Interdisciplinarity and the Development of Knowledge. The author is engaged in the question how to explain the development of scientific meanings of facts which does not coincide with producing them rather with processes of the scientists' public communication. So long as the facts are adjustable to the conventional theories of those discipline which the researcher belongs to this connection does not reveal perfectly clear. More instructive is a consideration of so-called 'anomalies'. The author demonstrates with an example of the history (...) of science that researchers in case of new phenomena use to borrow concepts from other disciplines for resolving the interpretative problems. It emerges a loose net-work of concepts. In this way the researchers are producing a disciplinary mixed public at the same time. This process is seen as an important phase of the development of new theories and, complementary, new disciplines. (shrink)

This volume collects Late Ancient, Byzantine and Medieval appropriations of Aristotle's Posterior Analytics, addressing the logic of inquiry, concept formation, the question whether metaphysics is a science, and the theory of demonstration.

I defend a hard-line reply to Derk Pereboom’s four-case manipulation argument. Pereboom accuses compatibilists who take a hard-line reply to his manipulation argument of adopting inappropriate initial attitudes towards the cases central to his argument. If Pereboom is correct he has shown that a hard-line response is inadequate. Fortunately for the compatibilist, Pereboom’s list of appropriate initial attitudes is incomplete and at least one of the initial attitudes he leaves out provides room for a revised hard-line reply to be successfully (...) mounted against the multiple-case argument. (shrink)

Sam Berstler has recently argued for a fairness-based moral difference between lying and misleading. According to Berstler, the liar, but not the misleader, unfairly free rides on the Lewisian conventions which ground public-language meaning. Although compelling, the pragmatic and metasemantic backdrop within which this moral reason is located allows for the generation of a vicious explanatory circle. Simply, this backdrop entails that no speaker has ever performed an assertion. As I argue, escaping the circle requires rejecting Berstler’s fairness-based reason against (...) lying. The problem is a general one: the wrong of lying cannot be founded on the goods of language. (shrink)

Putnam (1975) and Burge (1979) have made a convincing case that neither mea- nings nor beliefs are in the head. Most philosophers, it seems, have accepted their argument. Putnam explained that a subject.

Bd. 1. Absenz-Darstellung -- Bd. 2. Dekadent-Grotesk -- Bd. 3. Harmonie-Material -- Bd. 4. Medien-Popular -- Bd. 5. Postmoderne-Synästhesie -- Bd. 6. Tanz-Zeitalter/Epoche -- Bd. 7. Register und Supplemente.

This chapter stages an ongoing conversation between Arthur Danto and the author. In a series of encounters from 1985 till 2012 (in New York City and elsewhere) the problem of defining art is explored from different angles. Eventually, two kinds of definition are distinguished. On the one hand, a definition may aspire to identify peculiar characteristics of the things that are commonly regarded members of the noble class of artworks. On the other hand, a definition might also name criteria for (...) deciding whether an object may become a member of this class in the first place. Danto focused on the first task because he felt, quite rightly, that the second would require competences that philosophy does not dispose of. (shrink)

In this paper I propose a reading of Plotinus Enneads VI.1-3 [41-43] On the genera of being which regards this treatise as a coherent whole in which Aristotle's Categories is explored in a way that turns it into a decisive contribution to Plotinus' Platonic ontology. In addition, I claim that Porphyry's Isagoge and commentaries on the Categories start by adopting Plotinus' point of view, including his notion of genus, and proceed by explaining its consequences for a more detailed reading of (...) the Categories. After Plotinus' integration of the Categories into the Platonic frame of thought Porphyry saw the possibilities of exploiting the Peripatetic tradition both as a means to support the Platonic interpretation of the Categories and as a source for solutions to traditional questions. His allegiance to a division of being into ten, and his emphasis on semantics rather than ontology can be explained from this orientation. In the light of our investigation the alleged disagreement between Plotinus and Porphyry on the Categories changes its appearance completely. There are differences, but these can be best explained as confirmation and extension of Plotinus' perspective on the Categories and its role in Platonism. (shrink)

In this paper I explore the ways in which Alexander of Aphrodisias employs and develops so-called ‘common notions’ as reliable starting points of deductive arguments. He combines contemporary developments in the Stoic and Epicurean use of common notions with Aristotelian dialectic, and axioms. This more comprehensive concept of common notions can be extracted from Alexander’s commentary on Metaphysics A 1–2. Alexander puts Aristotle’s claim that ‘all human beings by nature desire to know’ in a larger deductive framework, and adds weight (...) to Aristotle’s use of the common understanding of the notion of ‘wisdom’. Finally I will indicate how these upgraded common notions are meant to play an important role in the general framework of metaphysics as a science. (shrink)

English summary: Heinz Ludeking belonged to the German philosophical movement that explored analytical esthetics. Ludekings analytical approach to art brought new light to the definition and concept of art. In particular, he created a connection between logical reflection and esthetic investigation. French description: Heinz Ludeking appartient a ce courant de la philosophie allemande qui a pris pour objet l'esthetique analytique, et qui est encore largement meconnu en France en depit de sa productivite conceptuelle. Dans cet ouvrage, l'auteur s'est efforce d'etablir (...) un bilan critique de la premiere philosophie analytique de l'art - celle des annees 50-60 -, c'est-a-dire des travaux qui ont precede les theories de Goodman et de Danto. L'approche analytique de Ludeking, volontiers caustique, peut etre devastatrice. Elle apporte neanmoins une lumiere nouvelle sur un probleme central, jamais veritablement resolu, celui de la definition de l'art et du concept d'art. L'une des qualites dominantes de cette analyse est d'etre parvenue a realiser une jonction exceptionnellement rigoureuse entre la reflexion logique et l'investigation proprement esthetique. (shrink)

In order to understand why analytic aesthetics has lost a lot of its former intellectual stature it is necessary to combine historical reconstruction with systematic consideration. In the middle of the twentieth century analytic philosophers came to the conclusion that essentialist theories of the “nature” of art are no longer tenable. As a consequence they felt compelled to move to the meta-level of conceptual analysis. Then they tried to show how a purely classificatory concept of art is used. The presupposition, (...) however, that there actually is such a concept can only appear plausible at first sight. Upon closer inspection it turns out to be utterly misguided. (shrink)

Die Welt, in der wir leben, andert sich rasant. Doch nicht nur sie, sondern auch die Religionen, die Gottesvorstellungen. Nach christlicher Vorstellung ist Gott selbst in die Dynamik der Welt verstrickt. Gerade die Prozesstheologie macht Gott im Fluss der Zeit denkbar. Welches ware der Gott, den wir brauchen? Welche Konsequenzen haben mogliche Antworten fur Religion und Politik, Okonomie und Okologie, Gesellschaft und Kultur? Diesen Fragen geht der Band nach.

Jaap Mansfeld and Frans de Haas bring together in this volume a distinguished international team of ancient philosophers, presenting a systematic, chapter-by-chapter study of one of the key texts in Aristotle's science and metaphysics: the first book of On Generation and Corruption. In GC I Aristotle provides a general outline of physical processes such as generation and corruption, alteration, and growth, and inquires into their differences. He also discusses physical notions such as contact, action and passion, and mixture. These (...) notions are fundamental to Aristotle's physics and cosmology, and more specifically to his theory of the four elements and their transformations. Moreover, references to GC elsewhere in the Aristotelian corpus show that in GC I Aristotle is doing heavy conceptual groundwork for more refined applications of these notions in, for example, the psychology of perception and thought, and the study of animal generation and corruption. Ultimately, biology is the goal of the series of enquiries in which GC I demands a position of its own immediately after the Physics. The contributors deal with questions of structure and text constitution and provide thought-provoking discussions of each chapter of GC I. New approaches to the issues of how to understand first matter, and how to evaluate Aristotle's notion of mixture are given ample space. Throughout, Aristotle's views of the theories of the Presocratics and Plato are shown to be crucial in understanding his argument. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Three Moments in the Crisis of Exemplarity: Boccaccio-Petrarch, Montaigne, and CervantesKarlheinz StierleIn his recent book History as Topic Peter von Moos denies that there was any crisis for the exemplum in the Renaissance. 1 He strongly argues against my essay on “History as exemplum,” where I pointed out that in Montaigne, as earlier in Boccaccio, the pragmatic form of exemplum is put into question. 2 My main interest in (...) this essay, however, was not to mark a break between Middle Ages and Renaissance but to understand the way in which the correlation between sententia and exemplum was transformed into a more complex relation between moral reflection and particular case. Undoubtedly, since Valerius Maximus and his Factorum et dictorum memorabilium libri, there has always been, as in John of Salisbury’s Policratius, the possibility of questioning the exemplary truth of the exemplum by opposing it to a never-ending wealth of counter-examples. This, however, never puts into question the idea of exemplarity itself. The validity of the exemplum as a rhetorical form of narration that tends towards its own conceptual or ideological structure has an anthropological basis. It presupposes that over time, there is more analogy in human experience than diversity, or that in all situations of civil and political life the pole of equality is stronger than that of difference.Boccaccio’s novella is precisely the narrative form that puts this anthropological basis into question. Each novella in the Decameron is essentially a [End Page 581] particular variant of a more general conceptual scheme. The stress of narration, however, is not on the scheme itself but on the autonomy of the variant. Basically the novella is a form of rewriting in the mode of retelling, thus bringing an elementary narration to higher complexity. 3 Each of the “vari casi,” mostly of love-affairs, is a confrontation of exemplarity and contingency. It is the power of contingency or fortuna that brings forth the specific particularity of each novella. The art of the writer Boccaccio, whose primary fiction is oral story-telling, consists in giving aesthetic evidence to this particularity. Reading, not listening, is the form of reception that corresponds to this structure. That Boccaccio adds the other title “Il Prencipe Galeotto” to the Decameron is an allusion to Dante’s Divine Commedy where in the famous episode of Paolo and Francesca (Inf. V), Galeotto becomes the personification of the allegory of reading and its seduction.Contingency, or, in Boccaccio’s own medieval terms, fortuna, is the real poet of the novella. That is why the most important scenes of the novellas are those where the power of contingency comes to light: at the sea and in the city. The particular shape of novella, which results from a balance between contingency and significant configuration, emerges from contingency itself. Its configuration is a particular case of contingency, one that by its immanent structural elegance is aesthetically gratifying. It nevertheless leaves open the question whether there might not be a power of a superior kind behind contingency. Because there is an ambiguity between contingency and sense, the exemplary status of each story is, ironically, placed in question. Contingency overcomes exemplarity; however, it never triumphs definitely. The impact on the exemplum by contingency not only gives to each narrative case its difference or even autonomy, it also opens up a new temporal dimension. The exemplum seems to move in an essential time where all time-aspects are controlled and functionalized by a dominating conceptual structure. In the novella time becomes a primary structure. “Or avviene che” is the narrative formula for this new quality of narrative time, becoming a time of disruption and instability where things and situations may change in a moment for the better or for the worse.I would like to illustrate the structure of the Boccaccian novella by at least one exemplary case. Almost in the middle of the book—which means in the middle of its temporal space of ten days—we find the novella of Federigo degli Alberighi, considered to be one of Boccaccio’s finest (V, 9). Federigo, in a world of merchants and trade, is the perfect nobleman who ruins himself by his... (shrink)

This important new book offers the first full-length interpretation of the thought of Martin Heidegger with respect to irony. In a radical reading of Heidegger's major works (from Being and Time through the ‘Rector's Address' and the ‘Letter on Humanism' to ‘The Origin of the Work of Art' and the Spiegel interview), Andrew Haas does not claim that Heidegger is simply being ironic. Rather he argues that Heidegger's writings make such an interpretation possible - perhaps even necessary. Heidegger_begins_ Being (...) and Time with a quote from Plato, a thinker famous for his insistence upon Socratic irony. The Irony of Heidegger takes seriously the apparently curious decision to introduce the threat of irony even as philosophy begins in earnest to raise the question of the meaning of being. Through a detailed and thorough reading of Heidegger's major texts and the fundamental questions they raise, Haas reveals that one of the most important philosophers of the 20th century can be read with as much irony as earnestness. The Irony of Heidegger attempts to show that the essence of this irony lies in uncertainty, and that the entire project of onto-heno-chrono-phenomenology, therefore needs to be called into question. >. (shrink)

Name der Zeitschrift: Byzantinische Zeitschrift Jahrgang: 112 Heft: 1 Seiten: 243-246.

Name der Zeitschrift: Klio Jahrgang: 96 Heft: 1 Seiten: 337-346.

What is the origin of language? For Levinas, from Aristotle to von Humboldt, the tradition of Western metaphysics has understood language as a representation of reality, going beyond or transcending experience. In this way, language is a metaphor that substitutes for experience—and all language is originally metaphorical. Experience however, is essentially inexpressible—for it not only transcends language, but it does so because experience is always experience of the other, of that which remains infinitely other. And language reminds us of its (...) failure (a failure which Derrida sees, ironically, as a success) to express this other by maintaining a trace of the inexpressible in every expression—and metaphor is failure of expression par excellence. But what is the origin of this original failure? In fact, it can be found in the way in which language makes metaphors (which is the way in which it makes itself, transcends itself, substitutes for itself, becomes other than itself). For as Aristotle reminds us: metaphor-making (indeed, all language, every word and deed) is poiēsis—and the origin of poiēsis is improvisation. If we have, however, discovered the origin of language in improvisation—but what is that? (shrink)