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Der zweite Band der Edition der Schriften von Susan Taubes umfasst ihre 1956 abgeschlossene, bisher unveröffentlichte Dissertation Der abwesende Gott. Eine Studie über Simone Weil sowie ihre Aufsätze und Rezensionen, die zwischen 1951 und 1959 in renommierten Zeitschriften wie The Journal of Religion oder The Review of Metaphysics erschienen sind.
Ausgehend von den Grundlinien der Moderne untersucht Susan Taubes in ihren philosophischen Schriften Gnosis und Tragödie als kulturgeschichtliche Konstellationen und spürt verschwiegene Verbindungen zwischen jüdischer Erfahrung und deutscher Philosophie auf. Sie entwirft eine Theorie der Tragödie (Das Wesen der Tragödie, 1953), erschließt Die gnostischen Grundlagen von Heideggers Nihilismus (1954) und kommentiert Das Rätsel Simone Weil (1956). Methodisch zwischen Religionsphilosophie und Kulturwissenschaft angesiedelt, wird in Susan Taubes’ theoretischen Arbeiten aus der kritischen Auseinandersetzung mit Themen wie Entfremdung und Revolte, Nihilismus und Theologie einer Kulturtheorie der Moderne skizziert.
Selbstverständlichkeiten in Verständlichkeiten überführen – dies ist das Credo der Phänomenologie Husserls. Ein zentrales Anliegen des phänomenologischen Programms ist es, die „vermeintlichen Selbstverständlichkeiten“ des Positivismus aufzudecken und zu klären; zugleich gibt Selbstverständlichkeit Anlass zu inhaltlichen Analysen, denn sie fungiert als Geltungsmodus des alltäglichen Lebensvollzugs, gespiegelt im Sinnbild von Boden und Horizont der Lebenswelt. Die Studie stellt Geltung, Einstellung und Perspektivwechsel als jene begrifflichen Werkzeuge heraus, mit denen Husserl dieses schwer greifbare Phänomen systematisch erschließt und methodisch wie inhaltlich in die Spannungsfelder von Theorie und Praxis, Doxa und Episteme, Lebenswelt und Wissenschaft einbettet. Darüber hinaus ergänzt sie mit dem psychopathologischen Ansatz Wolfgang Blankenburgs, was die Beschreibungsmacht der Phänomenologie an ihre Grenzen bringt: die Erfahrung der Selbstverständlichkeit im Lebensvollzug.
Volume Editor:
The arguments within the contemporary literature paint a clear picture: popular discourse is marked with extreme partisanship and polarization, threatening democracy, tolerance, diversity, pluralism, and cooperation. Polarization simplifies and deforms language, ideas, and people. Polarization reduces the complexities of social life into an oppositional binary based on crude distinctions revolving around partial and harmful reified conceptions of self and other. Since the egocentric “us versus them” narratives catalyze conflicts which tend to violence, polarization is itself a cause of violence. The project of peace, then, is aided by the project of depolarization. But what can we do to bring about a transformation away from polarity to peace? What are the real polarities obscuring the path to peace? Is it a question of freedom versus control? Is it one of absolutism versus open-mindedness? Is it good versus evil? In a time of increasingly poisonous national politics, widening tribal polarity, and fragmented and fragmenting communities, what sense does it even make to appeal to reason, discourse, and compromise? The authors in this volume attempt to answer these and other questions relating to polarity and politics in the pursuit of peace and justice, the guiding ideals of the Concerned Philosophers for Peace and Brill's Philosophy of Peace series, of which this volume is a part.
This book recovers Dionysus and Apollo as the twin conceptual personae of life’s dual rhythm in an attempt to redesign contemporary theory through the reciprocal affirmation of event and form, earth and world, dance and philosophy. It revisits Heidegger and Lévi-Strauss, and combines them with Roy Wagner, with the purpose of moving beyond Nietzsche’s manifold legacy, including post-structuralism, new materialism, and speculative realism. It asks whether merging philosophy and anthropology around issues of comparative ontologies may give us a chance to re-become earthbound dwellers on a re-worlded earth.
Chaïm Perelman, alone, and in collaboration with Lucie Olbrechts-Tyteca, developed the New Rhetoric Project (NRP), which is in use throughout the world. Sir Brian Vickers, in his historical survey of rhetoric and philosophy for the Oxford Encyclopaedia of Rhetoric, states that the NRP is “one of the most influential modern formulations of rhetorical theory.” This book provides the first deep contextualization of the project’s origins, offers seven original translations of the writings of Perelman and Olbrechts-Tyteca from French into English, and details how their collaboration effectively addresses then philosophical problems of our age.
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Design permeates every dimension of our lifeworld, from the products we consume and the built environments in which we live to the adorned and stylized beings that we are and the natural preserves where we seek relief from the stressful bustle of urban life. Design is where contrasting values of functionality and aesthetic pleasure converge. At the core of design is the human soma, an active, perceptive subjectivity that creates and evaluates design but is also its cultivated product. This collection of thirteen essays explores the somaesthetics of design in multiple fields: from ritual, craft, and healthcare to architecture, urbanism, and the new media of extended realities.
Global capitalism is effecting changes in human life as momentous as those that occurred during the Neolithic Revolution, the Axial Age (700-300 BC), and the modern era post-1500, when industrial capitalism, state power, and science reshaped the civilized world. The transformation is paradoxical, however. Science and technology ensure material progress but the market promotes cultural obsolescence and erodes belief in the Enlightenment ideals that inspired the quest for progress. In Western democracies, liberty and equality are proving irreconcilable, citizens becoming demoralized, fraternity fractured; meanwhile despotic Eurasian states are recycling old faiths and concocting neo-imperialist ideologies. These contradictions must be confronted if the cultural values that sustain civilized life are to be conserved.
When does eating become art? The Aesthetics of Taste answers this question by exploring the position of taste in contemporary culture and the manner in which taste meanders its way into the realm of art. The argument identifies aesthetic values not only in artistic practices, where they are naturally expected, but also in the spaces of everydayness that seem far removed from the domain of fine arts. As such, it seeks to grasp what artists – who offer aesthetic as well as culinary experiences – actually try to communicate, while also pondering whether