Methods Young healthy heterosexual couples underwent sleep-lab-based polysomnography of two sleeping arrangements: individual sleep and co-sleep. Individual and dyadic sleep parameters (i.e., synchronization of sleep stages) were collected. The latter were assessed using cross-recurrence quantification analysis. Additionally, subjective sleep quality, relationship characteristics, and chronotype were monitored. Data were analyzed comparing co-sleep vs. individual sleep. Interaction effects of the sleeping arrangement with gender, chronotype, or relationship characteristics were moreover tested. Results As compared to sleeping individually, co-sleeping was associated with about 10% (...) more REM sleep, less fragmented REM sleep (p = 0.008), longer undisturbed REM fragments (p = 0.0006), and more limb movements (p = 0.007). None of the other sleep stages was significantly altered. Social support interacted with sleeping arrangement in a way that individuals with suboptimal social support showed the biggest impact of the sleeping arrangement on REM sleep. Sleep architectures were more synchronized between partners during co-sleep (p = 0.005) even if wake phases were excluded (p = 0.022). Moreover, sleep architectures are significantly coupled across a lag of ± 5min. Depth of relationship represented an additional significant main effect regarding synchronization, reflecting a positive association between the two. Neither REM sleep nor synchronization was influenced by gender, chronotype, or other relationship characteristics. Conclusion Depending on the sleeping arrangement, couple's sleep architecture and synchronization show alterations that are modified by relationship characteristics. We discuss that these alterations could be part of a self-enhancing feedback loop of REM sleep and sociality and a mechanism through which sociality prevents mental illness. (shrink)

Wie lässt sich der Bereich des Privaten heute genau beschreiben? Welchen Wert besitzt Privatheit in digitalisierten Gesellschaften für den Einzelnen und die Gesellschaft als Ganzes? Welche Werte und Lebensformen werden durch Privatheit geschützt, welche eingeschränkt? Entstehen durch die Informationsasymmetrie zwischen Technologieunternehmen, staatlichen Verdatungsinstitutionen und Verbrauchern/Bürgern möglicherweise neue Machtstrukturen? Welche rechtlichen Implikationen ergeben sich hieraus? Dieser Band geht diesen und anderen Fragen, die sich im Hinblick auf die etablierte Gleichung von Freiheit und Privatheit stellen, nach und versucht Antworten zu finden.

The article examines the subject of ‘primitive’ art in Johannes Volkelt’s System der Ästhetik (1905–1927) against the backdrop of the broad debate on the ethnological refounding of aesthetics around 1900. Unlike contemporaries such as the ethnologist Ernst Grosse, Volkelt tries to prove that the art of ‘primitive peoples’ is an inadequate basis for aesthetics. In doing so, he follows 19th-century idealistic metaphysics of beauty. However, his argumentation against Grosse and others, which contradicts itself in crucial points, attests the challenge of (...) philosophy by ethnology as the leading discipline of aesthetics at the beginning of the 20th century. (shrink)

Bachs Kunst der Fuge biedt even die samenhang, die harmonie waarnaar wij hunkeren in ons leven.

Notre article propose d’explorer la réception de Pierre Poiret au sein du piétisme radical en Allemagne. Dans ce milieu spirituel a émergé une traduction allemande de l’Œconomie Divine (1687) (7 vol. 1735-1742). Nous souhaitons donner quelques éclairages sur la réalisation de ce projet, les personnes qui y ont été associées, ainsi que sur la manière dont le texte de Poiret a été transposé en langue allemande. Poiret et ses traducteurs piétistes partagent la conviction que la vérité religieuse n’est accessible que (...) par l’illumination divine. Mais la tension entre l’inspiration divine de la vérité et son agencement systématique et rationnel dans le volumineux traité de Poiret se trouve encore renforcée par les stratégies érudites mises en place par les traducteurs, notamment par Johann Christoph Edelmann qui se muera de piétiste radical en représentant des Lumières radicales. (shrink)

Zusammenfassung Eine Untersuchung der diplomatischen Kontakte zwischen östlichem und westlichem Kaisertum im 10. Jahrhundert kann praktisch nur auf zwei umfangreichere Quellen zurückgreifen: den Legationsbericht des Liudprand von Cremona und die Briefe des byzantinischen Metropoliten und Synkellos Leon von seiner Westreise 996/998. Beide Texte sind keine offiziellen Dokumente, wie sie für das 9. Jahrhundert noch in beachtlicher Dichte vorliegen, aber sie geben daher nicht nur den Ereignissen, sondern auch Haltungen, Motivationen und individuellen Wahrnehmungen breiteren Raum, so daß sich ein in Teilen (...) lebendigeres Bild dieser Diplomatie eruieren läßt. Dagegen treten theoretische Prämissen deutlich zurück. Selbst bei Liudprand, im Umgang mit dessen Legatio starke quellenkritische Vorbehalte nicht unberücksichtigt bleiben dürfen, wird die „Zweikaiserfrage“ nur an wenigen Stellen Gegenstand, und Leon vermeidet offenbar jede Äußerung dazu. Dabei wäre eine Auseinandersetzung mit „unverschämten“ Ansprüchen des Westens auf die Basileia ein rhetorisch für ihn sicher ebenso angemessener Stoff gewesen wie die Verdammung des Philagathos. Im Vergleich beider Autoren ergeben sich zudem interessante Parallelen: beide haben ein ambivalentes Rom-Bild, beide können persönliche Feindbilder wirkmächtig stilisieren und mit politischen Argumenten vernetzen, vor allem aber entwickeln beide wirkungsvolle Mechanismen zur Verdrängung einer faktischen Zwangssituation und erwecken die Illusion, unabhängig handeln zu können oder mindestens rhetorische Überlegenheit gezeigt zu haben. Das hat in der Literatur nicht selten zu einer Überbewertung ihrer tatsächlichen politischen Rolle geführt. So dürfte Leon von Synada bei der Erhebung seines persönlichen Feindes Johannes Philagathos zum Gegenpapst 997 in Rom kaum mehr als eine legitimatorische Funktion zugekommen sein, obgleich er für sich in Anspruch nimmt, das ganze Geschehen initiiert und (zunächst) erfolgreich zum Ergebnis geführt zu haben. Stattdessen lassen sich durchaus Gründe für ein Zerwürfnis zwischen Otto III. und Johannes Philagathos im Vorfeld von dessen Rebellion benennen, insbesondere der Entzug der Abtei Nonantola durch den Kaiser, der eben nicht eine Reaktion auf das neue Gegenpapsttum darstellt, sondern ein Motiv zum endgültigen Bruch des Philagathos mit seinem kaiserlichen Schüler. Das eigentlich überraschende Faktum ist aber, daß die in ihrer Herrschaftsauffassung sehr anspruchsvolle Gestalt Ottos III. offenbar keine ideologische Konfrontation mit dem nicht minder selbstbewußten Basileios II. provozierte. Auch dies rechtfertigt es, die Bedeutung des Zweikaiserproblems gegenüber den zahlreichen politischen, territorialen und kirchenadministrativen Faktoren des Gegensatzes beider Seiten, welche beispielsweise in der Spätphase der Herrschaft Ottos I. und von 981-983 bei Otto II. unverkennbar hervortreten, zu relativieren. Daß das westliche Kaisertum also überhaupt in einem signifikanten Maße Gegenstand byzantinischer „Außenpolitik“ geworden ist, das verdankt es zweifellos primär der territorialen Bindung an Italien. (shrink)

Betr. u.a. Johann Heinrich Hummel (16./17. Jh.) (S. 277-282).

Betr. u.a. Johann Heinrich Hummel (16./17. Jh.) (S. 277-282).

Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng as (...) an event. (shrink)

The following essay aims not only to answer whether Friedrich Schelling’s philosophy lived on in Catholic Tübingen, but also to clarify what aspects of Schelling’s corpus were received and which were set aside. Below it is my claim that Tübingen theologians incorporated insights from Schelling’s early, Idealist philosophy, as well as his late, post-Idealist philosophy. The two theologians most extensively involved in this project were Johann Sebastian Drey and Johannes Kuhn. Most important for Tübingen was the possibility that (...) Schelling could bridge historical truths into scientific ideals. Tübingen incorporated these ideas, taken directly from Schelling, without ingesting his entire system, early or late, especially his ideas about the nature of God and the relationship between God and the world. Their reception of Schelling was careful and deliberate, and by being so, they provided a model for theological engagement with modern ideas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Prima parte – Descrizione del sermonarioNel 1494 Johann Meder, francescano osservante, affronta il compito di predicare la Quaresima a Basilea. Davanti all'interrogativo su come conquistare l'attenzione degli ascoltatori, vincendone la distrazione senza diventare un "adulterator verbi Dei," concepisce un ciclo profondamente innovativo, dato alle stampe l'anno successivo. Nella stessa città un altro ciclo di predicazione sui generis vede la luce in concomitanza alle prediche di Meder: in quei (...) giorni infatti viene pubblicato a Basilea il Narrenschiff di Sebastian Brant, testo di immediato successo, rapidamente tradotto e diffuso in tutta Europa. Lo studio dei due testi mostra precisi contatti e convergenze di interessi tra il predicatore francescano e Brant, tra pulpito e tipografia. Se il Narrenschiff si caratterizza fin da subito per le sue xilografie, che annoverano tra gli autori il giovane Dürer, è proprio il comune interesse per l'uso delle immagini a caratterizzare il rapporto tra Brant e Meder. Basti qui anticipare che le prediche di Meder vengono stampate con un corredo di xilografie, opera di uno dei migliori illustratori del tempo influenzati da Dürer, che rendono questa edizione un unicum nel panorama dei sermonari alla fine del Quattrocento.L'intreccio di questi fatti accresce l'interesse di una ricerca che indaghi come si comporta un predicatore osservante nella Basilea di Brant e Dürer. Pur essendo state già notate alcune particolarità del sermonario di Meder, questo testo ha ricevuto finora un'attenzione solo cursoria. Questo articolo si propone di mettere in luce quattro elementi: nella prima parte l'architettura generale del quaresimale, in maniera particolare il suo impianto teatrale; nella seconda parte la sincronia tra predicazione e Narrenschiff, il rapporto tra Meder e Brant e le caratteristiche dell'edizione del Quadragesimale novum come sermonario illustrato.1. Basilea 1494: il Narrenschiff e un ciclo di prediche quaresimaliIl volto di Basilea lungo il XV secolo è segnato da tre avvenimenti determinanti: il concilio, l'università, la stampa. Li evochiamo rapidamente per la loro incidenza sull'identità e lo spessore culturale della città. Il concilio pose per diversi anni Basilea al centro della cristianità, permettendole di assumere un ruolo e una notorietà europea. Uno dei frutti del nuovo profilo assunto dalla città fu la nascita dell'università, la quale, dopo una prima breve esperienza , venne rifondata su più solide basi nel 1460, contribuendo a creare le condizioni favorevoli per il precoce impianto della stampa e il suo rapido sviluppo, che rese Basilea presto uno dei centri di eccellenza, soprattutto per i libri illustrati.Dentro a queste coordinate si colloca Brant, nato a Strasburgo nel 1457 e giunto come studente nel 1475 a Basilea, dove si licenzia in diritto nel 1484 e diviene doctor utiusque iuris nel 1489. All'università Brant ricopre la cattedra sia di diritto che di poesia, affiancando all'insegnamento il lavoro presso diversi editori, fino al 1501, quando torna a Strasburgo, dove morirà nel 1521. Se nel 1494 Brant è ormai un esperto protagonista nella vita di Basilea, Meder vi si è inserito da poco, dall'anno precedente. È un uomo intorno ai sessant'anni e un predicatore esperto, con un curriculum ormai ventennale in diversi conventi francescani lungo la valle del Reno, tra Magonza e Basilea, dove risiederà fino al 1502.Nei giorni di Carnevale del febbraio del 1494, alla vigilia della Quaresima, viene pubblicato il Narrenschiff. Come è noto si tratta di una satira morale che, capitolo dopo capitolo, passa in rassegna le follie del mondo, soprattutto cittadino. È una critica alla follia non ancora capace di quell'ironia che sarà di Erasmo, ma che, pur condannando tutto e tutti, crede possibile l'azione educatrice della sapienza e dunque il 'rinsavimento' dei folli. Se si chiede chi siano i folli, la risposta di Brant è tutti, e la prima follia è non volerselo sentire dire. Proprio per questo Brant ha costruito uno spiegel nel quale ognuno possa vedere la propria follia, perché l'inizio della sapienza è il riconoscimento della stoltezza e della.. (shrink)

Sguardo d'insieme -- Armonia delle sfere celesti : Hildegard von Bingen, symphonia -- Il tempo di Dio : Johann Sebastian Bach, Cantata Gottes Zeit -- Trasmutazioni : Wolfgang Amadeus Mozart, Die Zauberflöte -- "Questo bacio vada al mondo intero" : Ludwig van Beethoven, An die Freude -- Viaggio d'inverno : Franz Schubert, Winterreise -- Inni all notte : Richard Wagner, Tristan und Isolde -- L'ultimo rito : Richard Wagner, Parsifal -- Azzurre solitudini : Gustav Mahler, Terza sinfonia -- (...) Universi sonori : Gustav Mahler, Ottava sinfonia -- Orizzonti perduti : Gustav Mahler, Das Lied von der Erde -- Labirinti : Richard Strauss, Also sprach Zarathustra -- Cortei di ombre : Richard Strauss, Metamorphosen -- La terza via : Omaggio a Francesco d'Avalos. (shrink)

The selections contained in this volume were made by Richard Kik. The original edition Vom Licht in uns was published by Verlag J.F. Steinkopf, Stuhgart. It contains sayings of things highly spiritual nature as well as a description of the life of Richard Kik. One such selection is The beginning of all spiritual life is fearless belief in truth and its open confession. Albert Schweitzer (14 January 1875 4 September 1965) was a German-French theologian, musician, philosopher, and physician. He was (...) born in Kaysersberg in the province of Elsass-Lothringen (Alsace-Lorraine), at the time in the German Empire. Schweitzer challenged both the secular view of Jesus as depicted by historical-critical methodology current at his time in certain academic circles, as well the traditional Christian view, depicting a Jesus Christ who expected and predicted the imminent end of the world. He received the 1952 Nobel Peace Prize in 1953 for his philosophy of "Reverence for Life" expressed in many ways, but most famously in founding and sustaining the Albert Schweitzer Hospital in Lambarene, now in Gabon, west central Africa (then French Equatorial Africa). As a music scholar and organist, he studied the music of German composer Johann Sebastian Bach and influenced the Organ reform movement (Orgelbewegung). Schweitzer's passionate quest was to discover a universal ethical philosophy, anchored in a universal reality, and make it directly available to all of humanity. This is reflected in some of his sayings, such as: "Until he extends his circle of compassion to include all living things, man will not himself find peace." "I don't know what your destiny will be, but one thing I do know: the only ones among you who will be really happy are those who have sought and found how to serve.". (shrink)

Philippe Charru | Résumé : Christoph Theobald travaille depuis de longues années en tant que théologien sur l’oeuvre de Jean-Sébastien Bach, en collaboration avec un musicien. On tente de faire entendre ici comment sa « manière de faire de la théologie », soucieuse de respecter l’autonomie des arts, le rend attentif à la réalité sensible des oeuvres musicales et à une conception génétique de leur forme où se profile « l’opération même du style », selon le mot de Merleau-Ponty. On (...) montre comment l’émergence de cette notion du style dans le champ esthétique, l’a conduit à « penser le mystère chrétien comme “style en relation avec d’autres styles” impliquant un rapport absolument spécifique au beau ». |: Christoph Theobald has spent many years studying the oeuvre of Johann Sebastian Bach from the perspective of a theologian, in collaboration with a musician. This article attempts to demonstrate how his “way of doing theology,” remaining ever respectful of the autonomy of the arts, makes him attentive to the sensible reality of musical works and to a genetic conception of their form from which it is possible to discern their “operation of style” as this idea is outlined by Merleau-Ponty. The author shows how the emergence of the notion of style in the field of aesthetics led him to “conceive the Christian mystery as ‘a style in relation with other styles’ that engenders a relation to beauty altogether specific and unique.”. (shrink)

n a low-key, musical version of the match between Garry Kasparov and the chess-playing machine called Deep Blue, a musician at the University of Oregon competed last month with a computer to compose music in the style of Johann Sebastian Bach. Dr. Steve Larson, who teaches music theory at the university, listened anxiously while his wife, the pianist Winifred Kerner, performed three entries in the contest -- one by Bach, one by Larson and one by a computer program (...) called EMI, or Experiments in Musical Intelligence. (shrink)

In the first part of his magnum opus Hans Urs von Balthasarpresents his project of theological aesthetics where the experience of art becomes an entrance to a religious act and an ennobling way leading to the contemplation of God. Defining the essence of being human as a spiritual being directed towards God bears a deep ethical meaning in this consideration. H.U. von Balthasar’s reflection over the religious dimension of the essence of art is shaped within theology but at the same (...) time in the opposition to aesthetic theology which is de-scribed as ‘aesthetisation’ of the Mystery of Revelation. The art of music occupies a particular place in this reflection. For this reason Mass in B Minor BWV 232 by Johann Sebastian Bach, which is an emblematic example of the revelation of the glory of the Lord (Herrlichkeit), will be analysed not only from the perspective of philosophical or musicological aesthetics, but also theological aesthetics. This article outlines characteristic features of theological aesthetics specifically developed from traditional philosophical aesthetics whose range was extended by the human being’s relation to God. (shrink)

Phenomenological reflection on the essence of art goes towards the revelation of its ultimate Source, which is also the Source of spirituality of a man and, finally, of artistic works. Art occupies a prominent place in the works of Martin Heidegger, Hans Urs von Balthasar and Michel Henry, and what they have in common is pointing out the ability of transcending artistic work towards beyond-aesthetic and over-aesthetic dimensions. For those philosophers the work of art is a ‘way’ which may lead (...) human spirit towards Transcendence (the Absolute, God), but also towards the inner self. In this article the reflection over a religious dimension of the essence of art is extended by the analysis of St John Passion, BWV 245 by Johann Sebastian Bach, as a particular example of an artistic realization of phenomenologically rooted philosophical and theological reflection. (shrink)

How can a post-Christian, secular audience understand the devoutly Christian, sacred music of Johann Sebastian Bach's St. Matthew Passion? This article addresses this question with reference to the hermeneutics of Hans-Georg Gadamer and Hans Blumenberg. Their confrontation reveals broad implications for the theory of humanistic interpretation at large. Gadamer celebrates Bach as a ‘classical’ touchstone of Western culture whom we may productively interpret through a ‘fusion of horizons’. Blumenberg, by contrast, cautions that our relation to Bach's Passion is (...) fractured because it is impossible to ‘pace off the horizon’. Blumenberg emphasizes the first-person experience of the diminution of historical meaning, a position this article calls ‘shattered hermeneutics’. The article concludes that Blumenberg's interpretation of Bach and his critique of Gadamer thereby usefully and plausibly deepen and radicalize hermeneutics. (shrink)

The Art Experience: An Introduction to Philosophy and the Arts takes readers on an engaging and accessible journey that explores a series of fundamental questions about the nature of art and aesthetic value. Three of these questions serve as the major sections for the book's 12 chapters: What makes something a work of art? How should we experience art in order to get the most out of it? And once we understand art, how should we evaluate whether it is good (...) or bad? Philosophical theory is illustrated with concrete examples: the paintings of Frida Kahlo, the music of Johann Sebastian Bach, the masks of the Nso people, and many others. Classic questions are balanced with cutting-edge challenges, such as Linda Nochlin's work on the exclusion of women from the artistic canon. The Art Experience presupposes no prior knowledge of philosophy or art, and it will be of interest to any reader seeking an accessible and engaging introduction to this field. Along the way, readers learn how philosophical theories can affect our real-world experiences with painting, music, theater, and many more art forms. Key Features Accessible for any college student and assumes no knowledge of philosophy, art theory, or any artistic medium Organizes topics conceptually, rather than historically, allowing students to more easily grasp the core issues themselves rather than tracing their historical evolution Offers readers a large number of contemporary examples and a consistent focus on the way theory can affect people's real-world experiences with art Explores questions about bias - for example, whether the artistic canon has excluded some groups unfairly and whether definitions of art are Western-biased. (shrink)

Als wir bei Sonnenuntergang gerade durch die Herde Nilpferde hindurchfuhren, stand urplötzlich, von mir nicht gesucht, das Wort »Ehrfurcht vor dem Leben« vor mir. Der Pfad im Dickicht war sichtbar geworden. Nun war ich zu der Idee vorgedrungen, in der Welt- und Lebensbejahung und Ethik miteinander enthalten sind. Albert Schweitzer Seit fast 100 Jahren steht der Name Albert Schweitzer für aktives humanitäres Engagement. Dank seiner Philosophie der »Ehrfurcht vor dem Leben«, die er gemeinsam mit seiner Frau Helene Bresslau im Urwaldhospital (...) in Lambarene verwirklichte, gehört er zu den am meisten bewunderten Menschen der Welt. Mit dreißig Jahren ein geachteter Theologe und gefeierter Interpret der Orgelwerke Johann Sebastian Bachs entschloss er sich, noch ein Medizinstudium zu absolvieren, um den Ärmsten der Armen zu helfen. Ernst Luther nähert sich diesem Humanisten mit philosophisch-kritischen Betrachtungen, ordnet dessen Leben und Werk in die Umbrüche seiner Zeit ein und resümiert, was von Schweitzers Gedankengut bewahrt werden sollte. Ernst Luther, Jg. 1932, Studium der Pädagogik, Geschichte/Germanistik, extern Philosophie, Gasthörer Medizin an der Universität Halle; Promotion Dr. phil. 1961 zur medizinischen Anthropologie Viktor von Weizsäckers an der Universität Greifswald; Dr. sc. phil. 1970 Universität Halle mit einer Arbeit über Ethik in der Medizin. Herausgeber und Mitautor zahlreicher Arbeiten zur Ethik in der Medizin. Mitglied im Albert-Schweitzer-Komitee e. V. Weimar, im Deutschen Hilfsverein für das Albert-Schweitzer-Spital Lambarene, Frankfurt a. M., in der Internationalen Albert-Schweitzer-Vereinigung. Von 2000 bis 2002 Mitglied der Enquete-Kommission des Deutschen Bundestages Recht und Ethik in der Medizin. Inhalt: Vorwort Albert Schweitzer - der friedlichen Menschheit zugehörig Das »Bergwerk der Ethik« Das Menschenbild aus Schweitzers philosophischer und religiöser Sicht Albert Schweitzer und Karl Marx Albert Schweitzers Gedanken zu Kultur und Ethik in den Weltreligionen Albert Schweitzer und die Ethik in der Medizin Ethik und Völkerfrieden Sozialethik gegen Kolonialpolitik und Rassenhass. (shrink)

RESUMO: A música ocupa um lugar de destaque como um dos principais meios de imitação. A utilização da música como ferramenta para suscitar e representar afetos, preconizada desde os antigos, chega integralmente ao século XVIII, podendo ser observada claramente nas obras dos compositores alemães ligados à doutrina composicional da Musica Poetica3 e, sobretudo, na obra de Johann Sebastian Bach. Porém, diversas são as espécies de imitação musical, de forma que o intuito deste trabalho foi categorizar e definir a (...) função das espécies imitativas, com base na concepção aristotélica de imitação e nas categorias de imitação propostas por Johann Mattheson, um dos principais teóricos da Musica Poetica, tentando demonstrar que, desde a concepção musical da antiguidade, música e poética são inseparáveis. ABSTRACT: Music occupies a prominent place as a means of imitation. The use of music as a tool to inspire and represent affections, which has occurred since ancient times, was integral to eighteenth century music. This can be clearly seen in the works of German composers linked to the compositional doctrine of musica poetica, and especially in the work of Johann Sebastian Bach. However, there are several kinds of musical imitation. Therefore, the purpose of this study is to categorize and define the function of imitation, based on the Aristotelian concept of imitation and on the categories of imitation proposed by Johann Mattheson, one of the main theoreticians of musica poetica. We try to show that ever since the musical conceptions of antiquity, music and poetics have been inseparable. (shrink)

This article examines the religious functions of the Dutch performance practice of Johann Sebastian Bach’s St. Matthew Passion. It introduces the phenomenon itself, points out its religious and ritual significance in the post secular Netherlands, and interprets the passion play with Hartmut Rosa’s social theory. A conclusion about resonance as the common third between religious and aesthetic experiences rounds off the study.

In "Resonanzen", scholars and artists explore aspects of memory and recollection in music. Composers Georg Friedrich Haas and Isabel Mundry set out how their art involves memory (as well as oblivion). Music historians Laurenz Lütteken, Nicole Schwindt and Klaus Aringer scrutinize the role of memory in early modern music; Anselm Gerhardt, Peter Franklin, László Vikárius and Harald Haslmayr follow up the theme for compositional practice of the 19th and 20th centuries. Aaron Williamon adds a psychological perspective on memory in musical (...) performance. (shrink)

Meta-ethical expressivism was traditionally seen as the view that normative judgements are not beliefs. Recently, quasi-realists have argued, via a minimalist conception of “belief”, that expressivism is fully compatible with normative judgements being beliefs. This maneuver is successful, however, only if quasi-realists have really offered an expressivist-friendly account of belief that captures all platitudes characterizing belief. But, quasi-realists’ account has a crucial gap, namely how to account for the propositional contents of normative beliefs in an expressivist-friendly manner. In particular, quasi-realists (...) haven’t yet developed their preferred option, a “minimalist” or “deflationist” account of such contents. This paper aims to close that gap. I argue that expressivists who accepts conceptual role semantics and use an account of that-clauses in their use in belief-attributions based on Wilfrid Sellars’ work can give a deflationary account of the contents of beliefs that is compatible with normative judgements being beliefs, even if expressivism is true. (shrink)