This book presents a collection of contemporary discourses that reconsider the relationship of democracy as a political ideology and American ideal and education as the foundation of preparing democratic citizens in America.

Now available in English for the first time, The Visibility of the Image explores the development of an influential aesthetic tradition through the work of six figures. Analysing their contribution to the progress of formal aesthetics, from its origins in Germany in the 1880s to semiotic interpretations in America a century later, the six chapters cover: Robert Zimmermann (1824-1898), the first to separate aesthetics and metaphysics and approach aesthetics along the lines of formal logic, providing a purely syntactic way of (...) using signs, regardless of objective content; Alois Riegl (1858-1905), who went on to further develop aesthetics on the model of formal logic, creating a theory of style in response to Zimmermann's call for an aesthetics oriented toward formal logic; Heinrich Wölfflin (1864-1945), who represents a step toward an understanding of consciousness by using pictures as cognitive tools; Konrad Fiedler (1841-1895), the Saxon philosopher who considered the possibility that some kinds of images are made and viewed not for what they show, but for their visibility's sake alone; Maurice Merleau-Ponty (1908-1961), responsible for taking up the connections between the problems of reducing the range of potential meanings and contexts of a given image down to just the picture surface; Charles William Morris (1901-1979), who set out to establish whether a picture with no objective reference, such as an abstract painting, still counts as a sign, and if so, in what sense. Bringing these thinkers together and interlinking their ideas, Lambert Wiesing presents an engaging history of formal aesthetics, while reconstructing the philosophical foundations for the appearance of new image forms in the 20th century, including the video-clip, abstract collage, digital simulation and virtual reality. Using this original approach, The Visibility of the Image introduces the rise of modern image theory and provides a valuable account of our engagement with pictures in the 21st century. (shrink)

Philosophische Mythen und Modelle. Unzufriedenheit auf höchstem Niveau ; Der Mythenvorwurf in der Philosophie ; Modellierende Philosophie : eine contradictio in adjecto ; Der Mythos des Gegebenen ; Vom Mythos desGegebenen zum Mythos des Mittelbaren ; Interpretationismus und Wahrnehmungsphilosophie ; Transzendentaler Interpretationismus ; Die Verbindung des Mythos des Gegebenen mit dem Mythos des Mittelbaren : Repräsentationalismus ; Das Paradigma des Zugangs -- Phänomenologie : die Philosophie ohne Modell. Phänomenale Gewißheit ; Vom cartesischen Cartesianismus zum phänomenologischen Cartesianimus ; Intentionalität : das (...) fundamentum inconcussum relationalis ; Zu den Sachen und zurück zur Sprache ; Phänomenologische Protreptik ; Eidetische Variation -- Das Mich der Wahrnehmung. Von den Bedingungen der Möglichkeit zu den Folgen der Wirklichkeit ; Vom Primat des Wahrnehmenden zum Primat der Wahrnehmung ; Vom Ich zum Mich der Wahrnehmung ; Die Zumutung dauernder Anwesenheit ; Die Beschreibung der Anwesenheitszumutung : der Gehalt der Wahrnehmung ; Die Qualität der Wahrenmung und der Auffassungssinn ; Sich sicher sein, daß etwas der Fall ist : Wissen und Gewißheit ; Die unmögliche Epoché ; Vom Eindruck zum Ausdruck zur Teilhabe ; Transzendentale Ästhetik und die Unterstellung von Anschauungsformen ; Die Leiblichkeit des Wahrnehmenden : eine folge der Wahrnehmung ; Die Kontinuität des Wahrgenommenen ; Das Wahrgenommene und die Ursache der Wahrnehmung ; Die Zumutung der Öffentlichkeit ; Die Identität des Mich -- Die Partizipationspause. Pause versus Unterbrechung ; Die drei Paradigmen der Bildwahrnehmungstheorie ; Das besondre Objekt der Bildwahrnehmung ; Die besonderen Folgen der Bildwahrnehmung ; Zum Zuschauen gezwungen ; Die optische Entindividualisierung des Mich ; Zur Teilnahme entschieden. (shrink)

pt. 1. Text -- pt. 2. Notes, bibliography and indices.

The present paper is a kind of selective summary of my book The Genesis of Yogācāra-Vijñānavāda. [1.–2.] It deals with questions of origin and early development of three basic concepts of this school, viz., the ‘idealist’ thesis that the whole world is mind only or manifestation only, the assumption of a subliminal layer of the mind, and the analysis of phenomena in terms of the “Three Natures”. [3.] It has been asserted that these three basic concepts are logically inseparable and (...) therefore must have been introduced conjointly. [4.] Still, from Vasubandhu onward treatises have been written in which only one of the three concepts is advocated or demonstrated to be indispensable, without any reference to the other two being made. Likewise, in most of the earlier Yogācāra treatises, the three concepts occur in different sections or contexts, or are even entirely absent, as vijñaptimātra in the Yogācārabhūmi and ālayavijñāna in the Mahāyānasūtrālaṁkāra and Madhyāntavibhāga. [5.] It is therefore probable that the three concepts were introduced separately and for different reasons. [5.1.] As regards the concept of the “Three Natures”, I very hypothetically suggest that it was stimulated by the Tattvārthapaṭala of the Bodhisatvabhūmi. [5.2.1.] In the case of ālayavijñāna, I still think that my hypothesis that the concept originated from a problem emerging in connection with the “attainment of cessation” holds good and has not been conclusively refuted, but I admit that Prof. Yamabe?s hypothesis is a serious alternative. [5.2.2.] An important point is that in the Yogācārabhūmi we come across two fundamentally different concepts of ālayavijñāna, the starting point for the change being, probably, the fifth chapter of the Saṁdhinirmocanasūtra. [5.3.] As for ‘idealism’, we may have to distinguish two strands, which, however, tend to merge. [5.3.1.] The earlier one uses the concept cittamātra and emerges as early as in the Pratyutpanna-buddha-saṁmukhāvasthita-samādhi-sūtra in connection with an interpretation of visions of the Buddha Amitāyus. [5.3.2.] The later strand introduces the concept vijñaptimātra and seems to have originated in the eighth chapter of the Saṁdhinirmocanasūtra in connection with a reflection on the images perceived in insight meditation. [5.3.3.] In texts like the Mahāyānasūtrālaṁkāra, concepts from other Mahāyānasūtra strands become prominent in this connection, and it is only in the Mahāyānasaṁgraha that the use of vijñaptimātra is finally established. (shrink)

Résumé De nombreuses musiques cherchent à exercer sur les auditeurs une « efficacité symbolique » : transformer l’instant musical en rite d’initiation, faire entrer les corps en transe, convertir les émotions musicales en émotions corporelles, c’est-à-dire les affects en actions. En s’appuyant sur les écrits théoriques de Pierre Boulez et Karlheinz Stockhausen, cet article tente de montrer comment chez ces deux compositeurs cette utopie d’une subjectivation à travers la ritualisation de l’écoute s’articule à l’entreprise formaliste d’autodéfinition de la musique, en (...) vue de la constituer comme une sphère autonome. (shrink)

La genèse de la vedette de cinéma qu’effectue Walter Benjamin au chapitre 10 de L’Œuvre d’art à l’époque de sa reproductibilité technique (dernière version, 1939) trouve une résonance politique dans une note de bas de page du même chapitre où la star acquiert un statut analogue au dictateur, quand la technique (de reproduction) de l’œuvre d’art devient elle-même, à travers le cinéma, œuvre d’art. Si les démocraties bourgeoises contiennent, dans leur rapport aux médias de masse, la possibilité de leur basculement (...) dans le fascisme, c’est parce que leurs gouvernants, au même titre que l’acteur de cinéma, deviennent des marchandises, soumises à la loi de la forme équivalente (de la marchandise). L’« esthétisation de la politique » doit dès lors être comprise comme la restitution de l’« aura » et de la « valeur cultuelle » qui l’accompagne, dans et par les conditions qui par définition en constituent la liquidation, à savoir la technique, qui sont l’attribut du pouvoir. Sublimer la marchandise en la présentant sous les espèces de l’œuvre d’art quand celle-ci devient marchandise – ainsi s’institue la star –, et identifier l’homme politique à une œuvre d’art – à une star –, revient à faire de lui l’incarnation du pouvoir : un dictateur. (shrink)

Die Studien zur Philosophie des Bildes verfolgen eine doppelte Absicht: Sie bemühen sich einerseits um einen Überblick über die grundlegenden Positionen innerhalb der gegenwärtigen Bildwissenschaft und versuchen andererseits stets einen systematischen Hauptgedanken zu verteidigen: Bilder präsentieren; nur Bilder ermöglichen die artifizielle Präsenz von ausschließlich sichtbaren Dingen, die den Gesetzen der Physik enthoben sind. Vor dem Hintergrund dieses Bildbegriffs wird die Verwendung von Bildern als Zeichen aus einer phänomenologischen Sicht beschrieben, Platons Mimesis-Begriff anhand seiner kanonischen Bildvorstellungen rekonstruiert und die besondere Bedeutung (...) extremer Bildtypen - wie die virtuelle Realität, Benutzeroberflächen oder die Abstrakte Fotografie - für die philosophische Arbeit am Bildbegriff vorgeführt. (shrink)

These phenomenological studies on the philosophy of the image review contemporary image theory while defending the fundamental insight that images alone make the artificial presence of things possible.

pt. 1 Text -- pt. 2 Notes, bibliography and indices.

Lambert Zuidervaart examines what is living and what is dead in the social philosophy of Theodor W. Adorno, the most important philosopher and social critic in Germany after World War II. When he died in 1969, Adorno's successors abandoned his critical-utopian passions. Habermas in particular, rejected or ignored Adorno's central insights on the negative effects of capitalism and new technologies upon nature and human life. Zuidervaart reclaims Adorno's insights from Habermasian neglect while taking up legitimate Habermasian criticisms. He also (...) addresses the prospects for radical and democratic transformations of an increasingly globalized world. The book proposes a provocative social philosophy 'after Adorno'. (shrink)

This essay lays out the leading principles of the theories of definite descriptions advocated by Frege, Russell, and Hilbert and Bernays, and discusses various difficulties, philosophical and otherwise, with each treatment, fixing especially on the treatment of singular existence claims. Then the leading principles of free (definite) description theory are presented and it is shown how it resolves difficulties confronting the more traditional approaches. Finally, a pair of technical problems in free (definite) description theory are addressed. They help to show (...) the fecundity of this treatment of definite descriptions. (shrink)

A new translation of two essential works on Deleuze, written by one of his contemporaries. From the publication of Deleuze: A Philosophy of the Event to his untimely death in 2006, Francois Zourabichvili was regarded as one of the most important new voices of contemporary philosophy in France. His work continues to make an essential contribution to Deleuze scholarship today. This edition makes two of Zourabichvili's most important writings on the philosophy of Gilles Deleuze available in a single volume. A (...) Philosophy of the Event is an exposition of Deleuze's philosophy as a whole, while the complementary Deleuze's Vocabulary approaches Deleuze's work through an analysis of key concepts in a dictionary form. This new translation is set to become an event within Deleuze Studies for many years to come. Key Features: Distinguishes Deleuze's notion of the event from the phenomenological, ontological and voluntarist conceptions that continue to lay claim to it today; With an introduction by Gregg Lambert and Daniel W. Smith, two of the world's leading commentators on Deleuze, explaining the key themes and arguments of Zourabichvili's work. (shrink)

These collected studies on the philosophy of the image offer the fundamental insight that images alone make the artificial presence of things possible. Images present things as exclusively visible, released from the laws of physics. Taking this idea as his point of departure, Wiesing provides an overview of the fundamental positions in contemporary image studies. He describes the use of images as signs from a phenomenological perspective, reconstructs Plato's concept of mimesis by way of the canon of images it presupposes, (...) and demonstrates the special relevance of extreme types of images— virtual reality, desktop windows, or abstract photography—for the philosophical labor of the concept of the image. (shrink)

Lambert Wiesing's The Philosophy of Perception challenges current theories of perception. Instead of attempting to understand how a subject perceives the world, Wiesing starts by taking perception to be real. He then asks what this reality means for a subject. In his original approach, the question of how human perception is possible is displaced by questions about what perception obliges us to be and do. He argues that perception requires us to be embodied, to be visible, and to continually (...) participate in the public and physical world we perceive. Only in looking at images, he proposes, can we achieve something like a break in participation, a temporary respite from this, one of perception's relentless demands. Wiesing's methods chart a markedly new path in contemporary perception theory. In addition to identifying common ground among diverse philosophical positions, he identifies how his own, phenomenological approach differs from those of many other philosophers, past and present. As part of the argument, he provides a succinct but comprehensive survey of the philosophy of images His original critical exposition presents scholars of phenomenology, perception and aesthetics with a new, important understanding of the old phenomenon, the human being in the world. (shrink)

Theodor Adorno's Aesthetic Theory is a vast labyrinth that anyone interested in modern aesthetic theory must at some time enter. Because of his immense difficulty of the same order as Derrida - Adorno's reception has been slowed by the lack of a comprehensive and comprehensible account of the intentions of his aesthetics. This is the first book to put Aesthetic Theory into context and outline the main ideas and relevant debates, offering readers a valuable guide through this huge, difficult, but (...) revelatory work. Its extended argument is that, despite Adorno's assumptions of autonomism, cognitivism, and aesthetic modernism, his idea of artistic truth content offers crucial insights for contemporary philosophical aesthetics.The eleven chapters are divided into three parts: Context, Content, and Critique. The first part offers a brief biography, describes Adorno's debates with Benjamin, Brecht, and Lukács, and outlines his philosophical program. The second part is an interpretation of Adorno's aesthetics, examining how he situates art in society, production, politics, and history and uncovering the social, political, and historical dimensions of his idea of artistic truth. The third part evaluates Adorno's contribution by confronting it with the critiques of Peter Bürger, Frederic Jameson, and Albrecht Wellmer.Lambert Zuidervaart is Professor of Philosophy at Calvin College. (shrink)

Vilém Flusser not only defines his theoretical work as phenomenology, he considers the act of photography itself a phenomenological act. For this reason this contribution seeks to answer the question how much Flusser’s conception of phenomenology owes to Edmund Husserl and in what ways he has transformed Husserl’s own philosophical tenets. The main idea of this essay is that Flusser has reduced Husserl’s phenomenology to the concept of phenomenography. Nowhere in Flusser, in fact, can we trace any mention of Husserl’s (...) idea of phenomenology as an aprioristic science of essentials. On the basis of this reduced understanding of phenomenology as a cultural science, however, Flusser discovers a remarkable structural affinity between philosophy and photography. (shrink)

Karl Rahners philosophischer Denkweg ist massgeblich von Thomas von Aquin, Kant, Marechal und Heidegger markiert und lasst sich mit dem Begriff Transzendentalphilosophie charakterisieren. Die transzenden- tale Frage als epochale Frage neuzeitlicher Philosophie weist sich als eine Denkform in Rahners Theologie aus, die ihre Parallelen schon bei einem fast vergessenen Denker des Deutschen Idealismus hat: Johann Gottlieb Fichte. Der Verfasser belegt diese These exemplarisch am Beispiel der Gotteslehre.".

This article describes the impact of, and response to, Trofim D. Lysenko's anti-genetics campaign in Poland between the years 1949 and 1956. It focuses particularly upon the response of three individuals – Teodor Marchlewski, Waclaw Gajewski, and Aleksandra Putrament -who were central figures in the controversy in Poland. In addition to examining the responses and motivations of these individuals, the article also addresses the question of why the Lysenko-era in Poland ended relatively earlier than in neighboring Soviet-allied states such as (...) Hungary, East Germany or Czechoslovakia, as well as 9 years before Lysenko was forced from power in the USSR. I argue that conditions specific to Polish politics and Poland's relationship with the Soviet Union, during the Thaw after Stalin's death, provided the opponents of "Lysenkoism" in Poland with an opportunity to criticize Lysenko, and restore Polish genetics. These conditions are linked to the near-revolution in Poland following the strike in Poznan in June, 1956, and successful transition of power between Edward Ochab and Wladyslaw Gomulka the following October. (shrink)

Those who want to interpret the quantifier ? (3 x) (. . .x. . .)'as having no existence commitment often fail to distinguish between this objective and that of merely changing the values of the variables. The confusion vitiates solutions of the singular existence anomalies which purport to be based on a non?existential interpretation of the quantifier. An example of one who makes the distinction but still interprets the particular quantifier non?existentially is offered by Czeslaw Lejewski. Objection to the classical (...) interpretation of the quantifiers often runs hand in hand with aversion to extensional logic. However, it is at least arguable that such an aversion is the result of underestimating the resources of extensional logic. These points arc discussed in the wake of Professor Marcus's recent paper in this journal ?Interpreting Quantification? (shrink)

The essay reviews the evolution of Rahner’s understanding of sacrament and evaluates his contribution to the renewal of sacramentology. By elaborating the notion of the Church as basic sacrament of the world and by doing so in light of the theology of the Word, Rahner rescued sacramentology from the discussion of dead-end controversies about the number of sacraments and about the institution of the Church by Christ. This has provided the basis for a most promising model of sacrament for the (...) ecumenical project. (shrink)