Проект "позитивної філософії" Ф. В. Й. Шеллінга
The general bases of Schelling's "positive philosophy" are examined. Particular attention is paid to the problem of "positive" and "negative" philosophy contact in the theory of the thinker.
More...We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
The general bases of Schelling's "positive philosophy" are examined. Particular attention is paid to the problem of "positive" and "negative" philosophy contact in the theory of the thinker.
More...
What we understand as the logic of Hegel’s philosophy of right refers on the one hand to (1) the idea of the good=the practical idea=action, an act as a practice. On the other hand, it refers to (2) the method, i.e. the absolute idea which, according to Hegel, realizes the practical idea in a true way. Without a more direct insight in the phenomenological and logical path of consciousness to the absolute knowledge and absolute idea, we will demonstrate that for Hegel philosophy of right does not have his “own” practical method. The practical idea, on the contrary, could be defined by the absolute idea, so that for Hegel the absolute idea is the method of the philosophy of right.
More...
This paper investigates the relationship between Hegel's critique of historical school of law from his Elements of the Philosophy of Right and his critique of Niebuhr's critical-historical writing, carried out within his Lectures on the Philosophy of World History. On the one side, in Elements Hegel has criticized attempts of historical school of law to substantiate law and institutions on the ground of history. In that respect, Hegel attempted to show that it is not possible to justify legal norms on the ground of positive law and history, and how philosophical reflexion is neccesary. On the other side, through his Lectures on the Philosophy of World History, Hegel has been criticising Niebuhr's attitude towards history of roman constitution and law, and he has tried to indicate how historical reflexion could not rest only on itself alone. Therefore, it could be concluded, that Hegel's critique of Niebuhr, from his Lectures, is complementary with his critique of historical school of law from his Elements – if first were critique of juridical engagement of history, second was critique of critical historians engagement of right.
More...
The article examines the genesis and development of mythological thought of F. W. J. von Schelling, representative of the German philosophical culture at the end of XVIII – XIX century. Myth is examined through the prism of the basic stages of creative evolution of the German thinker.
More...
The article is devoted to philosophical and religious aspect ratio of internal and external to the person. The concept of "internal" and " external" occupy a special place among the characters, which thoughts about everything that happens in a mythological-semiotychny process.
More...
Arnold Berleant shares much in common with John Dewey. His notion of aesthetic engagement, which is central to his philosophy of art, is, like Dewey’s concept of “an experience,” an attack on dualistic notions of aesthetic experience. To the extent that Berleant and I are both Deweyans, we agree that we need to turn from the art object to art experience. Art is what it does in experience. Yet appreciative experience of art cannot happen without, at some point, focusing on the art object as such, and this means bracketing context. Engagement is important, but so too are contemplation, disinterestedness and distance. Contemplation, for example, is a moment both in the creative process and in the process of appreciation. Moreover, following Brand and Gracyk, it will be argued in the present paper that only through toggling between contemplation and engagement can we obtain a full experience of art, nature, or of the everyday.
More...
Ever since Strawson’s The Bounds of Sense, the transcendental apperception device has become a theoretical reference point to shed light on the criterionless selfascription form of mental states, reformulating a contemporary theoretical place tackled for the first time in explicit terms by Wittgenstein’s Blue Book. By investigating thoroughly some elements of the critical system the issue of the identification of the transcendental subject with reference to the I think will be singled out. In this respect, the debate presents at least two diametrically opposed attitudes: the first – exemplified in the works by Hacker, Becker, Sturma and McDowell – considers the features of the I think according to Wittgenstein’s approach to the I as subject while the second, exemplified by Kitcher and Carl, criticizes the various commentators who turn to Wittgenstein in order to interpret Kant’s I think. The hypothesis that I will attempt at articulating in this paper starts off not only from the transcendental apperception form, but also from the characterizations of empirical apperception. It may be assumed that Kant’s reflection on the problem of self-identification lies right here, truly prefiguring some features of Wittgenstein’s uses of I, albeit from different metaphysical assumptions and philosophical horizons.
More...
Philosophy trying to grasp the Universe as a whole may make all kinds of opinions that a human may encounter its own subject. This shows that philosophy may have unlimited content in terms of the subject. Therefore, philosophy can reveal its presence wherever a human is found. Cinema is one of these areas. Although cinema has the power to establish and show a totally new world, apart from the known world and creatures in this world, it has never given up human characters. In this respect, thinking in a humanistic way in cinema may be realized through various philosophers, and Hegel, which has an important place in the history of philosophy, can be appropriate for being under consideration in cinema as totally a people-oriented philosopher. Therefore, to assess his ‘dialectical method’ and ‘the master-slave dialectic’ that forms a basis of this method in cinema constitutes the purpose of this study. In this context, Spartacus (Stanley Kubrick, 1960) was analyzed in this study in terms of its compliance with the master-slave dialectic within the framework of Hegel’s dialectical method (phenomenological method).
More...
This paper pursues transformation of Kant's definition of the category sublime in post-Kantian aesthetic reflexion. Finding this line of thinking (Herder, Schelling) allows not only present relevant approaches to the whole history of the aesthetic category, but also to show the platform for new thinking not only in aesthetic discourse, but wherever the sublime enter today at the core of interest (art, ethics, etc.).
More...
The gravity of freedom, as one of the main features and privileges of Kant’s genius, can be verified by the fact, according to which his artistic creation reveals itself within the so-called Beautiful, Free Art. Despite all that, the work originates from reflections, which present themselves as reasons to reassess the main themes and characteristics in Kant’s esthetic theory. In the paper, I deal with the analysis of a narrowed down understanding of genius; i.e. by interpreting freedom as ‘solely’ the liberation from rules of art creation and at the same time, in respect to Kant's conception of disinterestedness, from all outside-art objectives. In respect of concepts of genius specified by Kant, we can ask ourselves about the issue at hand; is it even possible for a genius to be unsatisfied with the mechanics of his own genius, in other words him being a genius per se.
More...
V treťom čísle Organonu F r. 2004 uverejnil I. Hanzel odpoveď na niektoré moje kritické poznámky. Z jeho reakcie vyplýva, že sa rozchádzame a j naďalej vo viacerých otázkach a keďže nejde o spor iba dvoch jednotlivcov, ale a j o hodnotenie Heglovho učenia a o prístup k niektorým dôležitým otázkam logiky a metodológie vied, považujem za potrebné v ďalšom príspevku na to upozorniť.
More...
The aim of the present paper is to describe the fundamental epistemic ruptures, which occurred during the history of physics. Our approach is based on the reconstruction of the changes in the formal language of a particular physical discipline. We take into account aspects like the analytic, expressive or explanatory power, as well as analytic and expressive boundaries. One of the main results of our reconstruction is a new interpretation of Kant’s famous antinomies of pure reason. If we are prepared to relativise some of Kant’s antinomies, and instead of ascribing them to reason as such we relate them to the language of physics, it is possible to show, that these antinomies are relevant even for modern physics. Taking the form of a phenomenon, that we call the expressive boundaries of language are the antinomies a universal feature of all physical theories. This shows, that Kant in his antinomies pointed to a remarkable epistemological fact.
More...
The paper deals with the concepts of measure and measurement from the point of view of philosophy as well as natural and social science. First, Hegel´s approach to these concepts is analysed. Then Hegel´s concepts are compared to Marx´s economic works where the concepts of external, inherent and manifest measure are exemplified. Finally, Newton´s Principia are compared with Marx´s economical works and their similarities and differences are outlined.
More...
The dialectical concept of revolution emphasizes its dual character. Both in the conservative (de Tocqueville) and socialist (Lukács) versions, the revolution is a testimony to historical continuity and at the same time its violent rupture. The purpose of this essay is to capture this ambiguous phenomenon using Catharine Malabou’s concept of plasticity. Plasticity, as a contemporary, post-deconstructive formula of the Hegelian Aufhebung, is passive/active formation, destruction of form and its preservation at the same time. Its essence is the same as the essence of revolution, both in the writings of de Tocqueville and Lukács. However, such ambiguity of the revolution can be interpreted as an expression of its defeat. Its entanglement in the past condemns it to unproductive opportunism, its connection with the future - to empty messianism, and the search for mediation between these extremes seems to be endless. And if postmodernity is troubled by this fiasco, then at least one aspect of the idea of revolution triumphs - a certain way of thinking about it, speculation or dialectics as such.
More...
Analyzing Hegel's youthful poetic endeavours, the author follows the evolution of the philosopher's view on the classic ideal. The evolution is better articulated in Hegels's early writings than in his pot try, but the latter seems to be the cristalization of the views that were later elaborated in treateases. The alliance between poetry amd philosophy was shown, all the way to personal union of poet and philosopher in one person like Schiller or Goethe; and the fate of Holdorlin and Hegel's friendship was described. Unlike Hölderlin, Hegel's interest in the classic, and his own poetic acts were not poetic in nature, but their aim was understanding and solving the contemporary social conflicts and clashes, namely to introduce the ancient polis into the contemporary world. In this sense, Hegel's Hölderlin's and Scheling's comprehension of poetry and its role in the contemprary world was compared by author.
More...
Neka u ovom trenutku nešto bude rečeno o njemačkoj filozofiji a time i o filozofiji uopće. Naš povijesni opstanak [Dasein: tu-bitak] iskušava sa sve većom tjeskobom i jasnoćom da se njegova budućnost izjednačuje s golim ili-ili spasenja Europe ili njezina razaranja. Mogućnost pak spasenja Europe zahtijeva dvoje: 1. Čuvanje europskih naroda pred azijatskim 2. Prevladavanje njihova vlastitog iskorjenjivanja i rascjepkanosti.
More...
Nowadays still not well known, Konrad Fiedler was an extremely original philosopher of art and an inspiring follower of Kant. He created a theory of art’s autonomy and his pioneering thought contributed not only to the formalist theory of art but also and foremost to creating an epistemology that later became a foundation of theories of art stressing the uniqueness of seeing and raising the status of visual representations. The artistic way of seeing, according to him, undiscloses the principles of how the world emerges from nothingness of chaotic sensations – it is the way of seeing that presents „pure visibility”. According to Fiedler, this way of seeing is the basis of each true artistic creative act.
More...
This paper discusses the notion of conscience from a very broad historical perspective, but the author tries to clarify it by taking into consideration the points of view of only those thinkers that he considers crucial for understanding the meaning of the notion of conscience, and the way it has changed from Socrates to Nietzsche. The analysis begins with St. Paul’s hypotheses as interpreted by Joseph Ratzinger. After that, the author refers to Socrates’ notion of daimonion. The thesis moves on to discuss Hegel’s understanding of conscience, where conscience is emphasized as a component of modernity, but at the same time Hegel is also pointing at the very limit of conscience: that the essence of conscience lies in its subjectivity and this is where, according to Hegel, there is a possibility of conscience to transform into evil. Therefore, Hegel holds that the victory of Socrates perspective resulted in the reign of the particularity of purposes and interests in Athens. It is what has brought about the decline of Athens! Therefore, subjectivity should be within what Hegel calls “ethical life” (Sittlichkeit). Nietzsche observes the problem in a very different way: he relates conscience to the memory of “the godlike structure of our being”. Regardless of Nietzsche’s criticism of Socrates, the author concludes that, with both of them, the notion of conscience corresponds to the understanding of power and responsibility to self.
More...
The subject of the work is an attempt to analyze the notion of dignity in legal sciences, especially in legal theory and philosophy of law. The author distinguishes autonomous and heteronomous version of the notion in question. The first way of conceiving human dignity, assumes that dignity, i.e. the worth of human life, is fully independent of social conditions in which people live their lives. This way of conceiving dignity epitomizes Kant’s philosophy of moral autonomy as immanent trait of every human being. The second way of conceiving human dignity assumes that the worth of human life is fully dependent of social conditions in which people live their lives. Consequently, it is taken for granted that there are social conditions in which people can lose dignity as contingent trait of human being. In this case, in order to get back lost dignity, people ought to change social conditions by way of social revolution. This way of conceiving dignity epitomizes Marxist philosophy of alienation. The author tends to point out, that different way of conceiving dignity is followed by serious legal consequences.
More...
The contribution have several aims. In addition to the discussion that follows variability of the concept of landscape and its relationship to the category of environment (particularly with regard to the urban environment, where it appears the concept of environment as a more adequate) the contibution focuses on the specific problem of the current aesthetics: transformation of aesthetic reflection of the city as a whole, which is realized by the contemporary aesthetics and philosophy through the Kantian aesthetics in Critique of Aesthetics Judgement. Elaboration of opinions of Marie Rubene and Miroslav Marcelli leads us not only to summarize the conclusions of recent theses, but further to reflect the transformation of (mega)city to a country, specific environment free from original effectiveness, where "human returns to natural and becomes a sort of huge subject, which is fluid in its inside ..."). Reflection is primarily guided by the category of sublime as an explanatory framework.
More...