Caspar David Friedrich was the quintessential Romantic figure, portraying the Sublime in his landscape paintings. The Romantic period, particularly in Germany, England, and France, was characterized by the full development of aesthetics as a separate branch of philosophy. The terrible Sublime was contrasted with the more formal elements of Beauty. In this paper, Dr. dela Cruz similarly compares the inarticulable aesthetic sensibility and the more formal method of logical analysis, underscoring her own transition from philosophy to creative (...) writing. She provides a philosophical analysis of what picture theorists call the “visual metaphor” in Friedrich’s key works, in particular “The Wanderer Above a Sea of Fog” and “On the Sailingboat.” Her engagement with these works takes the form of a creative piece—an ekphrastic poem—integrated in a philosophical paper, which is also simultaneously about the aesthetics of that literary form. (shrink)

The German painter Caspar David Friedrich’s The Monk by the Sea, a picture that has played an important role in accounts of the prehistory of twentieth-century abstract art, is significant among other reasons because it bravely refused painting’s narrative vocation and in so doing radicalized the optics characteristic of the contemporary aesthetics of the sublime. Friedrich’s contemporary, the novelist and dramatist Heinrich von Kleist, intuited precisely this in his scintillating comments on the painting at the time (...) it appeared. Invoking the shocking idea that looking at The Monk by the Sea is like seeing through eyes whose lids have been cut off, he recognized that Friedrich had transformed the canvas into the locus not so much of narration and signification as of sensation. This article leans on the terms devised by Gilles Deleuze to explain the paintings of Francis Bacon in order to explore the seminal shift in the relationship between spectator and composition that Friedrich’s canvas dramatizes with such compelling power. (shrink)

Beginning with the assertion that earth is the elemental place that grants an abode to humans and to other living things, in Senses of Landscape the philosopher John Sallis turns to landscapes, and in particular to their representation in painting, to present a powerful synthetic work. Senses of Landscape proffers three kinds of analyses, which, though distinct, continually intersect in the course of the book. The first consists of extended analyses of distinctive landscapes from four exemplary painters, Paul Cezanne, (...) class='Hi'>Caspar David Friedrich, Paul Klee, and Guo Xi. Sallis then turns to these artists’ own writings—treatises, essays, and letters—about art in general and landscape painting in particular, and he sets them into a philosophical context. The third kind of analysis draws both on Sallis’s theoretical writings and on the canonical texts in the philosophy of art (Kant, Schelling, Hegel, and Heidegger). These analyses present for a wide audience a profound sense of landscape and of the earthly abode of the human. (shrink)

There are various perspectives from which the meaning of historicism can be understood. Historically, the interpretation of historicism has predominantly been interested in either questions concerning historical methodology, or the relationship between the natural and human sciences, or the normative consequences of historicism. My intention is not to cast doubt upon the legitimacy of these different research approaches, but rather to supplement them by confronting the meaning of historicism from the perspective of a different question. Did historicism in the late (...) 18th and the early 19th centuries formulate a notion of historical chance or of historical contingency, a notion of what is neither necessary nor impossible in history but rather the result of accident and chance? To answer this question, I begin with Reinhart Koselleck's interpretation of historicism presented in two rather short essays, "Der Zufall als Motivationsrest in der Geschichtsschreibung" and "Über die Verfügbarkeit von Geschichte". In the next step of my analysis, I confront Koselleck's interpretation of the historicist sensibility for contingency and chance with Odo Marquard's conceptual distinction between two notions of contingency and chance. This line of argumentation gives rise to a definition of historicism as a theoretical sensibility for the "fatefully accidental" (Marquard). I further support this claim with an analysis of Savigny's legal history, of Schleiermacher's theology and of the "anti-Faustian" (Werner Busch) art of Caspar David Friedrich. Historicism ultimately teaches us that history is never the exact outcome of the intentions of historical actors. Though human beings undeniably act in history, they cannot make history or at least cannot make it as they please. It is in this regard that I find, in my concluding remarks, Hermann Lübbe's description of historicism as a "sermon of human finitude" to be wholly accurate. (shrink)

Joachim Ritter, ainsi que d’autres auteurs, ont tenté de justifier les sciences humaines à l’aide de la théorie de la « compensation ». Selon lui, les lettres compensent les pertes et les risques engendrés par la progression de la modernisation. La théorie de la compensation semble offrir une justification aux lettres par rapport à la dynamique du monde moderne. Ce qui prima facie paraît intéressant dans une époque où le triomphe des sciences naturelles et de la technologie est manifeste, alors (...) que les sciences humaines doivent défendre leur position. L’article examine quatre critiques à l’égard de la théorie de la compensation : cette théorie est marquée par une approche obsolète de l’histoire ; elle ne tient compte que de la fonction conservatrice des sciences humaines ; elle dégrade ces dernières en les considérant comme annexes aux changements culturels ; enfin, elle surévalue la capacité des sciences humaines à constituer un contrepoids aux pertes et aux risques engendrés par la modernisation. Disserter sur l’histoire de l’église ne compense pas la perte actuelle de la foi. Un essai sur Caspar David Friedrich ne représente pas une compensation pour un paysage ruiné. La croyance que pour chaque perte ou chaque dommage existe une compensation est probablement liée à la croyance religieuse dans le pardon ou aux arguments philosophiques en matière de théodicée. La conclusion est que les lettres ne doivent pas se justifier par des arguments utilitaires. Elles sont « utiles » car elles n’ont pas à être utiles du tout. (shrink)

Volume 74 in the series Hallesche Beiträge zur Europäischen Aufklärung -/- Die vor-autonome und noch nicht auf das Feld der Künste beschränkte Ästhetik des ›langen 18. Jahrhunderts‹ strebte eine interdisziplinäre und internationale Kommunikationspraxis an, die eine universelle Verständigung unter den Menschen ermöglichen sollte. -/- Der Band versammelt Beiträge zu der europäischen Geschichte dieser anthropologisch ausgerichteten ästhetischen Kommunikation. Die Aufsätze der ersten Sektion beschäftigen sich mit der zeitgenössichen Theorie der ästhetischen Wissensvermittlung: Es wird die fachübergreifende (Proto-) Ästhetik Shaftesburys und Addisons, die (...) Sprachtheorie von Coleridge bzw. die schwierige Einbürgerüng der Disziplin ›Ästhetik‹ in Frankreich thematisiert. Im zweiten Teil beschäftigen sich zwei Aufsätze mit der Kommunikation durch Bilder, anhand der Analyse von Gemälden Jean-Siméon Chardins und Caspar David Friedrichs. Die Bedeutung des Bild- und Erzählstoffes ›Herkules am Scheideweg‹ für Wielands ästhetische Kommunikation wird hier ebenfalls behandelt. Die dritte Sektion enthält Untersuchungen zu zwei wichtigen Gattungen der ästhetischen Kommunikation. Es werden zunächst unterschiedliche Varianten des Genres Traumerzählung bei Johann Gottlob Krüger und Mihály Vörösmarty beleuchtet. Der Band schließt mit der Analyse von József Eötvös’ Künstlerroman Der Karthäuser. -/- Die Fallstudien tragen zu dem besseren Verständnis einer Ästhetik bei, die die Bildung der Menschen durch intersubjektive Kommunikation vorantreiben wollte. (shrink)

The accessibility of art in Germany underwent a fundamental change over the course of the 18th century. Aristocratic collectors opened their doors to the general public, and new museums were dedicated exclusively to art. This development parallels the concurrent development of aesthetics in philosophy and the conception of the autonomy of art. Its theoretical foundation was provided by Kant in his third critique with such completeness that the standards of beauty he worked out emerge as constitutive elements of the art (...) museum. The Romantic movement reinforced the trend in what proved to be an ambivalent way. The general accessibility of art was well suited to its transgression of boundaries, but it necessitated a new, less contingent mode of demarcation between the work of art and the observer. That became an occasion for »Romanticization« of both the artwork and its audience, demonstrated here by August Wilhelm Schlegel’s conversation on art Die Gemählde. It is further elucidated by Friedrich Schlegel’s Nachricht von den Gemählden in Paris and its echo in two texts published by Kleist: The novella Die Heilige Cäcilie oder die Gewalt der Musik and the essay on Caspar David Friedrich’s painting Mönch am Meer that was drafted by Clemens Brentano and Achim von Arnim and radically modified by Kleist. (shrink)

We start by presenting three different views that jointly imply that every person has many conscious beings in their immediate vicinity, and that the number greatly varies from person to person. We then present and assess an argument to the conclusion that how confident someone should be in these views should sensitively depend on how massive they happen to be. According to the argument, sometimes irreducibly de se observations can be powerful evidence for or against believing in metaphysical theories.

Since the Romantic period, painters have no longer made use of traditional Christian iconography to express religious transcendence. Taking their cue from Schleiermacher's Reden Über die Religion, painters have sought for new, personal ways to express religious transcendence. One example is Caspar David Friedrich's Monk by the Sea. Rosenblum argues, in his Modern Painting and the Northern Romantic Tradition, that there is a parallel between Friedrich and the abstract expressionist Rothko with respect to the expression to (...) religious transcendence. In this article I investigate how the experience of transcendence that Rothko's paintings want to evoke is to be described. Is it an experience of the sublime in the Romantic tradition? Is it the evocation of the ultimate in accordance with Tillich's broad concept of religion? Does it display affinity between Rothko and the first generation of abstract painters such as Kandinsky and Malevich? Or is it a transcendent experience that cannot be situated so easily within the options supplied? After determining Rothko's understanding of transcendence, some issues will be brought up that could be fruitful for Christian theology. (shrink)

This work is for scholars, researchers and students in history and philosophy of science focusing on Logical Empiricism and analytic philosophy (of science). It provides historical and systematic research and deals with the influence and impact of the Vienna Circle/Logical Empiricism on today's philosophy of science. It also explores the intellectual context of this scientific philosophy and focuses on main figures and peripheral adherents.

Until quite recently, mind-body dualism has been regarded with deep suspicion by both philosophers and scientists. This has largely been due to the widespread identification of dualism in general with one particular version of it: the interactionist substance dualism of Réné Descartes. This traditional form of dualism has, ever since its first formulation in the seventeenth century, attracted numerous philosophical objections and is now almost universally rejected in scientific circles as empirically inadequate. During the last few years, however, renewed attention (...) has begun to be paid to the dualistic point of view, as a result of increasing discontent with the prevailing materialism and reductionism of contemporary scientific and philosophical thought. Awareness has grown that dualism need not be restricted to its traditional form and that other varieties of dualism are not subject to the difficulties commonly raised against Descartes' own version of it. -/- Interest in these alternative versions of dualism is growing fast today, because it seems that they are capable of capturing deep-seated philosophical intuitions, while also being fully consistent with the methodological assumptions and empirical findings of modern scientific work on the human mind and brain. The object of this book is to provide philosophers, scientists, their students, and the wider general public with an up-to-date overview of current developments in dualistic conceptions of the mind in contemporary philosophy and science. (shrink)

Negative self-views have proved to be a consistent marker of vulnerability for depression. However, recent research has shown that a particular kind of cognitive conflict, implicative dilemma, is highly prevalent in depression. In this study the relevance of these conflicts is assessed as compared to the cognitive model of depression of a negative view of the self. In so doing, 161 patients with major depression and 110 controls were assessed to explore negative self-construing (self-ideal discrepancy) and conflicts (implicative dilemmas), as (...) well as severity of symptoms. Results showed specificity for the clinical group indicating a pattern of mixed positive and negative self-descriptions with a high rate of conflict. Regression analysis lent support to the conflict hypothesis in relation to clinically relevant indicators such as symptom severity, global functioning. However, self-ideal discrepancy was a stronger predictor of group membership. The findings showed the relevance of cognitive conflicts to compliment the well-consolidated theory of negative self-views. Clinical implications for designing interventions are discussed. (shrink)

The definitive scholarly edition and new translation of all three versions of Hölderlin’s poem, The Death of Empedocles, and his related theoretical essays.

Annotation. A new translation of Schelling's Die Philosophie der Kunst, 1859 with extensive commentary by the translator, Douglas W. Stott. Annotation copyrighted by Book News, Inc., Portland, OR.

David Friedrich Strauss is a central figure in 19th century intellectual history. The first major source for the loss of faith in Christianity in Germany, his work Das Leben Jesu was the most scandalous publication in Germany during his time. His book was a critique of the claims to historical truth of the New Testament, which had been the mainstay of Protestantism since the Reformation. As the father of unbelief, his critique of Christianity preceded that of Nietzsche, Marx, (...) Feuerbach, and Schopenhauer. His views imposed a harsh fate upon him - he was persecuted for his beliefs by religious and political authorities and was denied employment in the university and government, forcing him to live as a free-lance writer. He led a wandering and isolated life as an outcast. Here, Frederick C. Beiser studies the intellectual development of Strauss and recounts his fate, which began in faith as a young man but finally ended in unbelief. (shrink)

An introduction and translator's note by translator Peter Preuss are included in the text.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections (...) in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Friedrich Heinrich Jacobi's Werke: Bd. David Hume Uber Den Glauben Oder Idealismus Und Realismus: Ein GesprAch. Uber Die Unzertrennlichkeit Des Begriffes Der Freyheit Und Vorsehung Von Dem Begriffe Der Vernunft. Etwes, Das Lessing Gesagt Hat: Ein Commentar Zu Den Reisen Der PAbste. Anhang Zu Dem...; Volume 2 Of Friedrich Heinrich Jacobi's Werke; Friedrich Von Roth Friedrich Heinrich Jacobi, Johann Georg Hamann, Friedrich von Roth, Friedrich KOppen G. Fleischer d. jUng, 1815. (shrink)

Our self-concept is constantly faced with self-relevant information. Prevailing research suggests that information's valence plays a central role in shaping our self-views. However, the need for stability within the self-concept structure and the inherent alignment of positive feedback with the pre-existing self-views of healthy individuals might mask valence and congruence effects. In this study (N = 30, undergraduates), we orthogonalized feedback valence and self-congruence effects to examine the behavioral and electrophysiological signatures of self-relevant feedback processing and self-concept updating. We found (...) that participants had a preference for integrating self-congruent and dismissing self-incongruent feedback, regardless of its valence. Consistently, electroencephalography results revealed that feedback congruence, but not feedback valence, is rapidly detected during early processing stages. Our findings diverge from the accepted notion that self-concept updating is based on the selective incorporation of positive information. These findings offer novel insights into self-concept dynamics, with implications for the understanding of psychopathological conditions. (shrink)

Anmerk. g.) „als (in den genannten Wissenschaften) zwischen Vernunft und Erfahrung zu unterscheiden und beide Erkenntnissarten ganz auseinander zu halten . . . .. Fasst man aber die Erkenntnisse, welche als Produkte des reinen Denkens ...