The first part of the correspondence between Friedrich August Tholuck, the leading theologian of the German Revival Movement, and Edward Bouverie Pusey, later the head of the Anglo-catholic Oxford-Movement, shows Pusey as a “pupil” of his German friends Tholuck, August Neander and Karl Heinrich Sack, whom he met while studying in Germany. In his “Enquiry into Theology” he wrote a remarkably liberal refutation of Hugh James Rose's confessionalistic high-church criticism of the “State of the protestant religion in Germany”. Based on (...) the protestant “sola scriptura” Pusey rejected any “check and restraint over the human mind” and took the stance of what he called an “animated science” mediating between free scientific enquiry and pious belief in one's personal need of salvation from sin through Jesus Christ. Thus Tholuck's and Pusey's standpoint came to somewhat unclearly oscillate between personal experience as the fundamentum inconcussum of their belief and the endeavour to base this belief on the authority of the historically secured messianic understanding of the prophecies of the Old Testament and the factual credibility of the gospel history. (shrink)

The article explores for the first time the theological relevance of the work of the artist Karl Bauer, who specialized in portraits of those he called „Great Men“. Influenced by the pseudo-science of phrenology, he believed that „greatness“ manifested itself in certain features of the skull. Luther, for example, he painted with a prominent forehead as a sign of strong will and Germanic defiance, presenting him as a national hero whose translation of the bible into German had laid the foundation (...) of Bismarck's Empire of 1870. Bauer's Luther-portraits became a trademark of national Protestantism until well into the 20th-century and were used in the mass media of popular culture. Their enormous popularity points to the relevance of non-logocentric means of theological communication which have not yet been sufficiently appreciated as an important source of church history. (shrink)

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1982.

A revision of the author's thesis, Stuttgart, 1972.

Historians of science find it difficult to pinpoint to an exact period in which symbolic algebra came into existence. This can be explained partly because the historical process leading to this breakthrough in mathematics has been a complex and diffuse one. On the other hand, it might also be the case that in the early twentieth century, historians of mathematics over emphasized the achievements in algebraic procedures and underestimated the conceptual changes leading to symbolic algebra. This paper attempts to provide (...) a more precise setting for the historical context in which this decisive step to symbolic reasoning took place. For that purpose we will consider algebraic problem solving as model-based reasoning and symbolic representation as a model. This allows us to characterize the emergence of symbolic algebra as a shift from a geometrical to a symbolic mode of representation. The use of the symbolic as a model will be situated in the context of mercantilism where merchant activity of exchange has led to reciprocal relations between money and wealth. (shrink)

No one has succeeded better than Theodor W. Adorno in analyzing modern culture with all its ambiguities — ambiguities which herald the possibility of an unleashing of aesthetic and communicative potentials as well as the possibility of a withering away of culture. Since Schopenhauer and Nietzsche — with whose aesthetics and epistemology Adorno's thought secretly communicates — no other philosophy of art, at least in Germany, has had such a sustained influence on artists, critics, and intellectuals. The traces of his (...) influence on the consciousness of those who, be it in a productive, critical, or purely receptive capacity, are involved with modern art cannot be overlooked. (shrink)

Truth, semblance, reconciliation -- The dialectic of modernism and postmodernism -- Art and industrial production -- Ethics and dialogue.