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Bd. 2. Erkenntnislehre und Metaphysik -- Bd. 3. Philosophische Anthropologie -- Bd. 4. Philosophie und Geschichte -- Bd. 5. Varia I -- Bd. 6. Varia II.

This paper develops a critique of the concept of ‘ethical identity’ as this has been used recently to distinguish between ‘cynical’ and ‘authentic’ forms of corporate responsibility. Taking as our starting point Levinas’ demanding view of responsibility as ‘following the assignation of responsibility for my neighbour’, we use a case study of a packaging company—PackCo—to argue that a concern with being seen and/or seeing oneself as responsible should not be confused with actual responsibility. Our analysis of the case points first (...) to the allure of programmes of strategic corporate responsibility and the ways in which, through identification, they can provide a tacit form of moral sanction to managers in their aggressive pursuit of profit. It then contrasts the responses of different managers to negative staff feedback to illustrate the difference between managers’ attempts to defend their identity of being ‘responsible’ managers, and responsible conduct itself. The paper concludes that a potent danger of programmes of corporate responsibility is that they allow managers to deceive not just others, but also themselves in relation to the exercise of responsibility. (shrink)

Produced in 1961 using film shot by official war photographers provided by the Australian War Memorial in Canberra, this 26 part series covers every major ...

To celebrate the 270th anniversary of the De Gruyter publishing house, the company is providing permanent open access to 270 selected treasures from the De Gruyter Book Archive. Titles will be made available to anyone, anywhere at any time that might be interested. The DGBA project seeks to digitize the entire backlist of titles published since 1749 to ensure that future generations have digital access to the high-quality primary sources that De Gruyter has published over the centuries.

This essay explores the film collaborations of Franco-Egyptian filmmaker Safaa Fathy and Franco-Maghrebian philosopher Jacques Derrida, offering an extended reading of their court-métrage, Nom à la mer —a film about language, exile, and loss, made by a pair of wanderers both keenly interested in the spectral effects of translation as they haunt the filmic medium. Nom à la mer is a cinematic rendering of the French translation of Fathy's original, Arabic-language poem, recited by Derrida in voice-off as Fathy's camera focuses (...) on a single, highly overdetermined site in a small Andalusian town. This essay reads the film as both an artefact of the pathos of translation and as a scene of valediction, played out by both collaborators on grounds simultaneously intimate and historical. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 208 Seiten: 177-201.

[1] Die Mathematik und die Wissenschaften.--2. Die Mathematik in der Kunst.

The postwar era saw a remarkable transformation of international law, from a loose arrangement of agreements designed to reduce collective action problems to a normative commitment to the inherent dignity of the individual person. Seyla Benhabib’s new book shows the extent to which this transformation was a matter of deeply personal experiences. Understanding this dialectic between the personal and the universal is crucial for understanding not just the genesis of contemporary normative international law, but also its prospects for survival. This (...) article focuses on Benhabib’s adoption of the process of jurisgenesis as an exemplary form of this dialectic, ending with a critical reading of Hannah Arendt’s attempt to contribute to this process. (shrink)

A “third generation” of critical theory can no longer be said to be composed of anything as cohesive and unified as a “school.” Critical theory today continues across a much more diverse spectrum of different philosophical approaches, influences, and questions. Its adherents are no longer united by national, geographical, or even linguistic ties, and do not necessarily even share the basic commitment to radical political change that characterized first generation critical theory. How, then, ought one to characterize the spectrum of (...) philosophers, social and political theorists, and literary critics who could be said to make up a “third generation” of the Frankfurt School? (shrink)