Béatrice Acklin Zimmermann Barbara Schmitz An der GrenzeTheologische Erkundungen zum BösenUnter dem Eindruck der schrecklichen Ereignisse vom 11. September 2001, von Beslan, Abu Ghraib und Kana ist das Interesse "am Bösen"wiedererwacht. Dabei fällt auf, dass die in Politik und Gesellschaft erfolgten Deutungen des Bösen geprägt sind durch klare Grenzziehungen zwischen "gut"und "böse", die zunehmend auch auf religiöse Kategorien wie Licht-Finsternis, gerecht-sündig, Tod-Leben rekurrieren. Dies provoziert die Frage nach der Trennschärfe von "gut"und "böse": Wo genau verläuft die Grenze zwischen "gut"und (...) "böse"und wer zieht diese Grenze? Ist "das Böse"eine unabhängige Größe oder tritt es vielmehr in Vermischung mit "dem Guten"auf? Und was bedeutet die Grenzziehung zwischen "gut"und böse"im Blick auf Genderkonfigurationen?In ökumenischer Aufgeschlossenheit und aus verschiedenen theologischen Blickwinkeln erkunden die Autoren und Autorinnen dieses Bandes "das Böse"unter dem Gesichtspunkt von Grenzziehungen. Zur Debatte stehen dabei ebenso die Grenzziehung zwischen "gut"und "böse"und die damit verbundenen Dualisierungen wie die Frage nach dem Verhältnis von "Gender"und den Konstruktionen des "Bösen". In kritischer Abgrenzung zur gegenwärtigen gesellschaftlich-politischen Tendenz, das Böse primär beim Anderen, einer bestimmten Nation, Kultur, Gesellschaftsschicht oder Weltanschauung zu verorten, wird in den verschiedenen Beiträge gezeigt, dass eine strenge Grenzziehung zwischen dem "Bösen"und dem "Guten"der Komplexität der Wirklichkeit nicht standhält. Mit Beiträgen von Béatrice Acklin Zimmermann, Ruth Albrecht, Pierre Bühler, Barbara Henze, Ralph Kunz und Ute Nürnberg, Walter Lesch, Karl Matthias Schmidt und Barbara Schmitz. Die HerausgeberinnenBéatrice Acklin Zimmermannist Privatdozentin für Systematische Theologie an der Theologischen Fakultät der Universität Freiburg/Schweiz und Leiterin des Bereiches Theologie und Philosophie an der Paulus-Akademie Zürich. Barbara Schmitzist Studienrätin im Hochschuldienst für den Bereich Altes Testament und Sprachen an der Universität Duisburg-Essen. (shrink)

As first pointed out by Saul, the co-referential names in sentences like and defy substitution _salva veritate_: Clark Kent went into the phone booth, and Superman came out. I never made it to Karl-Marx-Stadt, but I visited Chemnitz last year. This paper elaborates and compares two solutions to Saul's substitution problem, both of which turn on an asymmetry between names that share their bearers. According to the first solution there is a semantic distinction between neutral names and restricted names. (...) According to the second solution, only neutral names are properly used, whereas the use of restricted names involves code-switching and pragmatic re-interpretation. As it turns out, the semantic approach deals more easily with changing names as in, whereas the pragmatic account is more adequate in explaining hidden identity cases like. (shrink)

Sophokles, der zweite der drei grossen Tragiker, fuhrte die griechische Tragodie zu ihrem Hohepunkt. Seine Dramen haben die am strengsten komponierte Form, seine Neuerungen lassen die Handlung auf der Buhne starker hervortreten: Er fuhrt den dritten Schauspieler ein, schrankt die Chorlieder ein, erweitert dagegen den Chor von 12 auf 15 Manner und verwendet als erster Buhnenmalerei. Er lost sich von der gewohnten Trilogie und stellt jede der drei zusammen aufgefuhrten Tragodien nach Stoff und Handlung abgerundet auf sich selbst. Mit diesen (...) Neuerungen schuf er sich die Mittel, die neue Tragodie vielseitiger, beweglicher und darstellerisch wie dramatisch anspruchsvoller zu gestalten. Und er hatte Erfolg: Achtzehnmal errang er mit seinen Dramen den ersten Platz. Das Zentrum seiner Dramen bildet der leidende Mensch: Der grosse Einzelne steht in der Mitte des Geschehens, das auf ihn zukommt und das er mit Schrecken und Leid selbst vorantreibt. Er ist kein Mustermensch, er steht vielmehr den Verstandigen und Gemassigten extrem gegenuber. Aus seinem Wesen entwickelt sich die Handlung, die bei Sophokles zu unerbittlichen Darstellungen der Condition humana mit allen Greueln wird, die der Menschheitsgeschichte eigen sind. Der Band enthalt die Dramen Aias, Die Trachinierinnen, Antigone, Konig Oidipus, Elektra, Philoktetes, Oidipus auf Kolonos und Die Satyrn als Spurhunde. Herausgegeben von Wilhelm Willige, uberarbeitet von Karl Bayer. Mit Anmerkungen und Nachwort von Bernhard Zimmermann.". (shrink)

Hailed on publication in 1957 as "probably the only book published this year that will outlive the century," this is a brilliant of the idea that there are ...

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 295 A study of Heidegger faces serious difficulties, for Heidegger is a difficult philosopher to comprehend. It is all too easy to fall into an oracular mode of presentation and to become obscure in that needless way of which one suspects Heidegger himself on many occasions. Seidel avoids these dangers admirably. His is a clear and careful, reasoned and unassuming account of Heidegger's views concerning the pre-socratics (...) and the historical fate of Being. His book should be a help to the scholar of Heidegger's thought and a stimulating, though perplexing, introduction to his philosophy. If it fails in the ways I have mentioned, it succeeds in many more ways than I have had the space to mention. It is a positive contribution to the literature concerning Iteidegger. STEPI-IEI~"A. ERICKSOR" Pomona College FiIosofia dell'arte. By Nicola Petruzzellis. Terza edizione riveduta ed accresciuta. (Napoli, Libreira Scientifica Editrice, 1964. I6~ pp. 642.) E' una terza edizione ma in cui l'ampiezza delle aggiunte ~ tale da far sl che non si possa parlare di un rifacimento soltanto perch~ i criter~ fondamentali dell'indagine tentata dall'autore (ed integrata dal felice volume su L'estetica dell'idealismo) sono rimasti gli stessi. Ma quello che prima era soltanto un motivo tematico s'~ sviluppato in una vogorosa e posscnte sinfonia, specie se ci si riferisce al panorama dell'estetica contemporanea, che, con ampiezza di vedute e spregiudicata freschezza d'informazione---integrando e continuando le note storie dell'estetica e della critica dello Zimmermann, dello Schlaser, del Bosanquet, del Croce e del Wellek--il Petruzzellis traccia all'inizio del libro "I1 panorama dell'estetica contemporanea, col quale si apre il volume---avverte--non vuol essere un'esposizione manualistica, e tanto meno un repertorio bibliografico pifl o meno completo, ma uno strumento d'indagine.... e vuo|e altresl fornire all'attento lettore le ragioni storiche e critiche deUe posizioni conclusive alle quali siamo pervenuti e dei consensi e dissensi in esse impliciti" (p. 6). II quadro ~ davvero completo, non solo in riferiment~ all'Italia, ch~ l'autore felicemente riassume e criticamente definisce, rendendo giustizia alle legittime esigenze di ognuno, le ricerche estetiche de Croce e Gentile, di Carlini e di Guzzo, di Stefanini e di Aliotta, di Rensi e di Baratono, di Carbonara e di Della Volpe. Il Petruzzellis 6 e~uriente anche circa le analisi sottili (che si ricoUegano all'esttismo ed al moralismo di SSren Kirkegaard) condotte intorno all'arte da Martin Heidegger e da Karl Jaspers, da Gabriel Marcel e da Jean Paul Sartre, mentre acutamente illustra quelle--ispirate ad un esistenzialismo positivo--di Nicola Abbagnano. Meno note le concezioni estetiche di Nicolai Hartmann e quelle fenomenologiche del Banff, del Morpurgo Tagliabue e del Dufrenne, sicch~ si deve dar atto al Petruzzellis della benemerenza d'averle minutamente illustrate, cosl come ha fatto con il problematicismo estetico di Ugo Spirito e del suo discepolo Armando Plebe. Sottilissima ~ poi l'analisi dei riflessi sulla filosofia dell'arte di correnti speculative ehe oggi (forse ~ effetto di moda) occupano, dal neoempirismo al marxismo, il palcoscenico culturale. Ms se tall correnti si agitano e si dimenano con notevole fracas~o in altri campi, penetrano solo furtivamente nel giardino delle Muse. Percib c'~ voluta tutta la paziente intelligenza del Petruzzellis per presentarci le riflessioni sull'arte (assai poco divulgatc specie in Italia) di John Dewey, di I. A. Richards, di Charles Morris, di B. C. Heyl, di Ernest Cassirer, di Susanne K. Langer e di GySrgy Luke. Quest'ultimo, in veritY, a differenza dei precedenti (mi riferisco sempre al solo lato estetico), ~ alquanto famoso, peraltro in effetti mal noto, ch~ la sua fortuna, dovuta prevalentemente a contingenti motivi politici, fa sl ch'egli sia pi~ citato che effettivamente letto. Un posto particolare in questo gran quadro il Petruzzellis assegna poi alle indagini semantiche di Guido Calogero e soprattuito a quelle penetranti ed acutissime di Antonino 296 HISTORY OF PHILOSOPHY Pagliaro, mentre sviscera con intelletto d'amore il contributo estetico arrecato da grandi contemporanei ispiratisi alla Scolastica quali Maritain, Petit e Gilson. Quest'adesione alle loro vibrazioni spirituali ci svela il profondo motivo animatore di questa: Filosofia d;ell'arte che scritta "nel momento pi... (shrink)

Men think in terms of models. Their sense organs abstract the events which touch them; their memories store traces of these events as coded symbols; and they may recall them according to patterns which they learned earlier, or recombine them in patterns that are new. In all this, we may think of our thought as consisting of symbols which are put in relations or sequences according to operating rules. Both symbols and operating rules are acquired, in part directly from interaction (...) with the outside world, and in part from elaboration of this material through internal recombination. Together, a set of symbols and a set of rules may constitute what we may call a calculus, a logic, a game or a model. Whatever we call it, it will have some structure, i.e., some pattern of distribution of relative discontinuities, and some “laws” of operation. (shrink)

This essay develops a theological naturalism using Gordon Kaufman's nonpersonal idea of God as serendipitous creativity in contrast to the personal metaphorical theology of Sallie McFague. It then develops a Christian theological naturalism by using Kaufman's idea of historical trajectories, specifically Jesus trajectory1 and Jesus trajectory2. The first is the trajectory in the early Christian church assuming a personal God in the framework of Greek philosophy that results in the Trinity. The second is the naturalistic-humanistic trajectory of creativity (God) that (...) evolves from nonpersonal interactions in the universe and life to creativity in persons and is manifested in Jesus as love. This is elaborated further with Dean Keith Simonton's Darwinian understanding of genius and Marcus Borg's analysis of Jesus as Jewish mystic, teacher of alternative wisdom, and nonviolent resister to the domination system of the Roman Empire. What makes Jesus a religious genius is his exemplifying unconditional, universal love—a new mode of creativity (God) that has evolved from nonhuman to a human form. (shrink)

Discusses the purpose of philosophy, the doctor-patient relationship, immorality, religion, and the role of the philosopher.

In a triad of practice manuals collectively titled _The Process of Meditation_ (_Bhāvanākrama I, II, III_), the eight century Indian Buddhist philosopher Kamalaśīla singles out _vipaśyanā_ (insight meditation) to be of particular importance on the early stages of the Buddhist path. This paper provides a reconstruction of _vipaśyanā_ based on how it is depicted in that work. I make two primary claims. First, _vipaśyanā_ is a technique for facilitating the direct perceptual ascertainment of a select set of properties, and second, (...) it accomplishes this by reconditioning the practitioner’s conceptual habitation. I further enrich this reconstruction by suggesting a series of stages that a practitioner progresses through, based on a list of intrinsically and extrinsically epistemic cognitions that Kamalaśīla gives in his _Commentary on the Compendium on Reality_ (_Tattvasaṃgrahapañjikā_). I end the paper with a potential method to use during meditation for altering one’s conceptual habitation. Kamalaśīla does not explicitly state these claims, but they can be inferred based on the theories on cognition found in both Kamalaśīla’s other works as well as the works of the Pramāṇavāda philosophers who influenced him. This reconstruction of _vipaśyanā_ thus remains consistent with Kamalaśīla’s own philosophical commitments, and is, I argue, the best way to explain the cognitive function of _vipaśyanā_ given those commitments. (shrink)

[A communicating society as a transcendental precondition of the social sciences; ].

The question is broadened from isomorphism to invertible transformation and optimal representation. Motivations are drawn from image compression but with an emphasis on object segmentation. Filling-in is considered as the phenomenal side of the binding process with back-surface filling-in being important. Finally, re-normalization of local filtering by globally integrated context is emphasized.

Bd. 1. Von der Antike bis zur Aufklärung.

L’article met en évidence que l’« art de la prudence » que Baltasar Gracián propose dans son Oráculo manual renoue avec les méthodes de l’ars vitæ et de la prudentia tactique que les penseurs gréco-latins de l’Antiquité avaient développées, en se servant souvent de formules frappantes, maximes et adages. Les aphorismes de Gracián puisent dans le riche trésor de cette sagesse pragmatique, empruntant tout autant les traits d’un certain stoïcisme que d’habiles conseils d’« adaptation » et de « dissimulation ». (...) Les éléments de cet « art de la prudence » proviennent de quatre domaines différents : ouvrages philosophiques, notamment Sénèque, Épictète et Plutarque ; littérature gnomique, telles les sentences des Sept Sages de Grèce ou celles de Publilius Syrus ; écrits satiriques, surtout Martial et Perse ; et réflexions d’ordre politique et moral de Tacite. (shrink)