Disagreement over the legitimacy of direct sterilization continues within Catholic moral debate, with painful and at times confusing ramifications for Catholic healthcare systems. This paper argues that the medical profession should be construed as a key moral authority in this debate, on two grounds. First, the recent revival of neo-Aristotelianism in moral philosophy as applied to medical ethics has brought out the inherently moral dimensions of the history and current practice of medicine. Second, this recognition can be linked to Catholic (...) morality through Vatican II’s affirmation of the legitimate autonomy of culture, including the sciences. A partial precedent for understanding the moral authority of medicine can be found in the recent history of Catholic medical morality, and we further argue that a full contemporary recognition of that authority would weigh against an absolute prohibition of direct sterilizations. Institutionally, we propose the allowance of direct sterilizations in cases where the clinically perceived biomedical good of the patient is at stake. (shrink)

This anthology gathers the most philosophically interesting contemporary writing on core issues about the self, identity, and the nature of mind.

Einstein’s razor, a corollary of Ockham’s razor, is often paraphrased as follows: make everything as simple as possible, but not simpler. This rule of thumb describes the challenge that designers of a legal system face—to craft simple laws that produce desired ends, but not to pursue simplicity so far as to undermine those ends. Complexity, simplicity’s inverse, taxes cognition and increases the likelihood of suboptimal decisions. In addition, unnecessary legal complexity can drive a misallocation of human capital toward comprehending and (...) complying with legal rules and away from other productive ends. While many scholars have offered descriptive accounts or theoretical models of legal complexity, most empirical research to date has been limited to simple measures of size, such as the number of pages in a bill. No extant research rigorously applies a meaningful model to real data. As a consequence, we have no reliable means to determine whether a new bill, regulation, order, or precedent substantially effects legal complexity. In this paper, we begin to address this need by developing a proposed empirical framework for measuring relative legal complexity. This framework is based on “knowledge acquisition”, an approach at the intersection of psychology and computer science, which can take into account the structure, language, and interdependence of law. We then demonstrate the descriptive value of this framework by applying it to the U.S. Code’s Titles, scoring and ranking them by their relative complexity. We measure various features of a title including its structural size, the net flow of its intra-title citations and its linguistic entropy. Our framework is flexible, intuitive, and transparent, and we offer this approach as a first step in developing a practical methodology for assessing legal complexity. (shrink)

Pragmatism can be understood as a position that conceives of epistemic and moral claims in the terms of a realization within the framework of our collective forms of activity. In this respect, it on the one hand proves to be compatible with current discussions in anthropology, which take Aristotle and German Idealism as their starting point. At the same time however, the two seem to be in tension with regard to the concept of form presupposed in the neo-Aristotelian debates which (...) seems to block a practice-theoretical reading. This article argues for a reconciliation of the two concepts: The human form of life is realized in collective practices that further define the concept of this form of life. For such a reconcilement, both pragmatist as well as neo-Aristotelian accounts however must partially be re-engineered. (shrink)

In german aesthetics, aethetic experience is the most prominent concept to emphasize sensual properties of objects and events. Thus, artistic objects can be understood as a special case of aesthetic experience. In this paper I argue that a theory of art should be separated from a general theory of aesthetics. In a first part, referring to Arthur C. Danto’s arguments, I claim that there are many artworks for which sensual properties are not constitutive. In a second step, I try to (...) show that even sensual artworks cannot be understood sufficiently with regard to the concept of aesthetic experience. They have a specific structure that seperates them categorically from mere aesthetic objects and events. (shrink)

This exceptional anthology immerses students in such powerful ideas that they will find themselves not just reading about, but actually participating in, the kind of philosophical thinking that can change the way they look at their lives and the world around them. Now in a new edition, The Experience of Philosophy features eighty-five readings that challenge students' thinking about God, freedom, reality, nothingness, death, and their own identities. Provocative and accessible, these selections have been carefully chosen for their ability to (...) draw students out of an ordinary frame of reference into exciting new territory. Although the editors include many classic sources from philosophers such as Plato, Descartes, Locke, and Kant, the emphasis is on contemporary writings. Articles by Derek Parfit, Bertrand Russell, and others help students see philosophy's links to literature, the natural sciences, and the physical and social sciences. The sixth edition features twelve new essays--by Augustine, Alvin Plantinga and Daniel Kolak, Georges Rey, Fred Dretske, David Reisman, Paul Teller, Clea F. Rees, Padmasiri de Silva, Daniel Kolak, Karl Marx, Anand Chandavarkar, and Vincent Hendricks--as well as more text boxes offering excerpts from other relevant works. The Experience of Philosophy, Sixth Edition, integrates helpful pedagogical aids including section introductions, a brief introduction to each selection, biographical information on each author, and questions before and after each reading to reinforce main ideas and promote thinking. Further readings after each selection direct students to additional material on related issues. Ideal for introductory philosophy courses, The Experience of Philosophy, Sixth Edition, encourages students to "do" philosophy, rather than just read about its history. (shrink)

Der vorliegende Band führt in dreizehn mit dem Computerspiel verbundene philosophische Grundbegriffe ein. Die von Experten und Expertinnen im jeweiligen Bereich geschriebenen Beiträge fragen danach, welche Wendung die entsprechenden Begriffe nehmen, wenn man sie hinsichtlich des Computerspiels ausbuchstabiert. Dabei eignen sich die dreizehn Beiträge zugleich auch als Einführungen in die entsprechenden Begriffe der Philosophie. Der Band möchte entsprechend die philosophische Auseinandersetzung mit dem Computerspiel befördern sowie die Fruchtbarkeit philosophischer Ansätze für ein Verständnis des Computerspiels aufzeigen.

Name der Zeitschrift: Deutsche Zeitschrift für Philosophie Jahrgang: 62 Heft: 2 Seiten: 349-364.

Name der Zeitschrift: Deutsche Zeitschrift für Philosophie Jahrgang: 65 Heft: 1 Seiten: 174-182.

Name der Zeitschrift: Deutsche Zeitschrift für Philosophie Jahrgang: 67 Heft: 2 Seiten: 159-173.

The aim of the paper is an analysis of the specific quality of jazz as a kind of artistic music. Three dimensions are brought forward as central for jazz music: improvisation, interaction and intensity. Even though these dimensions are not understood in terms of a definition – as solely necessary and jointly sufficient conditions –, they are meant to be central qualities in our appreciation of jazz music. The logics of improvisation are explored in contrast to the practice of performing (...) a composed work in the European tradition of art music. Despite this difference the thought is articulated that the performance of a composed work is in some way governed by a similar logic. Interaction is specified in terms of jazz being fundamentally a kind of dialogical practice in the medium of music. Intensity finally is spelled out as a certain focus of jazz music toward every single moment of its performance that is mainly but not solely due to its specific rhythmic dimension. Jazz music proves to be a kind of artistic music that renders aspects of artistic practice in general explicit. (shrink)

Die noch vor zehn Jahren anhand des polemischen Schlagworts der ›Killerspiele‹ hitzig geführten Debatten um die gesellschaftliche Rolle von Computerspielen haben sich in den letzten Jahren deutlich abgekühlt. Nachdem 2003 die Bundesprüfstelle für jugendgefährdende Medien nach dem Amoklauf von Erfurt wider Erwarten den Taktik-Shooter Counterstrike nicht auf den Index gesetzt hat, hat der Vorsitzende des deutschen Kulturrats, Olaf Zimmermann, Computerspiele 2008 dadurch öffentlich geadelt, dass er sie in den Rang von ›Kulturprodukten‹ erhoben hat. Vor zehn Jahren noch undenkbar ist der (...) 2016 erschienene vierte Teil der Doom-Serie unter dem schlichten Titel Doom ebenso unaufgeregt wie in weiten Teilen auch positiv in den Feuilletons großer deutscher Tageszeitungen besprochen worden – die SZ etwa hat ihm am 20. Mai 2016 fast eine ganze Seite gewidmet. Spätestens für die Generation, die Mitte der 1970er Jahre geboren worden ist, waren Computerspiele ein prägender Faktor in der Jugend, so dass es wenig verwundert, dass sie heute in weiten Teilen ein unproblematischer Bestandteil der Alltagskultur geworden sind. (shrink)

Ist Kunst eine Form des Handelns? Und wenn ja, in welchem Sinne? Handlungen werden häufig als praktische Verkörperung von Intentionen aufgefasst. Die Beiträge des Bandes zeigen: Von der kunstphilosophischen Tradition her lässt sich die Frage nach Kunst und Handlung sowohl mit Blick auf die Hervorbringung von Kunst als auch mit Blick auf ihre Erfahrung stellen. Kunst im Rahmen einer Poetik aufzufassen bedeutet allerdings, sie als eine Handlung zu bestimmen, der bestimmte Ziele zu eigen sind.

The tradition of modern philosophical hermeneutics could be told in such a way that from Schleiermacher to Gadamer the process of universalization can be seen (Grondin 1994). In Heidegger and Gadamer hermeneutics became universal in a way that now everything is a possible subject of understanding. Among those items of the hermeneutical universe are not only spoken sentences and books, but also pictures, movies, dance and other aesthetic phenomena. Gadamer himself has spelled out the insight that the universe of understanding (...) is broader than items that literally consist of language mainly with regard to images and pictorial representations (Gadamer 2013, 135ff). But among those items are also musical works, musical interpretations and musical improvisations. It is not only the meticulous reading of a musical interpretation of a symphony by Mahler or the hearing of something as music and not as mere noise in the world that embodies understanding. Already hearing the difference between something being an interpretation and something being an improvisation embodies understanding. (shrink)

This volume explores the connections between John McDowell's philosophy and the hermeneutic tradition. The contributions not only explore the hermeneutical aspects of McDowell's thought, but also asks how this reading of McDowell can inform the hermeneutical tradition itself. John McDowell has made important contributions to debates in epistemology, metaethics and philosophy of language, and his readings of Aristotle, Kant, Hegel, and Wittgenstein have proved widely influential. While there are instances in which McDowell draws upon the work of hermeneutic thinkers, the (...) hermeneutic strand of McDowell's philosophy has not yet been systematically explored in-depth. The chapters in this volume open up a space in which to read McDowell himself as a hermeneutic thinker. They address several research questions including: How can McDowell's recourse to the hermeneutical tradition be understood in detail? Besides Gadamer, does McDowell's work implicitly convey and advance motives from other seminal figures of this tradition, such as Heidegger and Dilthey? Are there aspects of McDowell's position that can be enhanced through a juxtaposition with central hermeneutic concepts like World, Tradition and Understanding? Are there further, perhaps yet unexplored aspects of McDowell's influences that ought to be interpreted as expressing hermeneutic ideas? McDowell and the Hermeneutic Tradition will appeal to researchers and advanced students working in American philosophy, Continental philosophy, hermeneutics, history of philosophy, philosophy of language, and epistemology. (shrink)

The paper presents an account of the relevance of art music for the human form of life. In the first part it develops a theory of the human form of life by referring to central aspects of the philosophies of Aristotle, Kant and Hegel. The human form of life is reconstructed in terms of the classical conception of the human being as a rational animal, which is reformulated in the light of the neo-Aristotelian concept of living freedom. With Hegel this (...) conception is reformulated as a conception of the human being as an indeterminate living being, since human nature is concretized in different ways in the respective historical contexts. The second part then formulates a concept of the role of art in the human way of life, referring to Hegel and Adorno. The last part reflects on current discussions about the intermedial constitution of the arts which is then made productive for a concept of art music. (shrink)

Computerspiele sind längst nicht mehr nur eine potentiell problematische Freizeitbeschäftigung von Jugendlichen, sondern längst in der interdisziplinären Forschung angekommen. Eine systematische philosophische Beschäftigung mit dem Thema steht noch aus. Das Buch zeigt, wie die Philosophie zur theoretischen Klärung von Sachverhalten rund um das Computerspiel fruchtbar gemacht werden kann. Begriffe wie ‚Medium‘. ‚Spiel‘, ‚Narrativität‘ und ‚Ontologie‘ werden grundsätzlich reflektiert, Ästhetik, Räumlichkeit und Bildlichkeit werden unter die Lupe genommen sowie Auswirkungen auf Ethik, Arbeit, die Politik und unser Handeln beleuchtet. Außerdem macht das (...) Buch deutlich, was für ein reichhaltiges Forschungsfeld das Computerspiel für die Philosophie selbst ist, das der ästhetischen, ontologischen und ethischen Aneignung harrt. (shrink)

Philosophy of Jazz discusses the philosophical relevance of jazz, showing that jazz and European art music have more in common than many assume.

Der Beitrag widmet sich der Frage historischer Folgeverhältnisse in der Kunst. Gegenüber dem Gedanken, dass es ein ursprüngliches Werk in der Reihe von Werken gibt, das späteren Werken seinen Sinn gibt, schlägt der Text vor, das Verhältnis umgekehrt zu denken: Im Lichte späterer Werke wird der Sinn früherer Werke neu ausgehandelt. Dazu geht der Text in drei Schritten vor. Im ersten Teil formuliert er unter der Überschrift ›Form‹ in kritischer Abgrenzung zu Danto und Eco mit Adorno den Gedanken, dass Kunstwerke (...) eigensinnig konstituierte Gegenstände sind. Die im Gedanken der Neuverhandlung früherer Werke im Lichte späterer Werke vorausgesetzte Unbestimmtheit des Sinns von Kunstwerken wird im zweiten Teil unter dem Schlagwort ›Zeitlichkeit‹ anhand des Paradigmas der Improvisation erörtert. Der dritte und letzte Teil wendet diese improvisatorische Logik unter dem Label ›Neuaushandlung‹ dann dezidiert auf das Verhältnis von Vorbild und Nachbild an. The article proposes a new understanding of historical succession in the realm of art. In contrast to the idea that there is an original work in the series of works that gives meaning to the works that come later, the text proposes to think it exactly the other way round: in the light of later works, the meanings of earlier works are renegotiated. The text proceeds in three steps to develop this idea. Under the heading ›Form‹ it develops in the first part a critical reading of Danto’s and Eco’s notion of the constitution of the artworks and argues with Adorno that each powerful work develops its own language. In the second part, the vagueness of the meaning of works of art presupposed in the idea of renegotiating earlier works in the light of later works is discussed under the term ›Temporality‹ in terms of the logic of improvisation. The third and final part uses this improvisational logic under the label ›Renegotiation‹ to understand the relationship between model and afterimage in the realm of art. (shrink)

The paper offers a reconstruction of the logics of jazz improvisation that is drawing on Žižek’s Work on Hegel. A basic concept of Žižek’s reading of Hegel consists in the concept of Retroactivity as the temporality that is characteristic of what Hegel understands as the development of history. The logic of retroactivity cannot be understood in terms of a classical teleological account but rather draws upon the idea of incommensurable events: Each historical situation is presupposing its own preconditions in a (...) way that the contingent is transformed into necessity. The paper discusses the structure of the temporality of jazz in such a way that it can be informed by Žižek’s thoughts on the temporal logic of history. (shrink)

Name der Zeitschrift: Deutsche Zeitschrift für Philosophie Jahrgang: 63 Heft: 6 Seiten: 1048-1071.

-/- Die ästhetische Tradition im Gefolge der Moderne hat die Architektur als randständiges Phänomen behandelt. Eine am Paradigma autonomer Kunst oder an einer kontemplativ verstandenen Theorie ästhetischer Erfahrung orientierte Ästhetik wusste mit der immer auch auf Zwecke bezogenen Architektur nicht immer viel anzufangen. Kants Diktum des interesselosen Wohlgefallens legt davon ebenso Zeugnis ab wie Hegels Verortung der Architektur an der Grenze der Kunst. -/- Die Beiträge des Bandes einschlägiger Expert*innen thematisieren die Frage, was es für die Grundbegriffe der Ästhetik heißen (...) würde, sie ausgehend von der Architektur und damit einer immer auch funktionalen Kunst neu zu denken: Bedürfen Begriffe wie Kunst, Sinnlichkeit, Urteil und Erfahrung einer Reformulierung, um den ästhetischen Eigenarten der Architektur angemessen Rechnung zu tragen? (shrink)

Name der Zeitschrift: Deutsche Zeitschrift für Philosophie Jahrgang: 64 Heft: 5 Seiten: 699-719.

In Spielerkreisen herrscht weitestgehend Einigkeit über den ästhetischen Status von Videospielen: Es handelt sich bei ihnen um relevante Kulturprodukte, vielleicht sogar um die neue Leitkunst des 21. Jahrhunderts. Trotz des Störfeuers aus der Politik, die um die Jahrtausendwende den ebenso polemischen wie sachkenntnisfreien Begriff des „Killerspiels“ aus der Taufe hob und ihn bei passenden Gelegenheiten seitdem immer mal wieder exhumiert hat, befinden sie sich dabei keineswegs in schlechter Gesellschaft: 2008 hat der Vorsitzende des deutschen Kulturrats Videospiele in den Rang von (...) Kulturprodukten gehoben, seit 2012 werden auch einzelne Videospiele wie -systeme in der ständigen Ausstellung des Museum of Modern Art in New York im Bereich Architektur und Design gezeigt. Stellen Videospiele mittlerweile einen unproblematischen Bestandteil der Alltagskultur dar, verwundert es nicht, dass zum neuesten Teil der Doom-Reihe ebenso unaufgeregte wie in weiten Teilen positive Besprechungen in den Feuilletons deutscher Tageszeitungen erschienen sind – einer Reihe, die nicht nur eine der bekanntesten Videospielreihen überhaupt ist, sondern auch stilprägend für das Genre des Egoshooters war. (shrink)

Hinsichtlich der Frage, ob es Musik gibt, lässt sich im Geiste von Beiträgen aus dem Umfeld postkolonialer Diskussionen darauf verwiesen, dass der Begriff die Gefahr einer eurozentrischen Verengung aufweise. Der entscheidende Schachzug liegt dabei.

By speaking directly to the students in a personal tone, this text invites students to get excited about philosophy and to explore how philosophy affects them. Fourteen lively chapters take students deep into the world of philosophical thinking and challenge them to ponder life's big questions.

Ignacio de Luzán escribió la poética española más influyente del siglo xviii, en un período en el que la ópera italiana ocupaba un lugar esencial en todas las cortes de Europa. Sin embargo, este género recibe un tratamiento marginal en su obra. Esto puede resultar sorprendente en un autor que no solo conoció las óperas realizadas en España durante los reinados de Felipe V y Fernando VI, sino que además fue un gran defensor de Metastasio como poeta, traduciendo algunos de (...) sus libretos por encargo de la corte. En este artículo analizamos el lugar del melodrama en su obra, mostrando la influencia recibida de las poéticas italianas, sobre todo de Crescimbeni, Gravina, Muratori y Maffei, que entendieron el género desde las ideas aristotélicas sobre la tragedia griega. Como veremos, la clave de su poética es la contraposición entre artes liberales y serviles, que le obliga a situar la música en un lugar inferior respecto a la poesía. (shrink)

In this article I try to understand the importance of the theatrum mundi metaphor for the configuration of the Modern Age. After a brief introduction on the idea of Modern Age, I study the distinction between ancient and modern from the perspective of the discovery of America, arguing that the idea of globe, embodied in cartography, determined the metaphor of the world as theater, affecting a wide range of disciplines, from astronomy to theology. Next, I show the geopolitical component of (...) the metaphor, linked to the idea of global empire, modern states and big cities. I dedicate a special section to show several melodramatic examples, mainly operatic, where the theatrum mundi metaphor reached a culminating point, linked to the European cities and their place in the world. Finally, I analyze the implications this metaphor had on the constitution of the philosophy of history, a discipline essentially linked to the Modern Age. (shrink)

No século XXI, a produção e o consumo de informação acompanharam o ritmo da globalização e hoje, sem muito esforço, podemos saber do que aconteceu a poucos minutos em qualquer parte do planeta. Percebemos, no entanto, que a produção dessa informação, bem como sua circulação, não acontece de forma livre e democrática. Há várias forças em jogo que fazem da comunicação uma ferramenta de manipulação social.