Vernon, Jim, ‘A passion for justice’: Martin Luther King, Jr. and G. W. F. Hegel on ‘world-historical individuals’, Philosophy & Social Criticism, 43 February 2017 pp. 187–207, DOI 10.1177/0191453716680126 SAGE regrets that an error in the title of this article was included in the original publication. Subsequent online versions of this article will be corrected.

Is there a circular relationship between trust and ethics? Is it possible to alter their relationship, changing the perception that social actors have of them? How has trust changed in the transition from modernity to post-modernity and how does it change in times of crisis? Starting from the epistemological assumption that progress in the social sciences is determined by the change in the theoretical horizon produced by “a reformulation of metaphysical assumptions” [1] and combining this path with the relational perspective, (...) according to which “not the facts, but the relationship between the facts is what requires analysis” [2], we will examine definitions, meanings, functions and relationships between trust and ethics. Following the theoretical logical method, we will understand that trust and ethical behaviour are particular forms of gift [3] that co-own each other. As such, they are ambivalent in nature and their circle can also produce dysfunctional outcomes that depend on the ability of social systems to modify collective perceptions through forms of communication, in the awareness that distrust constitutes an ineliminable and, paradoxically, preparatory element for the restoration of the trust circle. The relational circle between gift, trust, collective ethics and personal morality does not end with distrust, but changes in a contingent way, determining perverse effects: correct behaviour could produce, unintentionally, a disaster; incorrect actions could generate unforeseen positive effects.The perverse effects cannot be defined as exceptional - as is believed in the theory of rational choice - but recurrent because daily practices are marked by an intuitive, emotional and moralistic trust circle that prevails over logical reasoning, as ascertained by both relational theory and behavioural economics. Functionalist paradigms cannot engineer and optimise the performance of trust. [1] See J. Alexander's strong programme in S. Segre, Le teorie sociologiche contemporanee, Carocci, Rome, 2019, p. 12. It is not enough to observe reality, it is necessary to interpret it, taking into account theories and traditions whose foundations have a metaphysical character. [2] F. Ferrarotti, La sociologia come analisi critica della società, in R. Cipriani, Nuovo Manuale di Sociologia, Maggioli, Sant’Arcangelo di Romagna, 2018 p. 24. [3] The classical meaning in M. Mauss, Essai sur le don. Forme et raison de l'échange dans les sociétés archaïques, 1ª ed. 1925, revisited by G. Satta, L’ambiguità del dono. Note su dono, violenza e potere nell’ Essai di Mauss, in V. Rasini, Aggressività. Un’indagine polifonica, Mimesis, Milano 2011. (shrink)

Gianni Vattimo ha elaborato l’estetica e la teoria dell’arte del «pensiero debole» soprattutto in alcuni articoli pubblicati nella «Rivista di Estetica» (della quale è stato direttore). Parte di questi saggi è stata poi raccolta nella seconda sezione di una delle sue opere centrali, La fine della modernità, sezione intitolata, significativamente, La verità dell’arte. Le diverse questioni discusse da Vattimo sono infatti attraversate dal filo conduttore del problema della verità dell’arte, nell’epoca del nichilismo, della fine della storia e del mondo estetizzato (...) dei mass media. Attraverso una lettura teoreticamente produttiva di M. Heidegger e F. Nietzsche, ma anche – come si vedrà – di certe pagine kantiane, e al contempo “indebolendo” l’ermeneutica di H.-G. Gadamer (ma anche quella di L. Pareyson),Vattimo affronta la questione dell’arte, della sua verità, del suo significato, del suo statuto ontologico, mettendo anzitutto in questione la domanda “che cos’è l’arte?” che molti studiosi, sia in ambito “analitico”, sia in ambito “continentale”, pongono al centro della riflessione estetica. Ha infatti senso, oggi, chiedersi «che cos’è l’arte?», cercando di fornire una definizione che restituisca l’ontos on, l’essenza dell’arte? O è proprio il fatto di presumere la possibilità di offrire una definizione a costituire il vero problema, in quanto tale assunzione presuppone già un determinato modo di pensare il mondo, modo di pensare che, storicamente, si è costituito come la metafisica occidentale? E se nel post-moderno la metafisica occidentale viene decostruita da un pensiero e da prassi vitali che ne mettono in crisi le griglie concettuali, ne sovvertono gli ordini e le tassonomie, esibendone così l’infondatezza, com’è possibile definire, pensare e praticare l’arte e l’estetica, che sono categorie impiantate solidamente nelle strutture della metafisica? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Matter and Spirit in the Age of Animal MagnetismEric G. WilsonDuring the Romantic period, writers on both sides of the Atlantic explored the sleepwalker as a merger of holiness and horror. Emerging when scientific thinkers for the first time were connecting spirit to electricity and magnetism, the somnambulist became to certain Romantics a disclosure of the difficulty of harmonizing unseen and seen, agency and necessity. This problem prominently arose (...) in Anton Mesmer's late eighteenth-century experiments in animal magnetism, in which the sleepwalker proved a paradox: an opaque revelation of transparent currents and an unconscious vehicle of sophisticated thought. Romantics such as Coleridge embraced the somnambulist as an embodiment of these troubles involved in relating motion and meaning. Coleridge and those who responded to him saw in the hypnotized human this sobering possibility: the invisible requires the visible to make itself manifest while the visible needs the invisible to become significant. 1 This is sublime and sinister: to elevate a material form to spiritual power is transcendence; to sink the boundless into a body is grotesque.Here I explore the philosophical implications of animal magnetism, the place of the sleepwalker in the history of ideas, and the role of the hypnotized human in Romantic writers, especially Coleridge. I also meditate on relationships between matter and spirit, machine and human, word and thing. Along the way, I place the history of ideas and the works of Romantic writers in mutually illuminating dialogues. The literary texts shed fresh light on philosophical problems while the ideas reveal hidden literary elements.The somnambulistic trance had been around long before Mesmer's magnetic sleeps. For centuries, shamans had used auto-hypnosis to sound [End Page 329] their souls and other-hypnosis to cure their tribe-members' ailments. However, somnambulism could not become a scientific phenomenon until Europeans in laboratories began to study electricity and magnetism. In the early modern period, Paracelsus argued that a vital fluid courses through the cosmos. The human being draws this flow like a magnet attracts force. When the body pulls to itself evil effluvia, it falls ill. To return patients to health, Paracelsus placed magnets on painful areas. He hoped to extract the unwanted current and return it to the cosmic swirl. 2 In "magnetizing" spirit, Paracelsus opened a door for empirical inquiry into the invisible world. In 1600, William Gilbert claimed that magnets correspond to the earth: both are animated by universal attraction and repulsion. 3 By the end of the seventeenth-century, Newton proposed that things are impelled by a force that draws and repels. Newton's theory of gravity inspired natural philosophers of the next centuries to search for a principle of which the magnet and the spark are manifestations. 4During the second half of the eighteenth century and the early part of the nineteenth, natural philosophers explored electricity and magnetism with unprecedented precision. In 1752, Benjamin Franklin revealed the mystery of lightning and perhaps the spark of life. 5 Inspired by Franklin, F. C. Oetinger, J. L. Fricker, and Prokop Divisch developed a theology of electricity, based on the belief that God is the electrical current. 6 Later in the century, Luigi Galvani and Alessandro Volta debated over whether the galvanic flow might be the origin and principle of life itself. 7 A few years before Franklin harvested lightning, John Michell argued that the magnetic force is not constrained to lodestones but is possibly pervasive. Some years later, Franz Aepinus suggested that magnetism and electricity manifest a deep energy. Soon after, C. A. de Coulomb discovered the mathematical law by which electrical and magnetic forces operate (Whittaker, pp. 50–59).These findings led to the breakthroughs of the nineteenth century. 8 In 1807, Humphry Davy hypothesized that chemical elements interact through electromagnetic affinity or repulsion. 9 In 1820, H. C. Oersted demonstrated the correspondence between electricity and magnetism. The same year, A. M. Ampere formulated the laws by which electrical and magnetic currents interact (Whittaker, pp. 81–86). Michael Faraday in 1831 revealed electromagnetic induction and thus inaugurated a second Copernican revolution: he showed that matter is not solid and discrete but a field of electromagnetic energy. 10 The dreams of [End... (shrink)

Context: Josef Mitterer has become known for criticizing the main exponents of analytic and constructivist philosophy for their blind adoption of a dualistic epistemology based on an alleged ontological difference between world and words. Judith Butler, who has developed an influential model of (de)constructivist feminism and has been labeled a linguistic constructivist, has been criticized for sustaining exactly what, according to Mitterer, most modern philosophy fails to acknowledge: namely that there is no ontological difference between objective facts beyond language and (...) the discourse about these facts. Problem: In the scholarly discussion on non-dualism, two main questions have been raised: Where does Mitterer’s basic consensus, i.e., the starting-point description, come from? and: What does it mean, to say that further descriptions change their object? Method: Comparative analysis of the core concepts of Mitterer’s and Butler’s work in the context of the history of ideas. Results: Butler’s conception of a performative production of objectivity through discursive and non-discursive iterated practices can be interpreted as an illustration of Mitterer’s claim that descriptions change their object. The problem of where Mitterer’s starting-point descriptions come from can be solved by adopting Butler’s concept of culturally inherited practices. (shrink)

Increased complexity of representations in development probably results from the differentiation of distributed neural circuits. Axonal differentiation plays a crucial role in this process. Axonal differentiation appears to be achieved in stages, each involving combinations of constructive and regressive events controlled by cell intrinsic and cell extrinsic information.

Az értelmiségi mint történelmi probléma -- Dic cur hic -- Van-e a filozófiának múltja? (hiszen örök) -- A német kontraszt -- Beszéd a félelem nélküli beszédről -- Öt tanács a hazának -- Utolsó feljegyzések -- Felhívás a Bürök című folyóirat megalapítására -- Jegyzetek -- Életrajzi kísérlet.