In 1903 the German art historian Karl Giehlow argued that a 1514 treatise on Greek numismatics, written by the Augsburg humanist Conrad Peutinger and addressed to the Holy Roman Emperor Maximilian I, shed new light on Albrecht Dürer’s mysterious engraving Melencolia I. Since the treatise has never been published, the question has never been investigated. This article presents a transcription, commentary and translation of the treatise for the first time in any language. It also situates Peutinger’s work within the (...) history of scholarship on Greek antiquity and the history of German Renaissance art. The central concern of Peutinger’s treatise turns out to be a precocious and unexpected one: neither the exploits of the ancient hero whom the coin in question depicts, nor the possible lineage of the Habsburg emperor back to Hercules, but the material history of religion on an island in the Hellenistic Aegean. The article describes the leaps and misunderstandings that led Peutinger to endow his object, an everyday piece of ancient currency, with artistic significance and a sacred aura. PaceGiehlow, it is not the Melencolia I that is illuminated by the text, but artworks produced locally: the Prayer Book of Maximilian and the classical and sacred craftsmanship of an Augsburg goldsmith. The interpretation of Greek artworks did not just influence the art of a Christian city: Christian art, on the evening of the Reformation, coloured the interpretation of Greece. (shrink)

Albrecht Dürer was German, but it was Italy he loved and followed the example of. Along with Erasmus of Rotterdam, he was one of the first to instil the ideas of Italian humanism in northern Europe, paying attention to the study of ancient culture, and thus fighting for the renewal of art in the spirit of the Renaissance. Dürer believed that using the patterns developed in Florence, the art of imaging would achieve unprecedented narrative power. The uniqueness of the (...) artist from Nuremberg was also that he was able not only to assimilate and synthesise German Gothic art with the achievements of the Florentine school, but also to develop his own vision of the theory of art taking into account the specifics of native art. His research on the theory of movement, the implementation of objects into the structure of the image, the search for the perfect beauty in woodcut and copper engraving can be considered to be unique and pioneering projects in Germany. The influence of Dürer on the sphere of Renaissance iconography is invaluable, but unfortunately it is often omitted in the literature as secondary or even insignificant. The article shows that Dürer’s theoretical influence on the shape of early modern art is noteworthy. (shrink)

Saturn and Melancholy remains an iconic text in art history, intellectual history, and the study of culture, despite being long out of print in English. Rooted in the tradition established by Aby Warburg and the Warburg Library, this book has deeply influenced understandings of the interrelations between the humanities disciplines since its first publication in English in 1964. This new edition makes the original English text available for the first time in decades. Saturn and Melancholy offers an unparalleled inquiry into (...) the origin and development of the philosophical and medical theories on which the ancient conception of the temperaments was based and discusses their connections to astrological and religious ideas. It also traces representations of melancholy in literature and the arts up to the sixteenth century, culminating in a landmark analysis of Dürer's most famous engraving, Melencolia I. This edition features Raymond Klibansky's additional introduction and bibliographical amendments for the German edition, as well as translations of source material and 155 original illustrations. An essay on the complex publication history of this pathbreaking project - which almost did not see the light of day - covers more than eighty years, including its more recent heritage. Making new a classic book that has been out of print for over four decades, this expanded edition presents fresh insights about Saturn and Melancholy and its legacy as a precursor to modern interdisciplinary studies. (shrink)

Specialist philosophy periodicals first appeared in the early eighteenth century. Germany led the way with Acta Philosophorum . Published in Halle and edited by the theologian Christoph August Heumann, this pioneering journal reflected the great developments taking place in German intellectual life. In tone and content it embodies the era's growing enthusiasm and interest in all matters relating to both the history and the recent developments of philosophy. It forms a fascinating document not only of Germany's intellectual progress but (...) also of the earliest steps of the Enlightenment. Acta Philosophorum 's articles cover ancient philosophy as well as discussion of the current issues of the day and summaries of major philosophical works. With a broad European focus, contents include a description of the life of Locke, and discussions of Thomas Burnet, Bruno, Galileo and Stanley's History of Philosophy . Originally appearing in 18 parts, Acta Philosophorum includes several fold-out tables and engraved portraits, and is indexed by author and subject. This exceptionally rare document of pre-Kantian philosophy and the German Enlightenment is now available as an important historical resource for libraries. (shrink)

From the 16th to 19th and again in the 20th century, Till Eulenspiegel weaved his way through time and history. He became a legendary character of the Dutch Revolt embodying the freedom against the persecutions of Philip II of Spain in Charles De Coster’s version (1867) and the tale was given new significance during the First World War. Two Belgian artists (Paul-Auguste Masui-Castricque and Walter Vaes) referred to the legend in their engravings to deliver a message on the ongoing war. (...) By thinking about time and cultural parallelisms, this paper seeks to understand the stakes of evoking the Legend during the war and also after as do Romain Rolland – writing the preface to a German translation of the Legend in 1926 – and two other Belgian artists illustrating Charles De Coster’s text during the 1920s: Maurice Langaskens and Frans Masereel. (shrink)

The star-positions on the rete of a European astrolabe made in 1420 and now private German property, emphasize how some medieval European star-tables had been incorrectly copied and misunderstood. The star-coordinates and star-names on the astrolabe in question are based on John of London's star-table (1246). The style of the star-pointers and the aequinoctial bar on the rete, some inscriptions, and also the sundial engraved on the alidade are reminiscent of the earliest known Western Islamic astrolabe. The plates are (...) engraved with curves for latitude 45° though the markings stand for different latitudes. (shrink)

Este artigo busca interpretar a gravura "Melancolia I", do renascentista alemão Albrecht Dürer, segundo o pano de fundo filosófico do pensamento de Spinoza. A ideia central é a de que, nessa gravura, haveria uma intuição artístico-filosófica pela qual Dürer foi levado a associar a tristeza melancólica à ideia de um conhecimento confuso e turvado pela imaginação. Tal intuição se completaria numa outra gravura, criada no mesmo ano, o "São Jerônimo em seu gabinete", na qual a melancolia do "homem de cultura" (...) renascentista desaparece. Tais intuições permitiriam ler as duas gravuras sob a ótica das "teorias" da mente e do conhecimento de Spinoza, para quem o conhecimento está associado à alegria, desde que esteja livre das sombras da imaginação projetadas pelo medo, pelo desejo excessivo, pelas crenças ou pelas superstições. This article seeks to interpret the engraving "Melencolia I" , made by the German Renaissance’s painter Albrecht Dürer, according to the philosophical background of Spinoza’s thought. The central idea is that, in this picture, there would be an artistic-philosophical intuition by which Dürer associated melancholy to the idea of a confused and muddied knowledge caused by imagination. Another engraving, also created in 1514, completes this intuition: "St. Jerome in his study", in which the melancholy of the Renaissance’s "man of culture" disappears. Such insights allow reading the two pictures from the perspective of Spinoza’s "theories" of mind and knowledge. He assumes that knowledge is associated with joy, since it is free from the shadows of the imagination projected by fear, excessive desire, beliefs or/and superstitions. (shrink)

Just east of the Pamir mountains, and to the north of the great plateau of Tibet, lies the little-explored country of Chinese or Eastern Turkestan. In that country, towards the end of the last century, two hitherto unknown languages were discovered by European explorers and translated by European scholars. Several nations took part in the investigation, and the material discovered was amicably distributed among English, French, German, and Russian philologists. The material to which I refer, the precious sources from (...) which our knowledge of these languages is obtained, consists partly of engraved wooden tablets, but chiefly of documents written on a kind of paper which has been miraculously preserved in the extreme dryness of the sand for some 1,300 years—just like the eggs of the dinosaur recently discovered not so very far from this region, and which, we are told, have been there for ten million years. No such antiquity can be claimed for our documents, which are, in fact, distressingly late. Historical references contained in them seem to show that both languages existed at least as late as the seventh century A.D., when they disappeared. The most striking fact about these languages is that, though very different the one from the other, they both clearly belong to that great Indo-European family to which Greek, Latin, English, Sanskrit, Persian, and so many of the languages of Europe belong. (shrink)

The historical avant-gardes showed that it is in the syntactic space where the mutations of art occur, where the creative potentialities in contemporary art are played. Hence the need to accentuate the syntactic creation registers in the works of the Estridentistas. There is no creation of images, rhythms, words, atmospheres, sound orientations, planes or political-literary postures that are valid apart from the syntax effects in which the poems of Manuel Maples Arce, Germán List, Salvador Gallardo and Kyn-Taniya take place, the (...) paintings, engravings and sculptures by Fermín Revueltas, Ramón Alva de la Canal, Germán Cueto and Leopoldo Méndez, the novels and essays by Arqueles Vela, the pieces from the Estridentista period by Silvestre Revueltas, the plays by Salvador Gallardo and Germán Cueto. The syntax is the tracing of indirect paths created in each poem, installation, plastic or musical work, to show life in things; those forces, paths and paths that, when going from life to language, create a work. It is, therefore, a speed. I don't use "speed" as a metaphor. It is the speeds that interdigitate events, images, objects; those that relate and stress semantic, sound, semiotic and social forces, paths and trajectories. Velocity is the gradient of the syntax, the relationship between phenomena, the variation of the elements according to a certain direction, the trajectory medium, the semantic loads and the systems of signs: it is not necessary to think that the syntactic effects are something like general mechanisms that precede poems, plastic and musical works. A new syntactic speed detaches itself as much as it can from what is constituted and seeks to bring poetic, pictorial, musical language to its threshold of meaning, informational or communication, to its referential, rhythmic, constructive threshold. Therefore, it should not be confused with acceleration. Slowness is a speed, as in Handke's writing or in some sections of Tarr's films. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 459-460 [Access article in PDF] Reinhard Brandt. Philosophie in Bildern: Von Giorgione bis Magritte. Hamburg: Dumont, 2000. Pp. 470. Paper, NP. Reinhard Brandt, professor for Philosophiegeschichte, offers in his latest book a multi-faceted history of philosophy and art through his detailed interpretations of major paintings in the European tradition, beginning with Giorgione's "The Three Philosophers" and a young Raphael's "The Dream (...) of the Knight,"and stretching to René Magritte's "La condition humaine." In these paintings, as Brandt claims, different philosophical positions are expounded, which he then, in the role of interpreter, attempts to elucidate.In the introduction Brandt explains how this paradoxical phenomenon of philosophizing paintings can even exist. That one can find not only philosophical themes but well-wrought positions in such paintings, and, most importantly, not read these positions into them, is shown in more than thirty short essays, spanning from ancient Greek philosophy and literature, through the Renaissance and on to present-day Italian, French, Spanish, and German literature/philosophy. In almost every interpretation, Brandt critically reviews previous research, exposing and correcting some deeply rooted mistakes and constantly providing new impulses; in light of his philosophical-philological method, some major paintings in the European tradition are interpreted anew.His detailed analysis of Raphael's "The School of Athens" forces a persuasive revision of previous interpretations; the sitting figure in the foreground is not, as previously assumed, Heraclitus, but Democritus. On account of this carefully proven and convincing allotment, an unnoticed field of vision is discovered between the materialist and solid-state physicist Democritus, who with the gestus melancholicus is concentrating on a problem, and Plato, standing perpendicularly over him. Could this problem be the stone cube, on which the philosopher is leaning? From this conjecture we now have a bridge leading to Albrecht Dürer's engraving "Melancholia."Diego Velazquez's "Las Meninas" is interpreted anew on account of the surprising solution to the painting's puzzling construction. Brandt shows that the whole picture is viewed from the vantage point of the princess inside the painting, not of an observer outside it. The princess stands before a mirror and Velazquez paints everything exactly as the princess sees it. So the painting, which hangs in the Prado Museum, is the mirror image of a complete reflection of the Self; perhaps it is no coincidence that the painting belongs to the same historical period as Descartes' famous cogito ergo sum dictum. Or Jacques Louis David's "The Death of Socrates": although the painting has been correctly referred back to Plato's Phaidon, until now a Platonic ground position was falsely attributed to the painting. Brandt shows that the painting was conceived with Stoic philosophical positions in mind: death is portrayed as immanently present, coupled with the un-Socratic maxim mortem spernere. The virtuous stance that Socrates still shows on the threshold of death is decisive. And as an added bonus he includes his influential, previously published essay on the title-page emblem of Thomas Hobbes' Leviathan.Perhaps the greatest strength of this book is Brandt's technical know-how. He combines an encyclopedic knowledge of the European intellectual tradition with a [End Page 459] fluid, easy-to-read style, which not only instructs the reader, but entertains as well. At no time does this book approach mere philosophical pedantry; his treatment of some of the lesser known, albeit important, figures in the history of philosophy, e.g., Justus Lipsius and Diogenes of Sinope, is not a lesson in obscurity. The reader feels himself taken on a journey through a history of Western philosophy, always being provided with thought-provoking material. His style, however, is in no way used to mask the often shaky scholarship that has a tendency to go hand-in-hand with such interdisciplinary studies. In every essay Brandt exhausts all the sources; he works with razor-sharp exactness, proceeding with the meticulousness of an outstanding and seasoned scholar.A problem which always accompanies such books is the question: Cui bono? Are either the philosophers... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Call to Wonder reimagining disabilityRosemarie Garland-ThomsonComing to WonderI came to wonder last summer on a research visit to the Ringling Brothers Museum in Sarasota, Florida. Scattered with garish posters and peculiar objects, the museum’s circus archive was a cabinet of curiosities documenting a lost world of the extraordinary. Circuses, sideshows, and early museums were entertainment venues that offered good jobs to people with disabilities at a time well (...) before disability rights or accessible workplaces integrated people with disabilities into public life. At the Circus Museum, I came to understand more fully that many of the people on the freakshow’s broadsides are my ancestors, people with rare congenital disabilities that gave them uncommon appearances and occasioned for them some creativity in carrying out the tasks of daily living.That muggy summer day in Sarasota, the archivist opened for us one by one the thin but wide drawers of the filing cabinets designed to store rare and valuable documents. As each assemblage of posters revealed its strange contents, I came to recognize a lost community of ancient ancestors. All manner of human variation in extravagant shapes, sizes, and forms peered out of the drawers, beckoning our attention and igniting our wonder. The dwarf musicians, legless cyclists, exotic albinos, fat ladies, hermaphrodites, and giants who entertained and charmed circus audiences then have today been transformed into people with disabilities. Civil rights legislation such as the Americans with Disabilities Act, an [End Page 483] accessible designed and built public environment, and broad awareness of disability inclusion offer these unusual people opportunities for education and wider employment opportunities today. Many of my friends and colleagues resemble these circus celebrities and performers. All of us now go about our lives quite differently from these lost ancestors. We have lives, work, families, communities, and environments that are much more compatible with our ways of being. Nonetheless, my shudder of sympathetic recognition witnesses our congruence, despite the decades and centuries that separate us from them. As I move along the unsettling archive they have left me, my vanished ancestors stare back at me from the scrapbooks, circus posters, tattered photos, and ancient prints tucked into the drawers and cabinets along our tour. Their steady returning gaze demands my response. They pull from me an unsettling merger of awe and tenderness, familiarity and strangeness. They have awakened in me the ancient affect of wonder.For me, the most compelling occupant of these archival coffins was the “The Little Man of Nuremberg,” the armless calligrapher, Matthias Buchinger (Figure 1). This prodigy of ornate micrography gazed frankly back at me with dignified contemplation, inviting me into his elaborate realm of the miniature (see Schjeldahl 2016). His diminutive hands peeked out of the velvet cuffs, startling me with their familiarity to my own unusual arms and hands. Famous during his lifetime (1674–1739) as “The Greatest Living German,” Buchinger was a calligrapher, artist, performer, and entrepreneur who was an early exemplar of a genre of legless and armless disabled performers who inspired wonder and awe in their audiences and communities.1 Buchinger’s 1724 engraving offers his viewers an early 18th-century resume or social media page. The illustration’s loquacious caption describes, “the wonderful Little Man of about 29. Inches high, born without Hands, Feet, or Thighs, June the 2, 1674. In Germany.” The “last of nine Children,” he goes on to verify his own reproductive robustness by detailing that he “has been married four times, and has had issue Eleven children, one by his first Wife, three by his second, six by his third, and one by his present Wife.”Amazement apparently requires detail for its realization. His self-portrait engraving continues to variously solicit our wonder. “This little Man performs such Wonders as had never been done by any; but Himself,” he assures us. These wonders include playing various instruments, including the flute, bagpipe, dulcimer, and trumpet. Moreover, he designs and makes musical instruments and draws coats of arms and pictures of life “with Pen.” His astonishing feats include playing cards and dice, performing tricks with “Cups and Balls, Corn, and Live Birds,” playing at “Skittles or Nine Pens to... (shrink)

This article consists of three parts: the first part presents a synthetic outline of intellectual tendencies in post-Renaissance thought (hermeticism, alchemy, kabbalistics), which generated the iconic turn (emblematics, iconology). Its essence boils down to the integral relationship of the motto (lemma), the engraving (imago), and the poetic text (subscription). The second part is a more detailed analysis of one of the illustrations contained in the first volume of the German edition of Jacob Böhme’s works from 1682 (Amsterdam). The epoch, (...) aesthetic tastes prevailing at that time and the Theosophical content of the work allow us to read this illustration from the point of view of iconology. The third part is devoted to two issues. First, one of the central themes in German idealism was the discussion around the notion of the absolute: whether the absolute can be grasped in concepts (Hegel) or in internal intuition (Schelling). Romanticism was dominated by a tendency to a subjective and speculative approach to the absolute. The philosophy and art of Romanticism was modeled on, among others, medieval German mysticism and Böhme’s theosophy, seeking in these sources the best representation of what is unrepresentable, i.e., the absolute. Secondly, philosophical and artistic Romanticism developed a new type of imagery–language images. The dilemma that resulted from the discussion in German idealism–the notion or inner vision, from the modern point of view, should be solved by a compromise: word and image. (shrink)

Este trabajo profundiza en un momento importante en la historia de la comunicación como lo fue el de la difusión de la imprenta y el desarrollo de las técnicas del grabado aplicadas a la impresión. Se estudian las imágenes del libro bíblico del Apocalipsis, ilustrado por el artista alemán Alberto Durero a finales del siglo XV. Para ello se ha ahondando en el contexto histórico en el que fueron producidas, en la personalidad y circunstancias que rodearon la vida del artista (...) y en las propias imágenes xilográficas rastreando sus antecedentes y características propias. This work focuses on an important moment in the history of communication such as the diffusion of the printing press and the development of the engraving techniques applied to printing. It studies in depth the images of the biblical book of the Apocalypse illustrated by the German artist Alberto Durero by the end of the fifteenth century. This article analyzes the historical context where they were produced, the personality of the artist and the circumstances surrounding his life, and the very own xylographic images, whose antecedents and characteristics are traced. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Japan, France, and East-West Aesthetics: French Literature, 1867-2000Carol S. GouldJapan, France, and East-West Aesthetics: French Literature, 1867-2000. By Jan Walsh Hokenson. Madison and Teaneck: Fairleigh Dickinson University Press, 2004. Pp. 520. $80.00.Jan Walsh Hokenson's masterful work, Japan, France, and East-West Aesthetics: French Literature, 1867-2000, traces the migration of the Japanese aesthetic into French art, through French literature, and ultimately into Western modernism and postmodernism. Despite the title, this (...) book goes beyond French poetics, for it deals with some philosophical views about knowledge and art, and it offers an extended argument for the value of comparative studies, including comparative philosophy. The author moves easily among the areas of literature, art, and philosophy, all of which she discusses with authority.Her story begins with the birth of 'japonisme,' the term coined by critic Philippe Burty in 1876 to refer to the passion-artistic and commercial-for things Japanese. She identifies three waves of japonisme in French literature: pre-World War I, between the wars, and post-World War II. She leads the reader through each of these waves, detailing the cultural and artistic milieu in each and closely analyzing key figures.For the origins of japonisme, Hokenson takes us to the studio of Parisian engraver, printmaker, and designer Felix Bracquemond in 1856, which was just after the end of Sakoku. Bracquemond, according to the "most persistent legend," [End Page 699] opened a box of Asian ceramics and discovered that they were wrapped in extraordinary materials-layers of Hokusai woodcut prints the likes of which he had never seen. He summoned members of his circle, which included Manet, Degas, and Whistler (pp. 13-15). It is thus through an intriguing historical contingency that this relatively inexpensive, mass-produced art form would become the inspiration for some of the most personal and expensive art works today. More relevant to Hokenson's interest, however, is the fact that these woodcuts would be a seminal force in the direction of French letters.Had Bracquemond not had the vision to see the artistry of these prints or had the shipper used a different packing material, would Western painting and literature have taken a different turn? Would the West have seen impressionism, symbolism, or art nouveau? Would Proust, Claudel, Mallarmé, and others have written different works? From Hokenson's account one gleans that the French avant-garde eye was ready to see Hokusai and others, for artists felt that the mimetic view of art had led them to an impasse. Visual and literary artists were ready to abandon the Renaissance ideals of verisimilitude, perspective, the integrity of space, and the linearity of time. They were ready to accept the fragmentation of picture space, perspectivism, and suggestiveness that were all characteristic of the Japanese aesthetic.She explains how Henri Bergson, with his theories of intuition and subjective time, provided a philosophical foundation for the artistic commitments of the early japonistes. She documents the access many of the japonistes had to Bergson. Bergson, like the japoniste poets and painters themselves, emerged from a French tradition of using subjectivity as a starting point. The reader sees this respect for the subjective interact with various Japanese influences over the course of the twentieth century. The receptiveness to the haiku exemplifies this phenomenon, as it begins from a fleeting, intuitive, personal experience. She points out that "by 2000, the haiku was almost a commonplace in French poetry" (p. 407).Although she says little about what Bergson may have absorbed from the japonistes, she does tell of the little-known influence exerted by the Japanese phenomenologist Kuki Shūzō in 1928 on Jean-Paul Sartre. Both Sartre and Simone de Beauvoir either forgot this relationship or forgot to mention it in their respective narratives about the development of existentialism. Indeed, this was not discovered, Hokenson reports, until the 1980s. She rightly points out that that this changes the usual story about French philosophy in the early twentieth century, for it means that Sartre became acquainted with German phenomenology before 1932 and from someone other than Raymond Aron (pp. 333-334, 343, 474 n. 10). In a fascinating discussion of Kuki's... (shrink)

8 lectures plus extracts and notes (CW 286) This collection introduces Rudolf Steiner's vision of architecture as a culmination of the arts. Such architecture unites sculpture, painting, and engraving as well as drama, music and dance--a vital synthesis of all the arts working in cooperation through the common ideal of awakening us to our individuality and task in life. Unlike many of his contemporaries, Steiner's ideas did not remain abstract. Within his lifetime he was able to design and construct a (...) number of buildings, including his architectural masterpiece, the Goetheanum--a center for culture and arts near Basle, Switzerland. In these lectures Steiner describes, with reference to the Goetheanum, the importance of an architecturally coherent and integrated community, and how this in turn affects social unity and harmony. These lectures offer a panorama of the development of architecture in parallel with the emerging human soul in human evolution. This is a valuable collection for all students of architecture, the arts, social science, and those looking for a deeper spiritual understanding of the art of architecture. Includes eight color plates and 30 black & white illustrations. CONTENTS: Part One: The Temple Is the Human Being An Art & Architecture that Reveal the Underlying Wholeness of Creation The Task of Modern Art & Architecture Proposals for the Architecture of a Model Anthroposophical Community at Dornach Part Two: Ways to a New Style of Architecture True Artistic Creation Art As the Creation of Organs through which the Gods Speak to Us A New Concept of Architecture The Aesthetic Laws of Form The Creative World of Color Appendix: The Evolution of Architecture at the Turn of Each New Millennium Notes & Color Plates Architecture as a Synthesis of the Arts is a translation from German of Wege zu einem neuen Baustil. "Und der Bau wird Mensch". (shrink)

The paper demonstrates the necessity of introducing innovative approaches in addressing social problems of development. It proves the significance of recruiting investment in the social sphere. The author looks into the usage of social business for handling economic development problems of countries. There are factors promoting social entrepreneurship identified. Spatial social inequality in Ukraine is analyzed, the role of social entrepreneurship in its overcoming demonstrated.

This article has a twofold purpose: first, it explores how Leonardo Polo's personalist anthropology enriches and enhances neo-Aristotelian virtue ethics and second, it highlights how this specific personalist approach brings new perspectives to servant leadership. The recently revived neo-Aristotelian virtue ethics tradition finds that MacIntyre's scholarship significantly contributes to virtue ethics in business—particularly his conception of practices, institutions, and internal/external goods. However, we argue that some of his latest insights about the virtues of acknowledged dependence and human vulnerability remain underdeveloped (...) because of the underlying anthropology that neo-Aristotelian virtue ethics relies on. To overcome this limitation, we introduce Polo's transcendental anthropology as a possible foundation of a personalist approach that enriches virtue ethics. To do so, we address how transcendental anthropology can enrich two central aspects of virtue ethics, namely (1) the understanding of human beings and their flourishing and (2) the relationship of virtue to praxis and human work. Finally, to address the practical implications for business leadership and work that can derive from assuming transcendental anthropology, we address how servant leadership acquires a new perspective in light of this personalism and its logic of gift, highlighting interpersonal self-giving as a way of service. (shrink)

En el presente trabajo se pretende elucidar algunos de los aportes posibles de la filosofía deleuzeana a la teoría social y política, a través de un examen de su concepción del poder. La investigación arroja como un primer resultado que dicho examen requiere una reducción metodológica de los conceptos de lo “molar” y lo “molecular” -que constituyen su concepción más general de lo social- a los términos propios de sus desarrollos ontológicos: “virtual” y “actual” o “acontecimiento y “estado de cosas”. (...) Dicha reducción permitirá identificar dos concepciones cronológicamente sucesivas del poder, la segunda de las cuales, que incluye parcialmente a la primera, permite dar con una definición del poder como agente (no subjetivo) de producción de subjetividad, lo que constituye el resultado de la investigación y su mayor aporte. (shrink)

Para algunos analistas críticos recientes interesados en rehabilitar la categoría de resentimiento, la trampa que invoca la necesidad de un “regreso social” estriba en entender simplificadamente que cierta hipertrofia “culturalista” de las políticas de la identidad erosionó las bases de la clase trabajadora. Un análisis crítico del resentimiento muestra cómo este discurso falsamente “materialista” del “regreso social” ha tenido como objetivo, sobre todo, desagregar y escindir un posible bloque emancipatorio social y cultural desde los marcos de la batalla ideológica. Bajo (...) esta perspectiva, este supuesto “regreso” sirve de coartada ideológica y hegemónica en la estrategia conservadora para separar y autonomizar las luchas. En esta contribución se intenta matizar y cuestionar este diagnóstico con la ayuda del ensayo de Didier Eribon: _Regreso a Reims_ (2009). (shrink)

Los metalenguajes —lenguajes que tratan de otros lenguajes— tienen algunas propiedades interesantes. En el esfuerzo de crear lenguajes de segundo orden —tales como lenguajes puente entre dos idiomas o dos disciplinas— se pone de relieve la manera particular que tiene un lenguaje de abordar el mundo, así como su materialidad e historicidad. Esta perspectiva facilita la comprensión de las dificultades que entrañan tanto la colaboración entre disciplinas científicas como la traducción literaria. Un aspecto importante del trabajo en humanidades es la (...) creación de metalenguajes, en el contexto de lo que Heidegger llama el “desocultar”; esto es, el constituir el mundo según cierta ontología —al tener esta constitución un peso ético, o sea, que impacta profundamente la forma de vida de la comunidad que desoculta de esta o esta otra manera—. Si se comprende lo que hacen las humanidades respecto a los lenguajes humanos, se comprende mejor su papel y su importancia en la educación, la forma en que facilitan el diálogo entre disciplinas y entre visiones de mundo, la forma en que empoderan a los individuos y las sociedades para articular nuevas formas de desocultar nuevas respuestas a la antiquísima pregunta filosófica: “¿cómo se debe vivir?”. (shrink)

En este artículo se critica la interpretación que hace Matheron de las proposiciones 29 a 35 de la cuarta parte de la Ética de Spinoza, según la cual sólo lo similar es beneficioso para lo similar. Se argumenta que esta lectura es incoherente con aspectos importantes de la ontología espinozista, según los cuales la diferencia sería crucial para aumentar el poder de obrar de los cuerpos, y se propone una lectura alternativa del pasaje en cuestión.

The aim of this article is to follow Honig's intention of thinking inoperativity as a form of refusal. It demonstrates that Agamben's inoperativity entails an intensification of use that can circumvent the pitfalls associated with the language of 'demands,' or the need to rescue the city as the space of the political par excellence, all while preserving its potential for instituting change. I claim that all destitution entails instituting practices and forms of experimentation that modify the subject, and that, with (...) the help of Agamben, subjects are nothing other than these modifications. The wager of this short intervention, therefore, is that a form of refusal that pays critical attention not only to the suspension but also to the intensification of use that this suspension inherently entails is attainable, all while acknowledging that the city is shaped by anti-blackness. (shrink)

En este artículo me propongo mostrar que el Péri Archôn de Damascio representa, más allá de las intenciones del autor, la implosión de la metafísica neoplatónica y, al mismo tiempo, el intento más riguroso pero también más desgarrador por mantenerla a flote y asegurar la fundamentación ordenada de la realidad. En este sentido, toda la obra está animada por un doble movimiento: por un lado, la postulación de un Absoluto incoordinado (lo Inefable); por el otro, la postulación en última instancia (...) de algún tipo de coordinación con el Todo. Sostendré, valiéndome de una comparación con algunas tesis de E. Lévinas, que el peligro que ha entrevisto Damascio, con una conciencia mucho más acentuada que sus predecesores, es que la postulación de lo Inefable, en tanto absolutamente incoordinado e irrelativo, conduce a la desfundamentación radical del Ser. Ante este peligro, Damascio se ha visto obligado a retroceder y a relativizar de algún modo a lo Inefable. (shrink)

Este texto parte de la idea de teóricos como Ulrich Beck y Peter Sloterdijk de que el mundo actual es compacto (esto es, que en el mismo la acción no escapa a consecuencias sistémicas globales) para argumentar por la necesidad de una ciudadanía global; esto es, de un activismo político civil que trascienda las fronteras nacionales. Teniendo en cuenta las barreras para tal tipo de ciudadanía que señala Orion Kriegman, se propone que la idea de yo ampliado, venida de la (...) ecología profunda de Arne Naess, puede proporcionar una base para sortear dichas barreras. (shrink)

El artículo busca clarifcar la noción de modelo involucrada en el enfoque semántico de las teorías (EST). Se muestra que en el contexto del EST el término ‘modelo’ tiene dos funciones: en un caso se presenta como una estructura que satisface una descripción y en el otro como una estructura matemática que representa aspectos de ciertos sistemas reales. Así, el término ‘modelo’ posee dos sentidos, pero la función relevante de los modelos para el EST es la de representación y no (...) la de satisfacción. Esto nos permitirá concluir, entre otras cosas, que los partidarios de la concepción estructuralista de las teorías, una de las versiones del EST, colocan el acento en forma inadecuada al concebir los modelos en el sentido de la semántica formal, en tanto que las versiones últimas de van Fraassen y Giere son más apropiadas al privilegiar los modelos como estructuras matemáticas, el primero, y como representaciones, el segundo. (shrink)

En este texto se busca elaborar una idea de formación en el pensamiento de Baruch de Spinoza, como alternativa a las ideas educativas que, de manera esencialista, mediante el proceso educativo pretenden hacer corresponder al educando a ciertos modelos preestablecidos. Para ello se construye una idea de auto-realización en Spinoza en la que resultan deseables diferentes caminos de auto-realización para diferentes individuos. Se propone que esta auto-realización consiste en ser capaz de obrar y ser afectado de muchas maneras, y se (...) propone que el conocimiento en Spinoza implica una cierta pasividad activa que se nutre de la diferencia y de lo otro. (shrink)

In her 2014 monograph, Sarah Broadie argues that Timaeus’s cosmology points to a radical Platonic insight: the full rationality of the cosmos requires the existence of individualized, autonomous, and finite beings like us. Only human life makes the cosmos truly complete. But can Timaeus do full justice to the uniquely human way of being and hence to his own insight? My paper argues that he cannot and that Plato means for us to see that he cannot, by showing how Timaeus (...) treats a famous Platonic theme: eros. Timaeus describes human perfection as assimilation to the mathematical proportions of the cosmos, but by comparing Timaeus with the Symposium I show that, given his deeply mathematized conception of reason, Timaeus cannot provide what Diotima can: a phenomenologically satisfactory account of how we come to identify ourselves with this perfection. Such identification is a transformation in our self-understanding explicable only because of the desirous and reflexive character of the soul. Expressing this character, however, requires combining the mathematical with a poetic, or even mantic, register. Only these sensibilities together grant access to Plato’s cosmology in its fullness. (shrink)

This article is devoted to understanding the worldview expressed in Vladimir Bibikhin’s Leo Tolstoy’s Diaries. The most important feature of this worldview is its practical nature: Bibikhin focuses on changing one’s view of things instead of trying to develop a doctrine. Practical phenomenology is extremely vulnerable to criticism because of its pre-philosophical nature. Therefore, at this stage, I try to explicate some of the features of this peculiar thought while avoiding trying to find its faults. I draw a connection between (...) Bibikhin’s ontological interpretation of the phenomenon with Heidegger’s concept of detachment (Gelassenheit) as a form of behavior, and illustrate that practical phenomenology turns out to be an ontology of contact. It thematizes the philosopher’s own being and focuses on the problems of the contact made in the “change of view,” in which thought, word, and deed converge. Bibikhin’s practical phenomenology is on the outskirts of modern academic philosophy, gravitating towards understanding philosophy as a way of life, in which the contemplative attitude takes the leading place, paradoxically combining experiment with their perception of “first things,” trust in them, and the ability to describe the indescribable, the “change of view.” This makes practical phenomenology related to the experimental phenomenology of Michel Henry. (shrink)

Platonic Production presents Prof. Stanley Rosen's Etienne Gilson Lectures, delivered at the Institut Catholique de Paris and now available in English for first time. His lectures bring Heidegger and Plato into a conversation around a basic philosophical question: Does the acquisition of truth resemble discovery or production? While Rosen undertakes a close examination of Heidegger's engagement with Plato, exposing some ways in which that engagement constitutes a misreading, the goals of his study are not exclusively critical. In arguing against the (...) claim that Plato stands at the beginning of Western metaphysical history which culminates in late modern nihilism, Rosen also points out how close Plato is to some characteristically Heideggerean themes and formulations. Heidegger is critiqued from the standpoint of Plato, but it is equally true that Platonic themes (such as the hypothesis of the Forms) are read anew in light of the questions raised by Heidegger. In keeping with the overarching theme of the Gilson Lectures, Rosen's six talks, and the introduction by the volume's editor aim to demon-strate that metaphysics is always possible, indeed inescapable, by meditating on the two philosophers whose thinking, especially where it diverges, centers on that very point. While Platonic Production takes up some of the most contentious issues in the Heidegger-Plato relationship, issues which are addressed in the always expanding scholarly literature and in Rosen's own earlier work, it is not at all intended exclusively for specialists in Plato or Heidegger. Rather, it is hoped that this volume will appeal to all who are interested in Greek and German thought and in the foundational questions which underlie the history of philosophy as a whole, both ancient and modern. (shrink)

This article studies the unrestraint in beliefs associated with the overemphasizing of our beliefs. The author argues that the intolerance for other points of view appears (among other factors) because of a naively-objectivist understanding of philosophy, one which is based on two assumptions: first, philosophy is considered only as a theory and not an individual practice, not an experience, and second, the truth is considered as identical to a certain ideal-objective content that can be in one’s possession.There are true ideas (...) and proper words. If we learn these ideas, we will definitely seize the truth. The author opposes this understanding the notion of philosophy which is based on the experience of the encounter and upon reflexive comprehension of this experience. It is possible to minimize unrestraint in beliefs if we assume that all the points of view including our own are considered as belonging to the incomprehensible Absolute. (shrink)