In Romantic theories of art and literature, the notion of mimesis—defined as art’s reflection of the external world—became introspective and self-reflexive as poets and artists sought to represent the act of creativity itself. Frederick Burwick seeks to elucidate this Romantic aesthetic, first by offering an understanding of key Romantic mimetic concepts and then by analyzing manifestations of the mimetic process in literary works of the period. Burwick explores the mimetic concepts of "art for art's sake," "Idem et Alter," (...) and "palingenesis of mind as art" by drawing on the theories of Philo of Alexandria, Aristotle, Immanuel Kant, Friedrich Schiller, Friederich Wilhelm Joseph von Schelling, Thomas De Quincey, and Germaine de Staël. Having established the philosophical bases of these key mimetic concepts, Burwick analyzes manifestations of mimesis in the literature of the period, including ekphrasis in the work of Thomas De Quincey, mirrored images in the poems of Samuel Taylor Coleridge and William Wordsworth, and the twice-told tale in the novels of Charles Brockden Brown, E. T. A. Hoffmann, and James Hogg. Although artists of this period have traditionally been dismissed in discussions of mimesis, Burwick demonstrates that mimetic concepts comprised a major component of the Romantic aesthetic. (shrink)

Hypothetische Imperative „… stellen die praktische Notwendigkeit einer möglichen Handlung als Mittel zu etwas anderem, was man will, zu gelangen vor”. Die von Kant im zweiten Abschnitt der Grundlegung zur Metaphysik der Sitten als „hypothetische Imperative” eingeführten Sätze des Typs „Wenn du Z willst, tue H!” sind ihrer grammatischen Struktur nach aus einem indikativen und einem imperativen Gliedsatz zusammengesetzte Konditionalsätze. Ihre logische Struktur ist fragwürdig. Soviel aber scheint klar zu sein: Der Vordersatz eines hypothetischen Imperativs gibt die Bedingung an, unter (...) der sich der im Nachsatz formulierte Befehl an jemanden richtet. (shrink)

Constructive technology assessment aims at anticipating societal impacts of technological innovations and suggests incorporating reflexivity and social learning into technology development. Social learning involves fostering the ability of diverse social actors to cultivate sociotechnical critical skills, thus allowing technological and social change to be governed with consideration for social values and diverging interests. Based on this demand, our paper presents a discourse-theoretical, interventionist approach to software design introducing deconstruction and (un-)learning as reflective practices to guide development processes. Inspired by Donna (...) Haraway’s focus on power relations in technoscience culture, our approach—called ‘deconstructive design’—traces how structures such as in/formal hierarchies and discursive hegemonies affect the development processes and design decisions of teams or communities of practices. The underlying deconstructivist methodology refers to practice-based concepts of situated learning. Thus, it locates a potential for value-based intervention at the micro/meso-level of everyday work practices. (shrink)

The modernist movement has been regarded as representing a crisis point in Western thought. This volume looks at that crisis in terms of its reinterpretation of ideas concerning vitalism: the animation of the universe, whether spiritual or based in physical energies) of the universe. Beginning with vitalism's historical background in the enlightenment and the nineteenth century, and moving through scientific, philosophical and literary disciplines, the contributors chart the progress of vitalism and its influence on modernist thought. The focal point is (...) the work of Henri Bergson, whose part in this powerful reinterpretation had a considerable bearing on European and American intellectual life, and yet led to a vehement rejection of his work. A previously untranslated and little-known essay by Bakhtin will be of special interest in this stimulating collection, which includes original contributions from leading scholars in literature, the history of science, biology and philosophy, and comprises a wide-ranging reassessment of 'the perpetual crises of modernity'. The modernist movement has been regarded as representing a crisis point in Western thought. This volume looks at that crisis in terms of its reinterpretation of ideas concerning vitalism: the animation of the universe, whether spiritual or based in physical energies) of the universe. Beginning with vitalism's historical background in the enlightenment and the nineteenth century, and moving through scientific, philosophical and literary disciplines, the contributors chart the progress of vitalism and its influence on modernist thought. The focal point is the work of Henri Bergson, whose part in this powerful reinterpretation had a considerable bearing on European and American intellectual life, and yet led to a vehement rejection of his work. A previously untranslated and little-known essay by Bakhtin will be of special interest in this stimulating collection, which includes original contributions from leading scholars in literature, the history of science, biology and philosophy, and comprises a wide-ranging reassessment of 'the perpetual crises of modernity'. (shrink)

In Romantic theories of art and literature, the notion of mimesis—defined as art’s reflection of the external world—became introspective and self-reflexive as poets and artists sought to represent the act of creativity itself. Frederick Burwick seeks to elucidate this Romantic aesthetic, first by offering an understanding of key Romantic mimetic concepts and then by analyzing manifestations of the mimetic process in literary works of the period. Burwick explores the mimetic concepts of "art for art's sake," "Idem et Alter," (...) and "palingenesis of mind as art" by drawing on the theories of Philo of Alexandria, Aristotle, Immanuel Kant, Friedrich Schiller, Friederich Wilhelm Joseph von Schelling, Thomas De Quincey, and Germaine de Staël. Having established the philosophical bases of these key mimetic concepts, Burwick analyzes manifestations of mimesis in the literature of the period, including ekphrasis in the work of Thomas De Quincey, mirrored images in the poems of Samuel Taylor Coleridge and William Wordsworth, and the twice-told tale in the novels of Charles Brockden Brown, E. T. A. Hoffmann, and James Hogg. Although artists of this period have traditionally been dismissed in discussions of mimesis, Burwick demonstrates that mimetic concepts comprised a major component of the Romantic aesthetic. (shrink)

This article proposes that the `renewal' of Dewey might contributeto filling the gap between the pedagogical commitment tocontingency and plurality and the fact that the pedagogicaltradition, until now, has neutralized contingency and deniedits systematic meaning for education. Therefore, the maintraits of the `renewal of Dewey' are shown in thework of some Dewey scholars who, critically and creatively,reconstruct Dewey in the mirror of poststructural, communicational and constructive theory developments.Following Dewey, these researches balance the objectiveevaluation of Dewey's work by a deliberate and (...) overtpursuit of their own intentions and (pre-)selections by the scholars.Intersubjectivity and communication are key concepts in thisrenewal of pragmatism rejecting the subject-centered philosophy of consciousness, the traditional westernepistemology and metaphysics. The turn to the philosophicalpriority of the unforeseeable also leads to anunderstanding of action as an essentialfocus. In this context Dewey's pragmatistic view of radical democracy is received as a non-foundationaltheory and the concept of consensus is criticized.The scholars clarify that the boundaries of the subjectare broadened by communicative destabilization.At the end of the article it is asked what the renewal-dimensions mean for education locatedin the public sphere. (shrink)

Art treats appearance as appearance and thus does not want to be an illusion, but is true. [...] truths are illusions which we are oblivious of their being ...

"Was ist das Wesen des Lachens? Was steckt hinter dem Lächerlichen? Was haben die Grimasse eines Clowns, ein Wortspiel, eine Verwechslung in einem Schwank, eine geistvolle Lustspielszene miteinander gemeinsam?" In seinem elegant geschriebenen Essay 'Das Lachen', der 1900 in drei separaten Aufsätzen in der 'Revue de Paris' erschien und ein Jahr später sehr erfolgreich als Buch veröffentlicht wurde, entwickelt Henri Bergson eine Theorie des Komischen als soziales Verhältnis. Er konzentriert sich dabei vor allem auf das Auslachen: Unter drei verschiedenen Aspekten (...) (Bewegungskomik, Situations- und Wortkomik, Charakterkomik) untersucht Bergson an vielen Beispielen, weshalb uns etwas lächerlich erscheint, und stellt fest, daß es stets der Übergang vom Lebendigen zum Mechanischen, zum Automatismus, bzw. das 'Mechanische im Lebendigen' ist, das zum Lachen reizt. 'Das Lachen' behandelt bereits 'in nuce' die Frage, um die Bergsons gesamtes Werk kreist: wie das Lebendige, das 'Werden' angemessen beschrieben werden kann, ohne in die Begrifflichkeit der klassischen repräsentationslogischen Philosophie zurückzufallen. Weil das 'Lachen' darüber hinaus eine Theorie künstlerischer Kreativität enthält, wurde Bergson mit diesem Buch zum Propheten einer ganzen Generation symbolistischer Künstler und Literaten. Der Text wurde von Roswitha Plancherel-Walter ins Deutsche übertragen; der Band enthält im Anhang Bergsons Nachwort zur 23. Auflage von 1924. (shrink)

Der erste Teil hat den Logos und sein Erscheinen in der Zeit zum Inhalt, d.n. den Übergang vom reinen Logos in die Realität und damit die gegenseitige Bezogenheit von Logik und Realphilosophie, wobei das Verhältnis von Hegels Wissenschaft der Logik und seiner Philosophie der Religion im Fokus steht. Der zweite Teil weist die Religion als den Ort aus, in dem die Hegels Werk durchziehende Dialektik von unendlicher/absoluter und endlicher/ menschlicher Subjektivität kulminiert.

This article proposes that the `renewal' of Dewey might contributeto filling the gap between the pedagogical commitment tocontingency and plurality and the fact that the pedagogicaltradition, until now, has neutralized contingency and deniedits systematic meaning for education. Therefore, the maintraits of the `renewal of Dewey' are shown in thework of some Dewey scholars who, critically and creatively,reconstruct Dewey in the mirror of poststructural, communicational and constructive theory developments.Following Dewey, these researches balance the objectiveevaluation of Dewey's work by a deliberate and (...) overtpursuit of their own intentions and (pre-)selections by the scholars.Intersubjectivity and communication are key concepts in thisrenewal of pragmatism rejecting the subject-centered philosophy of consciousness, the traditional westernepistemology and metaphysics. The turn to the philosophicalpriority of the unforeseeable also leads to anunderstanding of action as an essentialfocus. In this context Dewey's pragmatistic view of radical democracy is received as a non-foundationaltheory and the concept of consensus is criticized.The scholars clarify that the boundaries of the subjectare broadened by communicative destabilization.At the end of the article it is asked what the renewal-dimensions mean for education locatedin the public sphere. (shrink)

Introduction In "search of instances where the American imagination demands the real thing, and, to attain it, must fabricate the absolute fake," Umberto ...

The authors argue that studying classic literature (fiction) is useful in strengthening the manager''s ability to resolve specific ethical dilemmas.The authors summarize stories, plays and novels that explicitly address a series of ethical trials common to many managers (e.g., whistleblowing, discrimination and greed). Recognizing the multicultural nature of contemporary business practice, the authors draw upon literature from Europe and Asia to illustrate their thesis. Studying literature offers a challenging and personally compelling method for managers (and management students) to improve their (...) moral sensitivity and strengthen the decision making skills used in addressing the ethical ambiguities of business practice. (shrink)

Zürich: Chronos Verlag 2013. 351 S., br., ill., € 39,50. ISBN 978‐3‐0340‐1134‐1.

En la presente nota crítica nos aproximaremos a la obra de Roswitha Scholz y a sus tesis sobre la teoría de la escisión del valor, estudiando las implicaciones que esta tuvo en la escisión del antiguo Grupo Krisis con el objetivo de reflexionar sobre la compleja intersección entre el marxismo y el feminismo que supone su obra. Para ello, nos centraremos especialmente en su libro Capital y patriarcado. La teoría de la escisión del valor, si bien nos apoyaremos además (...) en otras autoras que han ayudado a divulgar su pensamiento y traducir sus textos al español. (shrink)

Mikhail Bakhtin’s 1926 essay, “Contemporary Vitalism,” includes Bergson alongside Driesch in a short list of “the most published representatives of vitalism in Western Europe,” and, indeed, Bakhtin’s critique of Driesch is intended to undermine what he calls the “conceptual framework” of “contemporary vitalism” as a whole (The crisis of modernism: Bergson and the vitalist controversy. Eds. Frederick Burwick and Paul Douglass. Cambridge University Press, New York, 1992, p 81). The conceptual framework that Driesch and Bergson are supposed to have (...) shared in common consists at bottom, for Bakhtin, in the ontological commitment to the autonomy of life, “its independence, its disconnectedness from physical-chemical phenomena” (81). This has long been understood as the defining mark of vitalism, at least in the mind of its critics: the contention that matter and the mechanical models that track it are insufficient to the reality of biological forms, and that the explanation of life therefore requires the postulation of a non-mechanical, possibly immaterial, uniquely vital principle, force, substance, or property. Recent scholarship has made considerable headway in complicating these pictures by attending to earlier and subtler forms of materialism, and by distinguishing between different types of vitalism and drawing out the heuristic or scientific utility of some of them (Wolfe, Eidos 14: 212–235, 2011, Antropol Exp 17(13): 215–224, 2017; cf. Wolfe and Normandin, Vitalism and the scientific image in post-enlightenment life science, 1800–2010. Springer, Dordrecht, 2013). The focus of some of this work has been on the critical revaluation of Driesch himself (Bognon et al., Kairos J Philos Sci 20(1): 113–140, 2018). Yet the status of Bergson’s commitment to the existence of a vital principle remains underdeveloped. In the midst of what some are calling a “Bergson renaissance,” I think that it calls for the same kind of critical reappraisal (Ansell-Pearson, Bergson: thinking beyond the human condition. Bloomsbury, New York, 2018: 1; cf. Lundy, Deleuze’s Bergsonism. Edinburgh University Press, Edinburgh, p 5, 2018). The aim of this paper is to attempt the outline of an answer to that call. I begin with a brief summary of Driesch’s vitalism, then I reconstruct Bergson’s underappreciated critique of internal finality, or what Kant called inner purposiveness, and locate in it a subterranean criticism of vital principles of the Drieschian variety as well. Two consequences follow: first, if Bergson is to be considered a vitalist, it cannot be in the Drieschian sense and we are therefore wrong to associate the two; and second, if Bergson is to be considered a vitalist, then his vitalism has to be understood—somewhat counterintuitively, and certainly contra Driesch—on the basis of a principle external to the ostensible individuality of biological forms. (shrink)

Mary Ellen Waithe has put together another collection of essays on seventeen different women philosophers. In addition to serving as the general editor, Waithe authors lengthy chapters on Murasaki Shikibu, a Japanese literary writer; Heloise, a French writer on love and friendship; Oliva Sabuco de Nantes Barrera, a Spanish writer in natural philosophy; and a short summary chapter on Roswitha of Gandersheim, Christine Pisan, Margaret More Roper, and Teresa of Avila.

In this paper, I examine the extent to which the theoretical procedures for interpreting works of visual art, which Gotthold Ephraim Lessing describes in his famous book Laocoon: An Essay Upon the Limits of Painting and Poetry, are comparable to various methods of interpretation from the tradition of hermeneutics. To achieve this, I analyse how Robert S. Leventhal and Frederick Burwick approached Lessing’s interpretation techniques and try to expand their views and apply them to Lessing’s thoughts in Laocoon. I (...) will focus on the idea that Lessing’s procedures for interpreting works of visual art depend, to a certain extend, on his methods for analysing literature. Even though these authors did not link Lessing’s thoughts to the hermeneutical theory of Friedrich Schleiermacher, I will also explore whether there are certain similarities in their views on the main constituents of the process of interpretation. (shrink)

Mary Ellen Waithe has put together another collection of essays on seventeen different women philosophers. In addition to serving as the general editor, Waithe authors lengthy chapters on Murasaki Shikibu, a Japanese literary writer; Heloise, a French writer on love and friendship; Oliva Sabuco de Nantes Barrera, a Spanish writer in natural philosophy; and a short summary chapter on Roswitha of Gandersheim, Christine Pisan, Margaret More Roper, and Teresa of Avila.