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Mark J. Thomas


The success of the early music movement raises questions about performing historical works: Should musicians perform on period instruments and try to reconstruct the original style? If a historically “authentic” performance is impossible or undesirable, what should be the goal of the early music movement? I turn to Gadamer to answer these questions by constructing the outlines of a hermeneutics of early music performance. In the first half of the paper, I examine Gadamer’s critique of historical reconstruction and argue that this critique sheds light on mistaken tendencies and misunderstandings within the early music movement, but it does not discredit the movement as such. In the second half of the paper, I attempt to show how Gadamer’s dialogical account of historical consciousness provides a framework for understanding what historically informed performance is seeking to accomplish, as well as its advantage over a Nietzschean approach.


Edited by Michael J. Thompson

Georg Lukács was one of the most important intellectuals and philosophers of the 20th century. His last great work was an systematic social ontology that was an attempt to ground an ethical and critical form of Marxism. This work has only now begun to attract the interest of critical theorists and philosophers intent on reconstructing a critical theory of society as well as a more sophisticated framework for Marxian philosophy. This collection of essays explores the concept of critical social ontology as it was outlined by Georg Lukács and the ways that his ideas can help us construct a more grounded and socially relevant form of social critique.
This work will of special interest to social, moral and political philosophers as well as those who study critical theory, social theory and Marxism. It is also of interest to those working within the area of social ontology.

Contributors include: Mario Duayer, Andreas Giesbert, Christoph Henning, Antonino Infranca, Reha Kadakal, Endre Kiss, Michael Morris, Michalis Skomvoulis, Matthew J. Smetona, Titus Stahl, Thomas Telios, Michael J. Thompson, Murillo van der Laan, Miguel Vedda, Claudius Vellay.

Andrew Benjamin


The aim of this paper is to develop a conception of God that works with the identification of being-before-the-law and being-with-God. In addition, it argues that developing a rethinking of God along such lines necessitates, equally, the development of the concomitant political theology and philosophical anthropology that such a repositioning of God envisages. Processes of subject creation have to be thought in relation to any philosophical engagement with the law.

Jason W. Alvis


Although Eugen Fink often reflected upon the role religion, these reflections are yet to be addressed in secondary literature in any substantive sense. For Fink, religion is to be understood in relation to “play,” which is a metaphor for how the world presents itself. Religion is a non-repetitive, and entirely creative endeavor or “symbol” that is not achieved through work and toil, or through evaluation or power, but rather, through his idea of play and “cult” as the imaginative distanciation from a predictable lifeworld. This paper describes Fink’s understanding of religion and its most relevant aspects found in Spiel als Weltsymbol. The paper is organized into five sections—1: An introduction to his phenomenological approach in general, and description of the role of “play”; 2: investigations into the relation between play and world; 3: a description of his phenomenology of religion; 4: engagements in the idea of cult-play and the sacred sphere, and 5: reflection on his idea of the play of God.

Grazer Philosophische Studien, Vol 90 – 2014

International Journal for Analytic Philosophy


Edited by Johannes Brandl

Grazer Philosophische Studien is a peer reviewed journal that publishes articles on philosophical problems in every area, especially articles related to the analytic tradition. Each year at least two volumes are published, including special issues with invited papers. Reviews are accepted by invitation only.