This book is a collection of secondary essays on America's most important philosophic thinkers—statesmen, judges, writers, educators, and activists—from the colonial period to the present. Each essay is a comprehensive introduction to the thought of a noted American on the fundamental meaning of the American regime.

ZusammenfassungDie Studie zielt ab auf die thematische Eingrenzung und Fokussierung eines Ideals der Liberalität im Sinne eines Komplexes wünschenswerter Persönlichkeitseigenschaften wie Vorurteilsfreiheit, Ungezwungenheit und Offenheit, Wohlwollen und Geselligkeit in Denkart und Sozialverhalten. Zu diesem Zweck grenzt sie die Thematik zunächst gegen eine liberale Gesellschaftstheorie ab, für welche individuelles Verhalten, soweit nur rechtskonform, vollkommen irrelevant ist und als einem vorpolitischen Bereich zugehörig angesehen werden kann. Dessen Bedeutung jedoch für das sogenannte „soziale Klima“ wird in einem zweiten Schritt durch die Gegenüberstellung eines (...) pluralistisch-agonalen liberalen Gesellschaftsmodells, nämlich dem Peter Sloterdijks, und des mit seiner Konzeption des „genuin Liberalen“ an Homöostase und Geselligkeit orientierten Modells Theodor W. Adornos erläutert. Ein Grundzug dieses letzteren Modells sind präreflexive Spontaneität und Natürlichkeit im Verhalten, was eine Abgrenzung gegen normative Ethik, aber auch gegen das Fünf-Faktoren-Modell der Persönlichkeitspsychologie nötig macht. Die Studie schließt mit einem Ausblick auf die ästhetische Theorie Friedrich Schillers, da in ihr Natürlichkeit, Offenheit und Wohlwollen eine intrinsische Einheit bilden. (shrink)

It is fair to say that Georg Wilhelm Friedrich Hegel's philosophy of mathematics and his interpretation of the calculus in particular have not been popular topics of conversation since the early part of the twentieth century. Changes in mathematics in the late nineteenth century, the new set-theoretical approach to understanding its foundations, and the rise of a sympathetic philosophical logic have all conspired to give prior philosophies of mathematics (including Hegel's) the untimely appearance of naïveté. The common view was (...) expressed by Bertrand Russell: -/- The great [mathematicians] of the seventeenth and eighteenth centuries were so much impressed by the results of their new methods that they did not trouble to examine their foundations. Although their arguments were fallacious, a special Providence saw to it that their conclusions were more or less true. Hegel fastened upon the obscurities in the foundations of mathematics, turned them into dialectical contradictions, and resolved them by nonsensical syntheses. . . .The resulting puzzles [of mathematics] were all cleared up during the nineteenth century, not by heroic philosophical doctrines such as that of Kant or that of Hegel, but by patient attention to detail (1956, 368–69). (shrink)

'A Nietzschean Bestiary' gathers essays treating the most vivid & lively animal images in Nietzsche's work, such as the howling beast of prey, Zarathustra's laughing lions, & the notorious blond beast.

Die dritte Abteilung der Kritischen Gesamtausgabe bietet in vierzehn Bänden sämtliche erhaltenen Predigten Friedrich Schleiermachers. Band 10 enthält Texte zu 109 Predigtterminen aus den Jahren 1826 und 1827, darunter Nachschriften, die den bislang unveröffentlichten Abschluss der großen Homilienreihe zum Johannesevangelium dokumentieren.

An American essayist, poet, and popular philosopher, Ralph Waldo Emerson (1803–82) began his career as a Unitarian minister in Boston, but achieved worldwide fame as a lecturer and the author of such essays as “Self-Reliance,” “History,” “The Over-Soul,” and “Fate.” Drawing on English and German Romanticism, Neoplatonism, Kantianism, and Hinduism, Emerson developed a metaphysics of process, an epistemology of moods, and an “existentialist” ethics of self-improvement. He influenced generations of Americans, from his friend Henry David Thoreau to John Dewey, (...) and in Europe, Friedrich Nietzsche, who takes up such Emersonian themes as power, fate, the uses of poetry and history, and the critique of Christianity. (shrink)

In his lifetime, Ralph Waldo Emerson became the most widely known man of letters in America, establishing himself as a prolific poet, essayist, popular lecturer, and an advocate of social reforms who was nevertheless suspicious of reform and reformers. Emerson achieved some reputation with his verse, corresponded with many of the leading intellectual and artistic figures of his day, and during an off and on again career as a Unitarian minister, delivered and later published a number of controversial sermons. (...) Emerson’s enduring reputation, however, is as a philosopher, an aphoristic writer (like Friedrich Nietzsche) and a quintessentially American thinker whose championing of the American Transcendental movement and influence on Walt Whitman, Henry David Thoreau, William James, and others would alone secure him a prominent place in American cultural history. (shrink)

Cheerfulness or serenity (Heiterkeit) is one of the most important themes in Nietzsche’s philosophy. Throughout his writings, from first to last, he can be found wrestling with conceptions of cheerfulness and promoting a cheerful mode of philosophizing. Despite the importance and recurrence of the theme of cheerfulness in Nietzsche’s entire œuvre, there have been relatively few studies specifically devoted to it. An important debate on cheerfulness has recently taken place in the literature on Nietzsche between Robert Pippin and Lanier Anderson (...) and Rachel Cristy. Both sides of the debate have explored Nietzsche’s practice of cheerfulness in direct relation to Montaigne. According to Pippin, Nietzsche never succeeds in writing with the kind of cheerfulness of Montaigne. In contrast, Anderson and Cristy have contended that both Nietzsche and Montaigne conceive of cheerfulness as a complex, non-naïve spiritual state or attitude that is to be cultivated through the practice of philosophy as a way of life. According to Anderson and Cristy, this is a deep form of love of life that both Nietzsche and Montaigne practice and perhaps achieve at least in part by and through writing. In this essay, we aim to contribute to this debate by offering a threefold argument. First, we argue that Nietzsche conceives of cheerfulness not only as a psychological ideal, as a desirable state or attitude of the spirit, but also as an aesthetic ideal, as a desirable quality or style of thinking and writing (sections 1–2). Second, we argue that, in addition to Montaigne, Ralph Waldo Emerson is an equally important but neglected influence on Nietzsche’s conception and practice of cheerfulness (section 2). Third, by reconstructing Nietzsche’s self-presentation as a cheerful thinker and writer in the 1886 prefaces and in Ecce homo (1888), we conclude that it is possible to argue that starting from his middle writings Nietzsche thinks and writes cheerfully in some of his works, including a number of his most significant texts (section 3). (shrink)

Cheerfulness or serenity (Heiterkeit) is one of the most important themes in Nietzsche’s philosophy. Throughout his writings, from first to last, he can be found wrestling with conceptions of cheerfulness and promoting a cheerful mode of philosophizing. Despite the importance and recurrence of the theme of cheerfulness in Nietzsche’s entire œuvre, there have been relatively few studies specifically devoted to it. An important debate on cheerfulness has recently taken place in the literature on Nietzsche between Robert Pippin and Lanier Anderson (...) and Rachel Cristy. Both sides of the debate have explored Nietzsche’s practice of cheerfulness in direct relation to Montaigne. According to Pippin, Nietzsche never succeeds in writing with the kind of cheerfulness of Montaigne. In contrast, Anderson and Cristy have contended that both Nietzsche and Montaigne conceive of cheerfulness as a complex, non-naïve spiritual state or attitude that is to be cultivated through the practice of philosophy as a way of life. According to Anderson and Cristy, this is a deep form of love of life that both Nietzsche and Montaigne practice and perhaps achieve at least in part by and through writing. In this essay, we aim to contribute to this debate by offering a threefold argument. First, we argue that Nietzsche conceives of cheerfulness not only as a psychological ideal, as a desirable state or attitude of the spirit, but also as an aesthetic ideal, as a desirable quality or style of thinking and writing (sections 1–2). Second, we argue that, in addition to Montaigne, Ralph Waldo Emerson is an equally important but neglected influence on Nietzsche’s conception and practice of cheerfulness (section 2). Third, by reconstructing Nietzsche’s self-presentation as a cheerful thinker and writer in the 1886 prefaces and in Ecce homo (1888), we conclude that it is possible to argue that starting from his middle writings Nietzsche thinks and writes cheerfully in some of his works, including a number of his most significant texts (section 3). (shrink)

Cheerfulness or serenity is one of the most important themes in Nietzsche’s philosophy. Throughout his writings, from first to last, he can be found wrestling with conceptions of cheerfulness and promoting a cheerful mode of philosophizing. Despite the importance and recurrence of the theme of cheerfulness in Nietzsche’s entire œuvre, there have been relatively few studies specifically devoted to it. An important debate on cheerfulness has recently taken place in the literature on Nietzsche between Robert Pippin and Lanier Anderson and (...) Rachel Cristy. Both sides of the debate have explored Nietzsche’s practice of cheerfulness in direct relation to Montaigne. According to Pippin, Nietzsche never succeeds in writing with the kind of cheerfulness of Montaigne. In contrast, Anderson and Cristy have contended that both Nietzsche and Montaigne conceive of cheerfulness as a complex, non-naïve spiritual state or attitude that is to be cultivated through the practice of philosophy as a way of life. According to Anderson and Cristy, this is a deep form of love of life that both Nietzsche and Montaigne practice and perhaps achieve at least in part by and through writing. In this essay, we aim to contribute to this debate by offering a threefold argument. First, we argue that Nietzsche conceives of cheerfulness not only as a psychological ideal, as a desirable state or attitude of the spirit, but also as an aesthetic ideal, as a desirable quality or style of thinking and writing. Second, we argue that, in addition to Montaigne, Ralph Waldo Emerson is an equally important but neglected influence on Nietzsche’s conception and practice of cheerfulness. Third, by reconstructing Nietzsche’s self-presentation as a cheerful thinker and writer in the 1886 prefaces and in Ecce homo, we conclude that it is possible to argue that starting from his middle writings Nietzsche thinks and writes cheerfully in some of his works, including a number of his most significant texts. (shrink)

George J. Stack traces the sources of ideas and theories that have long been considered the exclusive province of Friedrich Nietzsche to the surprisingly radical writings of the American essayist and poet, Ralph Waldo Emerson. Nietzsche and Emerson makes us see Emerson's writings in a new, more intensified light and presents a new perspective on Nietzsche's philosophy. Stack traces how the rich theoretical ideas and literary images of Emerson entered directly into the existential dimension of Nietzsche's thought and (...) hence into the stream of what has been considered a distinctively European intellectual movement. Book jacket. (shrink)

Il est peu question du Christ dans cet ouvrage tardif (écrit en 1888, quelques mois avant que Nietzsche ne sombre dans la folie, il ne sera publié qu'en 1895), mais beaucoup du christianisme. Illusion, fiction, Idéal négatif parce que nourri de la faiblesse et du ressentiment, le christianisme désigne, pour Nietzsche, le pouvoir du mensonge. Il escamote la réalité et c'est pourquoi il ne faut pas seulement le réfuter ; il faut aussi le combattre. D'où une nécessaire violence à l'encontre (...) des malades : Ce qui est chrétien, c'est la haine contre l'esprit, contre la fierté, le courage, la liberté, le libertinage de l'esprit ; ce qui est chrétien, c'est la haine contre les sens, contre les joies des sens, contre la joie tout court. Livre injuste et méchant donc, qui veut être un hymne à la belle humeur, à l'innocence et à la grâce, au bonheur et à la plénitude ;livre d'équivoques aussi, écrit par celui qui signera plus tard Le Crucifié. (shrink)

-- 9. Bd. Der handschriftliche Nachlass ab Frühjahr 1885 in differenzierter Transkription nach Marie-Luise Haase und Michael Kohlenbach. pt. <9>. Arbeitshefte W II 6 und W II 7.

This is a translation from Bulgarian into English of Nikolai Lossky’s “Razlichniiat smisul na dumata intuitsiia” (“The Different Senses of the Word Intuition”), published in the Sofianite journal Filosofski pregled (Philosophical Review), 1931, year III, book 1, pp. 1–9. In this article, solicited by the journal’s editor-in-chief, the Bulgarian philosopher Dimitar Mihalchev, Lossky surveys the different ways in which the word “intuition” (intuitsiia) has been used throughout the history of philosophy: Kant, Fichte, Schelling, Hegel, Friedrich Jacobi, Ivan Kireevski, Alexei (...) Khomyakov, Vladimir Solovyov, Bergson, Husserl, and Hans Driesch. Lossky then situates his own use of the word within this philosophical tradition and compares his intuitivism with gnoseologies similar to his own, namely, those of Semyon Frank, Johannes Rehmke, Max Scheler, Paul Linke, Dimitar Mihalchev, the English realists (Samuel Alexander and John Laird), the American realists (Edwin Holt, Walter Marvin, William Montague, Ralph Perry, Walter Pitkin, and Edward Spaulding), and the Neo-Scholastic Josef Gredt. As such, the article makes a valuable addendum to his Obosnovanie intuitivizma (The Foundation of Intuitivism) (1906) and provides a helpful synopsis of his theory of knowledge, which, in accordance with the Russian terminological tradition, he calls “gnoseology”. (shrink)

If you were looking for a philosopher likely to appeal to Americans, Friedrich Nietzsche would be far from your first choice. After all, in his blazing career, Nietzsche took aim at nearly all the foundations of modern American life: Christian morality, the Enlightenment faith in reason, and the idea of human equality. Despite that, for more than a century Nietzsche has been a hugely popular—and surprisingly influential—figure in American thought and culture. In _American Nietzsche_, Jennifer Ratner-Rosenhagen delves deeply into (...) Nietzsche's philosophy, and America’s reception of it, to tell the story of his curious appeal. Beginning her account with Ralph Waldo Emerson, whom the seventeen-year-old Nietzsche read fervently, she shows how Nietzsche’s ideas first burst on American shores at the turn of the twentieth century, and how they continued alternately to invigorate and to shock Americans for the century to come. She also delineates the broader intellectual and cultural contexts within which a wide array of commentators—academic and armchair philosophers, theologians and atheists, romantic poets and hard-nosed empiricists, and political ideologues and apostates from the Left and the Right—drew insight and inspiration from Nietzsche’s claims for the death of God, his challenge to universal truth, and his insistence on the interpretive nature of all human thought and beliefs. At the same time, she explores how his image as an iconoclastic immoralist was put to work in American popular culture, making Nietzsche an unlikely posthumous celebrity capable of inspiring both teenagers and scholars alike. A penetrating examination of a powerful but little-explored undercurrent of twentieth-century American thought and culture, _American Nietzsche_ dramatically recasts our understanding of American intellectual life—and puts Nietzsche squarely at its heart. (shrink)

This conceptual article theorizes about the effect of emotions of individual organizational leaders during a period of sustainability-related upheaval within an industry. To illustrate the effect of emotions, it proposes to draw on the model of five stages of grief by Elisabeth Kübler-Ross, a conceptual framework describing terminally ill patients’ responses to their impending death. The authors adapt Kübler-Ross’s taxonomy and use anecdotal evidence from grieving top managers of energy companies in response to the nuclear phase-out in Germany. The article (...) conceptualizes the influence of emotions in the decision-making process of key agents in response to institutional pressures in their field. The article suggests that focusing on emotional influences will add an important dimension to the analysis of sustainability strategies, and discuss implications for further research at an individual and organizational level. (shrink)

According to the apparatus which accompanies the fragment in Diels-Kranz, the reading χλωρ Καί ναιμα is found in the scholia and in the MSS. of class II, whereas class I has χλωρ Καί ναιμα. We are also referred to Demetrius, Eloc.

Friedrich Wilhelm Joseph Schelling: System des transzendentalen Idealismus Erstdruck: Tübingen (Cotta) 1800. Der Text folgt dem Abdruck in Schellings »Sämtlichen Werken«, hg. von K.F.A. Schelling, Stuttgart (Cotta) 1856-1861 (= O[riginalausgabe]). Dort wurde der Text durch Zusätze und Bemerkungen aus Schellings Handexemplar erweitert, die der Herausgeber teils in eckigen Klammern in den Text einfügte, teils in den Fußnoten mitteilte. Neuausgabe mit einer Biographie des Autors. Herausgegeben von Karl-Maria Guth. Berlin 2016, 2. Auflage. Textgrundlage ist die Ausgabe: Friedrich Wilhelm Joseph (...) von Schelling: Werke. Auswahl in drei Bänden. Herausgegeben und eingeleitet von Otto Weiß, Leipzig: Fritz Eckardt, 1907. Die Paginierung obiger Ausgabe wird in dieser Neuausgabe als Marginalie zeilengenau mitgeführt. Umschlaggestaltung von Thomas Schultz-Overhage. Gesetzt aus der Minion Pro, 11 pt. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Raphael PAUL BAROLSKY The essence of all appreciation and analysis of art is the translation of visual perceptions into compelling verbal form. —Ralph Lieberman cultural unity Horace Walpole, Sir Joshua Reynolds, Johann Wolfgang Goethe, Eugène Delacroix, Honoré Balzac, Friedrich Hegel, Charles Baudelaire, Friedrich Nietzsche, Pierre Renoir, Nathaniel Hawthorne, August Wilhelm von Schlegel, Heinrich von Kleist, Franz Grillparzer, Fyodor Dostoyevsky, Ivan Turgenev, Wilhelm Heinrich Wackenroder, (...) George Eliot, Jean-Auguste Dominique Ingres, Roger Fry, Bernard Berenson, Theodor Hetzer, Roberto Longhi, Heinrich Wölfflin, and Stendhal are among the many essayists, critics, novelists, poets, painters and art historians who have responded to Raphael’s work as painter, architect or archeologist over the centuries. I can well imagine all of those listed above, among many others, united in an imaginary painting similar to the School of Athens—in other words, a vision that reconciles their various views of the world in a harmony analogous to the unity of philosophers in Raphael’s great fresco. Raphael is a towering figure in the history of European culture. The year 2020 was the 500th anniversary of the death of the great painter in Rome at the age of thirty-seven. In the wake of recent exhibitions that commemorated the artist’s achievement, I propose to touch briefly and lightly on a few aspects arion 28.2 fall 2020 100 reflections on raphael of Raphael’s life and works. Please think of these remarks as a series of suggestions, not attempts at definitive interpretation. I think of this essay as a rather experimental piece. THE SCHOOL OF ATHENS i should like to begin with a few brief remarks on what must be Raphael’s most famous work of art. I mean his School of Athens (fig. 1), which is, like Leonardo’s Mona Lisa and Last Supper or like Michelangelo’s David and Creation of Adam, an image widely known and admired. What more is there to say about The School Of Athens, one of the central images in the Stanza della Segnatura? You might spend the rest of your life reading about this great work and never understand it fully. Nevertheless, I want to focus for a moment on a central detail of the work and, on the basis of my description, point to a significant aspect of the fresco that has been universally overlooked. First the description, then the aperçu. Fig. 1. School of Athens. Ca. 1510–1512. Photo Credit : Erich Lessing / Art Resource, NY. Paul Barolsky 101 At the center of the School of Athens we behold the two great philosophers of classical antiquity: Plato and Aristotle. Plato holds a copy of his Timaeus, a dialogue that concerns the harmony of the heavens; Aristotle holds a copy of his Ethics, a work that pertains to human relations in this world. It was the goal of Renaissance thinkers to create a harmony or concord of the thought of these philosophers: a Concordia Platonis et Aristotelis. Raphael’s fresco, as is well known, presents the visual ideal of such harmony. Whereas Aristotle gestures downward, alluding to this world, in which his Ethics matter, Plato points heavenward, evoking the order of the cosmic realm described in Timaeus. Raphael makes visible the ideal of concordia when he movingly pictures the way in which the two philosophers gaze into each other’s eyes, as if to suggest this harmony. Borrowing from the language of Raphael ’s friend, Baldassare Castiglione, Raphael renders “the joining” of their souls. The monumental architecture of the scene, which echoes Bramante and has taproots in Piero della Francesca and Perugino, consists of three barrel-vaults beyond which we see patches of blue sky and puffs of cloud (fig. 2). The grandiose architecture of the image magnifies Raphael’s philosophers. Within this architectural framework, Plato’s gesture is deeply meaningful, since it prompts the viewer to look up and thus ascend toward the perfection of the celestial realm, beyond the imperfections of the physical world. Above the first barrel vault in the fresco we behold a section of the drum of a dome which is open to the sky. Within this section of drum there are two columns that are lined up directly... (shrink)

Can films philosophize rather than simply represent philosophical ideas developed outside of the cinematic medium? Taking up this question crucial to the emergent field of film philosophy, this book argues that the films of the American avant-garde do "do" philosophy and illuminates the ethical and political stakes of their aesthetic interventions. The book traces the avant-garde's philosophy by developing a history and theory of its investment in dimensional, conceptual, and material in-betweens, clarifying how this cinema's reflections on the creation and (...) reception of images construct an ethics of perception itself, a responsibility to perpetuate thought in an enduring re-encounter with the world and with meaning's unfinished production. This entails the avant-garde's locating of cinema's-and thought's-ends or meanings in their means, and their advancement of an image of truth that is made rather than found that unites their films with the philosophies of Ludwig Wittgenstein and Ralph Waldo Emerson who believed the "journey's end is found in every step of the road" (Cavell). Rectifying film-philosophy's neglect of the American avant-garde, the book demonstrates how rather than showing their interest in the revelation of authoritative truths, the avant-garde's interest in the re-encounter and review of the seen and known emerges from an American Transcendentalist tradition that opposes such notions. Sheehan reads the avant-garde's interest in the contingencies of spectatorial experience as also an extension of Pragmatism's commitment to replacing the authority of a priori knowledge with that of individual experience. She also shows how Emerson's influence on Friedrich Nietzsche connects the American avant-garde's philosophies to Deleuze's time-image, premised largely upon Nietzsche's "powers of the false.". (shrink)

The German philosopher and philologist Friedrich Ast published this monumental lexicon in three volumes. A professor of classical literature at the University of Landshut and member of the Bavarian Academy of Sciences, Ast wrote widely on the history of philosophy. He edited a complete edition of Plato with Latin translation, identifying spurious interpolations and false attributions, using this as a basis for his Lexicon. The work is arranged alphabetically, Volume 1 covering Alpha to Epsilon. The entries give citations both (...) from Plato and from later works that extensively quote Plato. Though the Lexicon met with criticism for omissions of particles, prepositions and proper names, and the lack of systematic arrangement, it had a high reputation throughout the nineteenth century. It remains a milestone of Plato scholarship and is an indispensable resource for readers interested in the history of philology and methods in textual criticism. (shrink)

T. 1. Die Entstehung des mechanischen Naturbildes.

But of all evil results due to the last contest with France the most deplorable peihaps is that widespread and even universal error of public opinion and of all who think publicly that German culture was also victorious in the struggle and that it should now therefore be decked with garlands as a fit recognition of such extraordinary events and successes.

The term “virtual entities” has a long tradition and a variety of meanings. My short article focuses on one particular meaning, as clearly defined by Charles Sanders Peirce in 1902. I will discuss the definition he provided and touch on the wide resonance it had and still has in science.