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Book review of: B. Skarga, Ortodoksja i rewizja w pozytywizmie francuskim, M. Pańków (eed.), ser. Dzieła zebrane Barbary Skargi, vol. 3, Wydawnictwo Naukowe PWN – Fundacja na Rzecz Myślenia im. Barbary Skargi, Warszawa 2016, pp. 496.
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Filozofski, "žensko pitanje" (da upotrijebim ovo staro, krajnje neprikladno određenje) se ne može riješiti niti pomoću nove simbolizacije ženskosti niti uzdizanjem žene u entitet koji se opire simbolizaciji, u "nedjeljivi ostatak" procesa simbolizacije. Ovim drugim putem krenuo je Schelling, koji je "znao da izraz 'žena' ne može poteći iz načela. Ono što ne može tako poteći, treba opisati." Schellingov proboj iz logičke strukture stvarnosti (koju se može predstaviti kao idejni sustav) u Realno primordijalnih nagona (gdje nema dedukcije, može se tek ispričati priča) - i.e. njegov pomak od logosa ka mythosu - je dakle objava Ženskog.
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Kronologijski povod kao što je stodvadesetpeta godišnjica Hegelove smrti mogao bi navesti na ono što se naziva ocjenjivanjem. Ali je pojam ocjenjivanja, ako je uopće ikada nešto vrijedio, postao nesnosan.
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Nietzsche writes on many occasions about dance and body in a very affirmative way. Dance is for Nietzsche a metaphor for the ultimate nature of reality and the numinous, but also a concrete, embodied practice characterized by lightness, creativity and ecstatic reunion of man with man and nature. These features contain the therapeutic and the autopoietic character of dance. In this article we show how Nietzsche’s dance metaphor corresponds with the view of reality in contemporary science and delineate the connection between the ecstatic Dionysian dance and the appearance of the modern dance on the beginning of the 20th century that was a precursor of dance therapies. Nietzsche’s affirmation of the body goes beyond the scope of its rehabilitation after a long history of religiously based animosity towards the body. For him body as a totality has ontological and methodological primacy over mind or soul. Nevertheless he does not understand the body in Cartesian conceptual frames dominant in his time. We see him rather as a forerunner of the understanding of body developed later in philosophy (phenomenology of embodiment) as well as in phenomenological and body oriented psychotherapies, organismic and somatic psychology, and holistic, salutogenetic medicine. We view Nietzsche’s praise of dance and body in the light of his rebellion against Christianity both as a metaphysic and a form of life and his admiration for the pre-Socratic Greek culture and its Dionysian qualities.
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The primary purpose of this paper is to show how the main Nietzche’s ideas got their expression in the 20th century avant-garde music. In the first and introductive part of the paper, after the short comment on Nietzche’s »adventure« with music composing, we deal with the artist’s metaphysics of The Birth of Tragedy, which sets the music into a very high position as an expression of will (worldly primal One), more authentic than any verbal communication, which reveals the Dionysian nature of being in constant becoming. In the next chapter we tried to interpret the meaning of Nietzche’s deliberations on his contemporary music situation, referring to the criticism of late Wagner and the statements that testify about the philosopher’s ambiguous relationship with romanticism in general. With exhaustive use of concrete examples, the central two parts of the article prove that after the Nietzche’s death his subversive ideas echoed throughout the avant-garde music, starting from the compositional activities of Arnold Schönberg and his co-workers. Nietzche’s conception of destruction and re-evaluation of all values becomes the permanent part of the avant-garde programs even when that was not explicitly stated, so we indicated in baselines which musical values, since the establishment of Second Viennese School, have gradually disappeared and were replaced by others. In the microtonal music of György Ligeti we came to recognize Nietzche’s idea of becoming, and in the minimalism of Reiley and Reich the related idea of eternal recurrence. In the final and conclusive part, just after the response on possible objections that can be addressed to this paper, we emphasize that music is not only able to carry ready metaphysical conceptions, but it can also prepare us for asking the fundamental philosophical questions.
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Iz sklopa vodećim razumijevanja pojma dijalektike u istoriji filozofije autor problematizuje dijalektiku u Marksovom djelu. U prvi plan interpretacije se iz tog sklopa izvlači problem odnosa Marksovog prema Hegelovom pojmu dijalektike, što je zahtijevalo obimniju obradu ideje dijalektike kod Hegela kao «kretanja samih stvari», momenta onoga logičkog i elementa filozofske spekulativne metode. S te osnove se tematizuje Marksov misaoni dug Hegelu, ali i ključni momenti njegovog vlastitog mišljenja, razvijanog najčešće upravo u kritičkim objekcijama na Hegelovu filozofiju. U tom se svjetlu pokazuje specifičnost Marksovog pojma dijalektike kao moći negativiteta u samoj zbiljnosti, kao modela kritike ideologije i kao filozofsko-naučne metode.
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Haeckel’s positions on theory of development, his relation towards Darwin and more immediate, Darwin’s concept of evolutionary theory, base the essential foundation of marxist interpretation of then modern biology, and through it, the theory of evolution. From the philosophical positions of dialectical materialism in the area of organic nature that standpoint has been carried out by Friedrich Engels, foremost in the fragments and articles from the written legacy for the unfinished project called Dialectics of nature, and of course, in the text Anti-Dühring.
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Marx’ thinking of capital as totality and its immanent controversies, according to many authors, belongs to the past, and, because of that, his way of thinking is considered non-effective. The question is: is it so or not, because capital, in the shape of globalization manifests the richness of its inherent controversies, which could be reflected from the Marx’s intellectual position. According to my opinion, Marx’s intellectual position. According to my opinion, Marx’s reflection of the controversies of capital in his works Foundations of the Critique of Political Economy and Critique of Political Economy are much up-to-date, so it should be seen through the dimension of ubiquitous eulogy of globalization, which announces its ultimate possibilities, in the light of its necessary revolution.
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The present paper is devoted to the contribution of the eminent philosopher and mathematician Bernard Bolzano to the problem of continuum. The paper consists of two parts. In the first part it is compared the conception of Bolzano about the continuum with that of Aristotle. Bolzano’s view includes two essential moments: first, that the continuum is composed of noncontinual elements (points), and second, that two points which are at a certain distance one to other cannot compose a continuum. Aristotle has two definitions about continuity: in the first one he in fact develops the idea of continuity as a physical connectedness, and in the second one he emphasizes the infinite divisibility of the continuum. The second part of the paper gives an evaluation of Bolzano’s contribution to the problem of continuum in comparison with the achievements of the contemporary mathematics on the problem. There is a tendency to consider continuity in two senses: as an infinite divisibility and as a connectedness. The contemporary topology (as a branch of mathematics) develops the concept of continuity in the second sense. Bolzano’s conception bears in some respects the resemblance to the contemporary definitions in topology of the concepts of closeness, neighborhood, isolated point, etc. His definition about the continuum can be considered as a remote precursor of the contemporary topological definition of continuity as connectedness.
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The author analyses the impact the changes in theoretical culture have exerted on the development of aesthetics during the 19th and 20th centuries. The three paradigms of theoretical thought - metaphysical, scientistic and postmodernist are subjected to detailed examination. Special attention is given to a clarification of the consequences the above-mentioned paradigms have provoked in the theoretical foundations of aesthetics. The detection of ties between aesthetics and various modes of the theoretical apprehension of reality contributes to the representation of changes in aesthetics in the wider context of developing European theoretical culture.
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In this article the speculative premises of Scheler’s ethics are considered and the decisive influence of Husserl’s “Logical investigations” on them is shown. Ideas of Husserl, important to Scheler’s ethics, are considered in detail. It is shown that in his ethics Scheler supplanted Husserl’s intellectualism by the “commitment to the world”. He regarded Husserl’s theory as having the “remnants of ill-feeling towards the world”. Scheler’s concept of “ordo amoris” is analyzed as the most characteristic sign of his rejection of Husserl’s phenomenology.
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The Musar idea of Israel Salanter is an elitist rabbinic project of education, parallel to the German Bildung or the rationalistic Enlightenment ideal of the educated person in French and Anglo-Saxon modern cultures. The very heart of musar teaching is the control over the inner deepest “roots of the heart”, especially those which normally escape from consciousness, by means of a method proposed by Salanter. In such a way, it is expected to reach an ideal of Jewishness.
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In this text we offer an overview of Festini’s works on history of Croatian philosophy. The article is divided in five parts in which we discuss Festini’s attitude towards Croatian Renaissance philosophers, eighteenth and nineteenth century Croatian philosophers, and two philosophers from the twentieth century (Vladimir Filipović and Marija Brida). Majority of Festini’s texts were published in the journal Prilozi za istraživanje hrvatske filozofske baštine.
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The aim of the work is to investigate live and creative way of the famous artist, archeologist, philosopher, public figure of the last quarter of the XIXth – the first part of the XXth century Mykola Rerikh, to comprehend the dynamics of the general cultural processes in the specified period that influenced his works and world-view. Methodology of the research is in the application of the historical and cultural, systematizational, biographical, cultural and theoretically generalizing methods. Methods marked let present the dynamics of the changes in Mykola Rerikh‘s world-view in the context cultural and historical processes of the development of the world civilization at the end of the XIXth – the first part of the XXth century and systematization of separate phenomena of the world culture. Scientific novelty is conditioned of the wide usage of the biographical methods, basing onto the analysis that unites ideals of the world culture and Mykola Rerikh‘s fortune. Conclusions. Having analyzed Mykola Rerikh‘s cultural activity we prove that it becomes obvious his affection to humanistic principals. He thinks a lot about culture, protection of the cultural treasures, high spiritual purpose of art, about cultural cooperation of peoples. Culture forms on the basis of unlimited cognition, educated work, tireless creativity of man and his noble life. On the top of the Culture is a real selfless love for humanity and the Motherland, for nature and each person as the highest value.
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Georg Simmel is an excellent example of a “total intellectual”, in other words, according to Pierre Bourdieu, a thinker who crosses the boundaries between disciplines and fields of scholarship, or who transfers knowledge between various fields of activity. Simmel freely combined sociology, philosophy, economics, fine art studies, literary studies, and so forth. On the one hand, this attitude lay the foundation for his exceptionally innovative analyses and led to the establishment of new paths of thought. On the other hand, it was met with strong criticism from contemporary intellectuals. Simmel thought “beyond borders” not only in conducting his analyses but also in choosing the language in which to present them. His preferred form of expression was an essay in which he would use many rhetorical devices specific to literary language. Both the nature of Simmel’s analyses and the innovative way in which he presented them contributed to the fact that his works have continued to this day to inspire intellectuals in many different fields of the social sciences and humanities. In this article, the author explores the phenomenon, focusing on both Simmel’s thinking “beyond borders” and contemporary ways of interpreting those ideas.
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The author reviews the Hegelian construction of sense knowledge: the empirical content of the object and its general character. He argues that Hegel’s standpoint has to be to some extent compatible with the basic thesis of epistemological realism on the sense consciousness level. Yet at the same time Hegel’s concept of experience denotes a conceptual character of perceptual contents. This is possible thanks to a gradual process of recognizing the non-empirical elements of consciousness, as well as to the pattern in which the reality of the experience is feasible only within the ideal reality of Geist thinking. However, in the process of experience such an understanding of the Hegelian standpoint requires distinguishing improper reality (I line) from proper reality (II line). The interpretation proposed in this article appears to be well tuned with Hegel’s conception of a synthesis combining respective types and levels of knowledge, including sense knowledge.
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Søren Kierkegaard existed only through his work, which comprises his literary and philosophical pseudonymous oeuvre, the Journal and the theological bodies of work. When unable to nourish this vivid production anymore, he launched his attack against the church in a periodical called the Instant, an effort he could not sustain for too long. In the midst of the attack he fell violently ill in the street in Copenhagen and died in hospital, without having previously been diagnosed with a serious or fatal illness. On the other hand, his body has always been rendered as a failure, even as a missing element in some passages that reveal symptoms of different kinds of hypochondria. These are due to what he confesses to be an “excess of spirit”, a hyper-spiritual subject that enacted a peculiar melancholic and incorporeal condition. The failing body pertains to the lack of an effective body that could sustain existence and at the same time enforces the solution to the question concerning the unavoidable ek-sistence in anxiety (Heideggerian avant la lettre) by way of an incorporeal body of writing. In this paper I will point out the connections between the function of Kierkegaard's writing as a vehicle for shaping identity and the metaphors of the failing body, using a psychoanalytical approach, while trying at the same time to keep close to Kierkegaard’s own style of allusions and bitter irony as an attempt to save the unique subject by writing.
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The paper brings a challenge to Cartesian dualism, while introducing some under-explored manuscript remarks from Wittgenstein’s middle period, which are methodologically and thematically akin to some passages from Merleau-Ponty’s early period. Cartesian dualism relegates pain to mental awareness and location to bodily extension, thus rendering common localizations of pain throughout the body as unintelligible ascriptions. Wittgenstein’s and Merleau-Ponty’s attempts at doing justice to common localizations of pain are mutually illuminating. In their light, Cartesian dualism turns out to involve an objectification and a deappropriation of one’s body. Moreover, Wittgenstein’s unveiling a heterogeneous multiplicity of corporeal spaces (e.g. visual-space, tactile-space, feeling-space) rehabilitates the view, reinforced by Merleau-Ponty, that corporeal pain is intimately related to corporeal localization, while corporeal space is not part of the physical space of things.
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The paper offers an overview of the development of the concept of pain in the works of Friedrich Nietzsche beginning with the musical conception of tragedy in his first major work The Birth of Tragedy from the Spirit of Music published 1872 up until the second edition of The Gay Science in 1886. It distinguishes between three periods in his thinking with regard to pain by taking into consideration both his published and unpublished works.
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