Over the last three decades Anthony La Vopa has extended his reach as an Enlightenment historian from Germany to England, Scotland, and France. Enlightenment Past and Present: Essays in a Social History of Ideas provides insights into all four contexts, with a view to understanding the Enlightenment's contours in spaces that were distinct but nonetheless shared in a European-wide engagement with a cluster of political, social, and cultural issues. The volume explores a wide variety of themes in the (...) formation of modernity, including the construction of a public, the emergence of modern feminism, the problematic legitimacy of marriage, the ideal and practice of friendship, patron-client relations, the conversational sociability of politeness, and the evolution of the essay as a genre. La Vopa aims to demonstrate in practice the new interest in restoring the social to intellectual history without falling back into reductionism. He throws a spotlight on a number of key texts in eighteenth-century philosophy. In several essays, La Vopa employs the resources of meaning in rhetorical cultures with thick social contexts to present Enlightenment texts not simply as print records, but as rhetorical performances with specific audiences. He also often intertwines contexts by focusing on biographical experience, using 'private' life traces such as diaries and other forms of correspondence, to enhance our understanding of published discourse. While drawing on the history of philosophy, the volume takes a decidedly more historical path through the canon, and includes essay reviews which take stock of developments in Enlightenment studies via critical appraisals of major recent contributions to the field. (shrink)

Revolutionary Antisemitism in Germany: From Kant to Wagner by Paul Lawrence Rose The Transformation of German Jewry, 1780-1840 by David Sorkin Jewish Self-Hatred: Anti-Semitism and the Hidden Language of the Jews by Sander L. Gilman.

Roughly eight years ago we met in Manhattan with Nick Phillipson to plan a new journal to be launched by Cambridge University Press. Two Americans who knew each and had worked together well, and who were largely in agreement about what MIH should accomplish. We were well aware of the quality of Nick's scholarship, of course, and had heard through the transatlantic grapevine that he was a great colleague. Still, we were more than a little apprehensive. What if Nick had (...) a totally different idea of the journal? What if the personal chemistry didn't work? Within an hour of our discussion we knew that we had ???lucked out??? on both counts. Readers familiar with Nick's work will surely agree that he has one of the sharpest and most imaginative minds in the discipline, and that he had been combining intellectual history with social and cultural history well before historians started making such a fuss about it. Manhattan was the right place to meet. An urban gentleman , Nick is a gourmet of awesome range and a sparkling conversationalist and raconteur. Lunch or dinner with him is an event. No one takes more care, or pleasure, in ordering a good bottle of wine. The subject of conversation need not be history; he is a lover of art and music, and has been very active in the cultural and civic life of Edinburgh, where he was a celebrated teacher at the university from 1965 to 2004. (shrink)

This book, first published in 2001, is a biography of the German philosopher Johann Gottlieb Fichte from birth to his resignation from his university position at Jena in 1799 due to the Atheism Conflict, this work explains how Fichte contributed to modern conceptions of selfhood; how he sought to make the moral agency of the self efficacious in a modern public culture; and the critical role he assigned philosophy in the construal and assertion of selfhood and in the creation of (...) a new public sphere. Using the writings and private papers now available in the Gesamtausgabe, the study historicises these themes by tracing their development within several contexts, including the German Lutheran tradition, the eighteenth-century culture of sensibility, the Kantian philosophical revolution, the politics of the revolutionary era, and the emergence of modern German universities. It includes a reinterpretation of Fichte's political theory and philosophy of law, his anti-Semitism, and his controversial views on gender and marriage. (shrink)

This popular selection of Wittgenstein’s key writings has now been updated to include new material relevant to recent debates about the philosopher. Follows the evolution of Wittgenstein’s philosophical thought from the Tractatus Logico-Philosophicus through to the Philosophical Investigations. Excerpts are arranged by topic and introduce readers to all the central concerns of Wittgenstein’s philosophy. Now includes a new chapter on ‘Sense, Nonsense and Philosophy’ incorporating material relevant to recent debates about Wittgenstein.

While the effect of humanitarian intervention on the recurrence and intensity of armed conflict in a crisis zone has received significant scholarly attention, there has been comparatively less work on the negative externalities of introducing peacekeeping forces into conflict regions. This article demonstrates that large foreign forces create one such externality, namely a previously non-existent demand for human trafficking. Using Kosovo, Haiti, and Sierra Leone as case studies, we suggest that the injection of comparatively wealthy soldiers incentivizes the creation of (...) criminal networks by illicit actors. We theorize further that the magnitude of increase in trafficking should be directly proportional to the size of the foreign force, with larger forces producing larger increases. We find that both hypotheses hold with varying levels of confidence across our three case studies. Despite the benevolent intent of peacekeeping missions, the possibility that they may contribute to human trafficking for the purpose of sexual exploitation runs counter to the spirit of such interventions. This is especially problematic given that trafficking rings, once established, may be adapted to provide weapons and narcotics, thereby planting the seed of further destabilization. (shrink)

Monetary intelligence theory asserts that individuals apply their money attitude to frame critical concerns in the context and strategically select certain options to achieve financial goals and ultimate happiness. This study explores the dark side of monetary Intelligence and behavioral economics—dishonesty. Dishonesty, a risky prospect, involves cost–benefit analysis of self-interest. We frame good or bad barrels in the environmental context as a proxy of high or low probability of getting caught for dishonesty, respectively. We theorize: The magnitude and intensity of (...) the relationship between love of money and dishonest prospect may reveal how individuals frame dishonesty in the context of two levels of subjective norm—perceived corporate ethical values at the micro-level and Corruption Perceptions Index at the macro-level, collected from multiple sources. Based on 6382 managers in 31 geopolitical entities across six continents, our cross-level three-way interaction effect illustrates: As expected, managers in good barrels, mixed barrels, and bad barrels display low, medium, and high magnitude of dishonesty, respectively. With high CEV, the intensity is the same across cultures. With low CEV, the intensity of dishonesty is the highest in high CPI entities —the Enron Effect, but the lowest in low CPI entities. CPI has a strong impact on the magnitude of dishonesty, whereas CEV has a strong impact on the intensity of dishonesty. We demonstrate dishonesty in light of monetary values and two frames of social norm, revealing critical implications to the field of behavioral economics and business ethics. (shrink)

Monetary Intelligence theory asserts that individuals apply their money attitude to frame critical concerns in the context and strategically select certain options to achieve financial goals and ultimate happiness. This study explores the bright side of Monetary Intelligence and behavioral economics, frames money attitude in the context of pay and life satisfaction, and controls money at the macro-level and micro-level. We theorize: Managers with low love of money motive but high stewardship behavior will have high subjective well-being: pay satisfaction and (...) quality of life. Data collected from 6586 managers in 32 cultures across six continents support our theory. Interestingly, GDP per capita is related to life satisfaction, but not to pay satisfaction. Individual income is related to both life and pay satisfaction. Neither GDP nor income is related to Happiness. Our theoretical model across three GDP groups offers new discoveries: In high GDP entities, “high income” not only reduces aspirations—“Rich, Motivator, and Power,” but also promotes stewardship behavior—“Budget, Give/Donate, and Contribute” and appreciation of “Achievement.” After controlling income, we demonstrate the bright side of Monetary Intelligence: Low love of money motive but high stewardship behavior define Monetary Intelligence. “Good apples enjoy good quality of life in good barrels.” This notion adds another explanation to managers’ low magnitude of dishonesty in entities with high Corruption Perceptions Index. In low GDP entities, high income is related to poor Budgeting skills and escalated Happiness. These managers experience equal satisfaction with pay and life. We add a new vocabulary to the conversation of monetary intelligence, income, GDP, happiness, subjective well-being, good and bad apples and barrels, corruption, and behavioral ethics. (shrink)

Corruption involves greed, money, and risky decision-making. We explore the love of money, pay satisfaction, probability of risk, and dishonesty across cultures. Avaricious monetary aspiration breeds unethicality. Prospect theory frames decisions in the gains-losses domain and high-low probability. Pay dissatisfaction (in the losses domain) incites dishonesty in the name of justice at the individual level. The Corruption Perceptions Index, CPI, signals a high-low probability of getting caught for dishonesty at the country level. We theorize that decision-makers adopt avaricious love-of-money aspiration (...) as a lens and frame dishonesty in the gains-losses domain (pay satisfaction-dissatisfaction, Level 1) and high-low probability (CPI, Level 2) to maximize expected utility and ultimate serenity. We challenge the myth: Pay satisfaction mitigates dishonesty across nations consistently. Based on 6500 managers in 32 countries, our cross-level three-dimensional visualization offers the following discoveries. Under high aspiration conditions, pay dissatisfaction excites the highest- (third-highest) avaricious justice-seeking dishonesty in high (medium) CPI nations, supporting the certainty effect. However, pay satisfaction provokes the second-highest avaricious opportunity-seizing dishonesty in low CPI entities, sustaining the possibility effect—maximizing expected utility. Under low aspiration conditions, high pay satisfaction consistently leads to low dishonesty, demonstrating risk aversion—achieving ultimate serenity. We expand prospect theory from a micro and individual-level theory to a cross-level theory of monetary wisdom across 32 nations. We enhance the S-shaped Curve to three 3-D corruption surfaces across three levels of the global economic pyramid, providing novel insights into behavioral economics, business ethics, the environment, and responsibility. (shrink)

De l’arrivée de Torelli à la cour de France en 1645 à la publication des quarante-neuf planches de l’ Encyclopédie (« THÉÂTRES » et « MACHINES DE THÉÂTRE ») en 1772, les machines de théâtre ont connu en France un processus de considération critique pour un art jusqu’alors minoré – au seul rang de « mécanique » – depuis les grandes figures de la philosophie grecque. L’intérêt suscité par la machinerie théâtrale chez les savants français fait écho, sur le plan (...) philosophique, au triomphe du mécanisme cartésien dont le déclin, prononcé définitivement dans le troisième quart du xviii e siècle par Rousseau et Diderot, annonce la mort d’une scénographie classique portée sur les plaisirs de l’illusion et le merveilleux mythologique. (shrink)

Apparu au tournant des révolutions industrielles comme une brèche dans l’idée dominante d’économie industrielle, le design, depuis quelques années, se voit affublé d’une multitude de qualificatifs : « écodesign », « design social », « design éthique », « design inclusif », etc. On peut dès lors se demander si cette tendance ne met pas en évidence une difficulté à comprendre ce qui pose problème dans le design « tout court » : ayant peut-être perdu sa force subversive, ce dernier (...) serait-il désormais parfaitement intégré aux forces productives? Existe-t-il une responsabilité propre au design? (shrink)

Définir la scénographie sous le règne de Louis XIV demande à s’éloigner d’une doxa l’associant à l’univers de la scène. Jeu du voir et du décrire, elle est la mise en scène d’un regard pour écrire, dessiner une réalité tridimensionnelle complexe, ce dont les exemples de Félibien et de Donneau de Visé rendent compte dans leurs manières de décrire Versailles et les spectacles à machines au début des années 1670.

El artículo plantea la actualidad y pertinencia de la Filosofía de la información de Luciano Floridi, considerada a la luz de las revoluciones científicas de Occidente y de la instauración de nuevos paradigmas, tanto en las ciencias como en la filosofía. La analogía con el “giro matemático” de la Modernidad permite establecer el alcance revolucionario de la obra de Floridi, cuya aceptación implicará superar el obstáculo epistemológico del escolasticismo, en función del dinamismo histórico inherente al progreso científico.

Introduction Il sera ici question de la corrélation entre l’érotique et l’historique, ou, comme on pourrait aussi le dire, entre la vie et l’esprit, et de leur intersection, qui nous est révélée dans le phénomène de la honte. Je traiterai de cette intersection m’intéressant dans un premier temps au rôle constitutif que joue la perception érotique chez le phénoménologue Maurice Merleau-Ponty. Si je souhaite souligner ce point, ce n’est pas seulement parce que cet aspect de l’œuvre de Merleau-P...

Traducción al español de Grafton, A. (1988). The Availability of Ancient Works. En Schmitt, Ch. B, Skinner, Q., Kessler, E. & Kraye, J. (Eds.),_ The Cambridge History of Renaissance Philosophy_. Cambridge: Cambridge University Press, pp. 767-791.

À rebours d’un progrès technique consistant à voir les logiciels de CAO/PAO (« Conception/Publication Assistée par Ordinateur ») comme une « augmentation » mécanique des possibilités créatives, nous proposons de considérer ce processus comme une accélération – voire comme une automatisation – de façons de faire traditionnelles. Alors que les designers utilisent au quotidien les mêmes logiciels, ont-ils pleinement conscience de leur histoire et de leurs implications? Comment cette tendance à la normalisation s’inscrit-elle dans l’histoire des transformations techniques induites par (...) le développement de la computation? Pour traiter ces enjeux, nous invitons à parcourir sous forme de courtes notices une série d’objets techniques (logiciels de création, machines, etc.), classés du plus standardisant au plus ouvert. Chacun de ces items comprend trois sous-parties : une description de son caractère standardisant, une critique des valeurs qu’il embarque, et des contre-emplois (antérieurs ou postérieurs) en art et en design. (shrink)

Cet article explore les enjeux des technologies blockchain dans le champ de la création (art, design, jeu vidéo, etc.) à travers le développement, depuis 2015, des « Non Fungible Tokens » ( NFT ) – à savoir la production d’un certificat numérique infalsifiable et décentralisé attaché à une entité numérique ou tangible. Mis en lumière depuis le début de l’année 2021 par une multitude de ventes aux sommes record et par le développement de places de marché spécifiques, les NFT soulèvent (...) des enjeux relatifs à la valeur, à la circulation et à l’exposition des productions artistiques et culturelles. (shrink)

EDMUND Husserl's Crisis was not only one of his most important formulations of an introduction to phenomenology, but also the inspiration for a plethora of studies that have helped shape the direction of thought in the twentieth century, from Maurice Merleau-Ponty's Phénoménologie de la perception to Jürgen Habermas's Theorie des kommunikativen Handelns. It is well known that the problematic surrounding the Crisis occupied Husserl during his last years, from 1934 to 1937. The first critical edition of these reflections was prepared (...) by Walter Biemel and published in 1954 as volume 6 of the Husserliana series bearing the title, Die Krisis der europäischen Wissenschaften und die transzendentale Phänomenologie. Eine Einleitung in die phänomenologische Philosophie. (shrink)

El artículo aborda la relación entre los sermones de Agustín sobre la gracia y sus tratados doctrinales al respecto, particularmente los tratados antipelagianos. Para ello se estudia como una muestra el sermón 294 y el grupo de sermones 151-156. El autor se centra en el bautismo de niños, el pecado en general y el pecado original.

Le Relais de Sceaux (clinique Dupré, Fondation santé des étudiants de France), qui reçoit des adolescents et jeunes adultes et leurs familles, est une porte d’entrée aux soins médico-psychologiques. À partir de 2013, l’ouverture de l’accueil aux 11-15 ans a bouleversé le fonctionnement de départ du Relais. À côté du dispositif d’accueil sans rendez-vous des 16-25 ans, un protocole spécifique adapté aux collégiens a été mis en place. Il s’appuie sur un contact téléphonique avec les parents préparant la première rencontre. (...) Via une situation clinique, les auteurs, psychologues et psychiatres exerçant au Relais de Sceaux, exposent les spécificités cliniques de collégiens pour lesquels la rencontre familiale est un préalable indispensable à l’instauration d’un soin psychique individualisé. (shrink)

Encore mal connue, l’ampleur des travaux du chercheur Vilém Flusser est pourtant d’une grande importance pour appréhender la situation contemporaine d’un monde numérique risquant d’aboutir à une société automatisée. Analysant la notion de programme depuis des réflexions sur les mutations de la photographie et de l’écriture, Flusser montre, au contraire, comment les artistes pourraient œuvrer au développement d’un « techno-imaginaire » capable de donner du sens à nos « vies artificielles ».

Sartre draws a sharp distinction between consciousness, on the one hand, and inner sense or knowledge of (it)self, on the other: ‘La conscience n’est pas un mode de connaisance particullier, appelé sens intime ou connaisance de soi’ (B& N: 7). I explore in detail the meaning of the terms involved in that distinction with a view to highlight its significance.

I do not by any means with to take on the philosophy or aesthetics of music as a whole. In his review of Edward Lippman’s Humanistic Philosophy of Music, Monroe Beardsley lists six areas in which an ideal philosophy of music ought to provide guidance: an ontology of music, an answer to the question What is a musical work of art? a taxonomy of music, a categorical scheme for the basic and universal aspects of music; a hermeneutics or semiotics of (...) music, an answer to the question What, if anything, can music refer to? an epistemology of music; a theory of music criticism, an answer to the question What makes one musical work better than another? the foundations of a social philosophy of music.4 My subject here is the third item. I want most particularly to separate it from the fifth item, for to arrive at an interpretation of a particular piece is not to arrive at an evaluation of it. I shall also try, particularly in my discussion of Nelson Goodman’s seminal Languages of Art, to avoid the first item.5 And I shall try throughout to avoid embroilment in the question of how the aesthetic experience can be separated from the nonaesthetic.My subject is in fact only a part of the third item above, namely, current theories of musical expression. “Expression” is not equivalent to “meaning”; I understand and shall use the word “expression” to indicate a kind of meaning that entails some kind of reference outside the internal syntax of the artwork itself. As Goodman remarks, “rather obviously, to express is to refer in some way to what is expressed.”6 How this reference is made by the artwork is interaction with the listener, and what sort of purpose it serves—these concerns will be the focus of this essay. To choose this focus is not to deny something of which I have no doubt, both from Peter Faltin’s careful arguments and from my own experience: there is a kind of musical meaning that is purely syntactic, that operates without reference outside the internal operations or procedures of musical systems themselves.7 But through this may be ontologically the most fundamental kind of musical meaning, it is not the only kind. To listen for this alone is not the only way to approach music. Indeed, I should guess it is not the most fundamental way for many listeners. 4. I paraphrase and abbreviate from Monroe C. Beardsley, review of A Humanistic Philosophy of Music by Edward A. Lippman, Musical Quarterly 66 : 305.5. See Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols ; all further references to this work, abbreviated LA, will be included in the text.6. Goodman, “Reply to Beardsley,” Erkenntnis 12, pt. 1 : 171; and see Edward T. Cone: “Expressive values in any art … cannot arise from analytical values alone. How could they? Unless one wishes to explain what it could possibly mean for a work of art to ‘express itself,’ then one must agree that expression, by its very definition, implies a relationship between the work of art and something else; while analytical values are derivable purely from internal structure” . Anthony Newcomb, professor of music at the University of California, Berkeley, is the author of The Madrigal at Ferrara. He is currently at work on a book on musica ficta, Understood Accidentals in Renaissance Vocal Polyphony, 1450-1600, and a study of the relationship between structure and expression in nineteenth-century music. (shrink)