This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Die Glosse Suda ε 1756 wird in der Forschung mit der von Damaskios von Damaskos verfaßten Vita des Philosophen Isidoros in Verbindung gebracht. Tatsächlich aber steht sie in engerem Zusammenhang mit der aus dem Werk des Johannes Antiocheus entnommenen Glosse Suda β 246 und ist daher aus dem Corpus des Damaskios zu streichen und Ioannes Antiocheus zuzuschreiben.

Johann Wolfgang von Goethe is most famous for his work on color theory, but he was also an accomplished all-round scientist, studying and writing on anatomy, geology, botany, zoology and meteorology. This book draws together, in Goethe's own words, his key ideas on nature, science and scientific method. Goethe believed that we should study our world and nature as people at home in it, rather than removedly, as if we were aliens from another planet. He adopted a qualitative approach to (...) science at odds with Newton's quantitative methods that were so popular in his day. His is a sensitive science which does not ignore our relationship to nature. The extracts in this book are fascinating and essential reading for anyone who feels that we've lost our spiritual connection to nature. (shrink)

Der Band gibt wichtige Impulse für die methodologische Reflexion der historischen Kulturwissenschaften. Er geht auf eine Tagung zurück, deren Thema "Dichtung und Wahrheit. Zum Verhältnis von Narration und Erklärung in den Kultur-, Geistes- und Sozialwissenschaften" war. Die Autoren greifen zum ersten Mal im kulturwissenschaftlichen Kontext Anregungen vor allem aus der Analytischen Philosophie auf und diskutieren ihren Wert für historisches und kulturwissenschaftliches Arbeiten. Im Fokus der Untersuchungen steht eine Begriffstrias, die für die Sozial-, Geistes- und Kulturwissenschaften gleichermaßen seit dem 19. Jahrhundert (...) eine große Herausforderung darstellt: Erklären, Verstehen und Erzählen. (shrink)

Johann Gottfried von Herder is one of the most important German philosophers of the eighteenth century, who had enormous influence on later thinkers such as Hegel, Schleiermacher and Nietzsche. His wide-ranging ideas were formative in the development of linguistics, hermeneutics, anthropology and bible scholarship, and even today they retain their vitality and relevance to an extraordinary degree. This volume presents a translation of Herder's most important and characteristic philosophical writings in his areas of central interest, including philosophy of language, philosophy (...) of mind, philosophy of history and political philosophy, as well as his general philosophical program. An introduction sets the writings in their historical context and examines their philosophical achievement. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The term of responsibility is ambiguous. In a general sense it means nothing more than answering questions about human behaviour (in Greek: logon didonai; in Latin: rationem reddere). In order to get a more precise sense of responsibility this article discusses concepts of responsibility, worked out by Albert Schweitzer, Hans Jonas, Richard Niebuhr and Dietrich Bonhoeffer. The discussion is concentrated on two problems: (1) extensification of responsibility in accordance with the expansion of technological power; (2) limitation and intensification of responsibility (...) in accordance with human capability and readiness. The central question is that of the subject of responsibility: How becomes man, who abdicates responsibility, ‘the responsible self’ (Niebuhr)? Referring to this question the biblical language is of great importance as the word, which re-establishes communication between God and man. Responsibility in the biblical sense means the response to this word of God. Therein lies not only a radicalising and intensifying of responsibility, but also its enabling and limiting. (shrink)

During the Weimar Republic, Siegfried Kracauer established himself as a trenchant theorist of film, culture, and modernity, and he is now considered one of the key thinkers of the twentieth century. When he arrived in Manhattan aboard a crowded refugee ship in 1941, however, he was virtually unknown in the United States and had yet to write his best-known books, _From Caligari to Hitler_ and _Theory of Film_. Johannes von Moltke details the intricate ways in which the American intellectual (...) and political context shaped Kracauer’s seminal contributions to film studies and shows how, in turn, Kracauer’s American writings helped shape the emergent discipline. Using archival sources and detailed readings, von Moltke asks what it means to consider Kracauer as the New York Intellectual he became in the last quarter century of his life. Adopting a transatlantic perspective on Kracauer’s work, von Moltke demonstrates how he pursued questions in conversation with contemporary critics from Theodor Adorno to Hannah Arendt, from Clement Greenberg to Robert Warshow: questions about the origins of totalitarianism and the authoritarian personality; about high and low culture; about liberalism, democracy, and what it means to be human. From these wide-flung debates, Kracauer’s own voice emerges as that of an incisive cultural critic invested in a humanist understanding of the cinema. (shrink)

This paper has the aim of making Johannes von Kries’s masterpiece, Die Principien der Wahrscheinlichkeitsrechnung of 1886, a little more accessible to the modern reader in three modest ways: first, it discusses the historical background to the book ; next, it summarizes the basic elements of von Kries’s approach ; and finally, it examines the so-called “principle of cogent reason” with which von Kries’s name is often identified in the English literature.

The article reassesses the renown ‘critical iconology’ practiced by Aby Warburg and confronts it with recent theories regarding metadata and the curatorship of information. A close examination of Robert Kitaj’s portrait Warburg as a Maenad (1961–62) affirms Warburg’s ‘combinatory experiments’ (Christopher D. Johnson) to be a main characteristic of his practice. Warburg seems to have operated by applying what can now be described as metadata to the processes of transmission of culture he was accessing in form of migrating images. Further, (...) the insights he was able to gain, namely his famous notion of the ‘Pathosformel’, may have to be considered as a specific form of metadata too. This is of particular interest acknowledging that in the digital world the migration of images takes mainly place in the realm of metadata. Hence ideas put forward by Warburg are able contribute to a deeper understanding of such phenomena. (shrink)

The article reassesses the renown ‘critical iconology’ practiced by Aby Warburg and confronts it with recent theories regarding metadata and the curatorship of information. A close examination of Robert Kitaj’s portrait Warburg as a Maenad affirms Warburg’s ‘combinatory experiments’ to be a main characteristic of his practice. Warburg seems to have operated by applying what can now be described as metadata to the processes of transmission of culture he was accessing in form of migrating images. Further, the insights he was (...) able to gain, namely his famous notion of the ‘Pathosformel’, may have to be considered as a specific form of metadata too. This is of particular interest acknowledging that in the digital world the migration of images takes mainly place in the realm of metadata. Hence ideas put forward by Warburg are able contribute to a deeper understanding of such phenomena. (shrink)