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Profile: Andreas Dorschel (University of the Arts Graz (Austria))
  1. Andreas Dorschel (2015). Mundrys Nuancen. In Heike Hoffmann (ed.), Salzburg Biennale 2015. Salzburg Biennale 62-64.
    The production of artworks can be based on a fixed modus operandi, i.e., on a general manner and, alongside, specific patterns to be applied all over again. Alternatively, each artwork can be seen as (cor-)responding to an individual problem for which there is no recipe; in this case it needs to be looked at afresh. That approach characterizes the aesthetics of music composer Isabel Mundry (*1963); her art, ever unpredictable, is one of nuances.
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  2. Andreas Dorschel (2007). Die Idee der Verwandlung. In Verwandlungsmusik. Über komponierte Transfigurationen. Universal Edition 11-51.
    Within the European history of ideas, at least three conceptions of metamorphosis can be distinguished. First, as celebrated in Ovid’s Metamorphoses, there is the vision of an open-ended flux of shapes in all directions, potentially with the ambiguous result of wavering identity. Secondly, at the centre of the synoptic gospels Jesus’s transfiguration is presented as a luminous elevation, rendering his true nature unambiguous. Thirdly, alchemy conceives of metamorphosis as contingent upon a meeting of polarities. The distinction is fit to disclose (...)
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  3. Andreas Dorschel (2011). Individualism for the Masses: Aesthetic Paradox in Mahler’s Symphonic Thought. In Elisabeth Kappel (ed.), The Total Work of Art: Mahler’s Eighth Symphony in Context. Universal Edition 46-60.
    In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic work (...)
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  4. Andreas Dorschel (2012). The Idea of Order: Enlightened Revisions. Archiv für Rechts-Und Sozialphilosophie 98 (2):185-196.
  5.  93
    Andreas Dorschel (1989). Hat die Soziobiologie eine Bedeutung für die Ethik? Filosofia 19:130-145.
    It is known that sociobiology, the theory of the biological origins of the social behavior of living beings, is related to ethics. However, sociobiology does not include moral doctrines but simply describes facts. The present essay discusses two basic theses, “altruism” and “reciprocal altruism”, in order to prove that a natural science free of judgments and evaluations is contrary to a theory of ethics, such as the theory of Kant and Apel, as well as to intuitive theories of ethics. Ethics (...)
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  6.  69
    Andreas Dorschel (2007). Das anwesend Abwesende: Musik und Erinnerung. In Resonanzen. Vom Erinnern in der Musik. Universal Edition 12-29.
    Remembrance is constitutive of music. For music emerges not as an isolated physical stimulus. Rather, it is experienced, i.e., a present musical moment is tied to its temporal antecedents. It is tempting to conceive of remembrance as repetition and as thus opposed to oblivion. Yet to memory selectivity is crucial. What is not selected, falls into oblivion. Hence as we remember we have forgotten already. The present moment evokes remembrance, and exhibits what was then in the light of what is (...)
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  7.  62
    Andreas Dorschel (2009). Metaphysisch malen: Philosophie und Bild bei Giorgio de Chirico. In Kunst und Wissen in der Moderne. Böhlau 123-132.
    ‘Metaphysical painting’ (‘pittura metafisica’) is a paradoxical term: extrasensory sensuousness, as it were. Painting is the representation of visible surfaces; metaphysics rejects surfaces, as deceptive, in favour of the deeper essence. But Giorgio de Chirico (1888–1978) who coined the term ‘pittura metafisica’ in 1919 was a follower of the anti-essentialist Nietzsche. ‘Metaphysics’, then, is not about discovering the essence of things but about shaping their appearances, their ‘physique’. This is an intriguing concept and the corollary to a subtle artistic oeuvre.
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  8.  63
    Andreas Dorschel (1993). Gefühl Als Argument? In Andreas Dorschel, Matthias Kettner, Wolfgang Kuhlmann & Marcel Niquet (eds.), Transzendentalpragmatik. Ein Symposion für Karl-Otto Apel. Suhrkamp 167-186.
    Does having some feeling or other ever count as an argument – and, should it? As a matter of fact, not just do persons sometimes refer to their feelings to make a point in debate. Often, they even treat them as irrefutable arguments; for they are, of course, certain of their own feelings. To make a point in debate by reference to one’s feelings, one has got to articulate them. As language is the core medium of debate (though it can (...)
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  9.  61
    Andreas Dorschel (2008). Historische Konjunktive: Zur Geschichtsschreibung des Möglichen. In Andreas Haug & Andreas Dorschel (eds.), Vom Preis des Fortschritts: Gewinn Und Verlust in der Musikgeschichte. Universal Edition 33-52.
    Reference to past possibilities is not an additional luxury in writing history, after all facts have been established. For even facts become such only within a field of alternative options. What it means that one path was taken depends in part on answers to the question which other paths once open were not taken. Historical potential unrealized can be conceived of in a number of ways: as unfulfilled intentions, as unresolved problems, as suppressed endeavours, as waived alternatives within a context (...)
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  10.  54
    Andreas Dorschel (1999). Emotion und Verstand. Philosophisches Jahrbuch 106 (1):18-40.
  11.  52
    Andreas Dorschel (2002). Vorgriffe. Über Präsumtionen, Präsuppositionen und Vorurteile. Internationale Zeitschrift für Philosophie 11 (1):85-100.
    No categories
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  12.  50
    Andreas Dorschel (1988). Is There Any Normative Claim Internal to Stating Facts? Communication and Cognition: An Interdisciplinary Quarterly Journal 21:5-16.
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  13.  44
    Andreas Dorschel (2012). Furcht Und Angst. In Dietmar Goltschnigg (ed.), Angst. Lähmender Stillstand und Motor des Fortschritts. Stauffenburg 49-54.
    Is fear a ‘deficient mode’ of anxiety? This claim made by Martin Heidegger in ‘Being and Time’ (1927) depends on an analysis of intentionality. Emotions take objects: to love, to hate, to fear is to love, to hate, to fear someone or something. Yet anxiety, Heidegger maintains (‘Being and Time’ § 40), is about “nothing” (“nichts”) rather than “something” (“etwas”). Heidegger then turns lack of knowledge or understanding of what one’s anxiety is about into a revelation of “Nothing” (“Die Angst (...)
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  14.  46
    Andreas Dorschel (2010). Über Ausdruck, insbesondere den musikalischen. In Andreas Dorschel & Elisabeth Kappel (eds.), Friedrich von Hausegger, Die Musik als Ausdruck. Universal Edition 152-177.
    To call a piece of music sad or joyous need not imply reference to a subjective state. Speaking in this vein, we do not have to attribute sad or joyous feelings to the composer or to the performer. Nor do we predict that listeners will become sad or joyful when they will listen to a performance of that composition. Musical expression is not a mode of consciousness in those who produce it and it is not an effect of music either. (...)
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  15.  30
    Andreas Dorschel (1996). Darwinismus als Kritikverbot. Zu Friedrich August von Hayeks Theorie der Moralevolution. Aufklärung Und Kritik 3 (1):31-40.
  16.  40
    Andreas Dorschel (2010). Totengespräch zwischen Franz Joseph Haydn aus Rohrau und Anton Friedrich Wilhelm von Webern aus Wien in der musikalischen Unterwelt. In Andreas Dorschel & Federico Celestini (eds.), Arbeit am Kanon: Ästhetische Studien zur Musik von Haydn bis Webern. Universal Edition 9-15.
    In the spirit of Fontenelle's "Dialogues des morts", Dorschel stages an imaginary conversation between 18th century composer Joseph Haydn and 20th century composer Anton von Webern. In the section of Hades reserved for composers, they confront their different musical poetics.
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  17.  38
    Andreas Dorschel (2005). Was hat Musik im Film zu suchen? In Tonspuren. Musik im Film: Fallstudien 1994 - 2001. Universal Edition 12-21.
    Attempts to bestow a musical background upon spoken drama have been deemed widely superfluous; most films, by way of contrast, do employ music. This aesthetic divergence invites an account of film music in terms of lack and compensation. The standard account in such terms, viz. that music has to fill the vacuum of silence, does not explain what it is supposed to explain. Rather, music in cinema can restore in a different way the expression lost as reality is reduced to (...)
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  18.  29
    Andreas Dorschel (2015). Ästhetik des Fado. Merkur 69 (2):79-86.
    Fado, the urban folk of Lisbon and Coimbra, is an art of nuances. These nuances music takes from poetry; as ‘sung poetry’ (‘poema cantado’ in Portuguese) fados are not to be equated with ‘songs’ that turn the word into a vehicle – a dominant procedure in, e.g., rock music. Again, ‘voice’ in fado does not so much manifest individual expression; rather it is, as it were, ‘on loan’ from tradition. Keeping some distance from dance, too, fado at the beginning of (...)
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  19.  35
    Andreas Dorschel (2010). Der allgemeine Wille. Zu Rousseaus Contrat social (1762). Zeitschrift Für Didaktik der Philosophie Und Ethik 32 (1):31-33.
    In his 'Contrat social', § 2.1, Jean-Jacques Rousseau argues that the general will alone can steer the forces of the state towards the end for which it was instituted, i.e., the common good. The argument's logical structure is more intricate than it seems at first glance. And the intricacy appears to be deliberate. Rousseau's authorial strategy is designed to evoke the reader's voice in articulating the fundamentals of politics.
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  20.  31
    Andreas Dorschel (1995). Gestaltung und Ethik. Conceptus: Zeitschrift Fur Philosophie 28 (72):63-81.
    In design theory, moral categories have traditionally been used in favour of objectivity and soberness to oppose designers' aesthetic narcissism. This use of moral concepts is directed at the individual design object. The situation gets more complicated, however, as soon as the totality (or a large number) of objects of a certain type raises problems which could not have been predicted from features of the individual object as such. The essay attempts to clarify how ethical concepts could be relevant to (...)
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  21.  31
    Andreas Dorschel (2003). Rettende Interpretation. In Otto Kolleritsch (ed.), Musikalische Produktion und Interpretation. Zur historischen Unaufhebbarkeit einer ästhetischen Konstellation. Universal Edition 199-211.
    Aestheticians in the tradition of Critical Theory have claimed that the or a purpose of musical interpretation is somehow to save or salvage or rescue ("retten") the musical work. What sense, if any, can be made of this claim? The notion of salvage or rescue presupposes the concept of danger. Threats to works of art emerge from two sources: from outside and from inside. Whilst the former problem is only touched upon, the latter is discussed in some detail, using the (...)
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  22.  11
    Andreas Dorschel (2015). Passions of the Intellect: A Study of Polemics. Philosophy 90 (4):679-684.
    Polemics are a sort of critique typically suffused with inimical emotions and passions. But how are these emotions and passions to be construed? Neither authorial expression nor actual arousal properly account for their rôle in polemics. Rather, the polemicist must stage an unequal battle between a polemical self and the polemical target vis-à-vis an anticipated audience, skilfully handling, through his words, the emotions ascribed to each of them.
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  23.  26
    Andreas Dorschel (2005). Was heißt konservativ in der Kunst? Das Horn im 19. Jahrhundert und das Es-Dur-Trio op. 40 von Johannes Brahms: eine ästhetische Fallstudie. Brahms-Studien 14:55-66.
    What does it mean to be conservative? What could it mean in the arts? Whoever merely conserves works of art may be a collector but is not an artist. Brahms’s trio op. 40 conserves the hand horn idiom. Yet its aesthetics will not be captured by the opposition of ‘conservative’ versus ‘progressive’. What is superior in terms of technology, Brahms maintained, need not be superior in terms of art.
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  24.  25
    Andreas Dorschel (1990). Die Kosten der Moral. Nachgerechnet an Kant. Concordia 18:2-25.
    Acting morally comes at a price. The fewer people act morally, the dearer moral acts will be to those who perform them. Even if it could be proven that a certain moral norm were valid, the question might still be open whether, under certain circumstances, the demand to follow it meant asking too much. The validity of a moral norm is independent from actual compliance. In that regard, moral norms differ from legal rules. A law that nobody obeys has eroded (...)
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  25.  26
    Andreas Dorschel (1989). Die Biologische Pointe Aller Moralischen Pointen. Bijdragen 50 (1):24-39.
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  26.  25
    Andreas Dorschel (1986). Religion als 'Teilsystem'? Zu Niklas Luhmanns 'Die Unterscheidung Gottes'. Österreichische Zeitschrift Für Soziologie 11 (3):12-18.
  27.  24
    Andreas Dorschel (2004). Vom Genießen. Reflexionen zu Richard Strauss. In Gemurmel unterhalb des Rauschens. Theodor W. Adorno und Richard Strauss. Universal Edition 23-37.
    The work of Richard Strauss has been disparaged as a music designed to be relished (“Genußmusik” was Adorno’s term), lacking any dimension of ‘transcendence’. The notion of ‘relish’ or ‘pleasure’ (“Genuß”), used for characterization rather than disparagement, can disclose crucial aspects of Strauss’s art, though it does not exhaust it. To oppose ‘relish’ or ‘pleasure’ (“Genuß”) to ‘transcendence’, however, either uses hidden theological premises or disregards that ‘relish’ or ‘pleasure’ (“Genuß”), bound to be pervious to its object, does transcend towards (...)
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  28.  17
    Andreas Dorschel (2013). Ein verschollen geglaubter Brief der Korinther an Paulus. Merkur 67 (12):1125-1134.
    In the December 2013 issue of the periodical ‚Merkur‘, philosopher Andreas Dorschel presents a literary experiment. In the spirit of 18th century Enlightenment, he feigns an apocryphal letter including philological apparatus; it is – mind the boldness – a response letter by the Corinthians to St Paul’s first epistle. The ancient port city, multicultural, of syncretist religiousness and libertine in erotics, rejects the disciplining by the apostle. (Summary by Gustav Seibt, ‚Die Häresie der Abgrenzungen. Andreas Dorschel entwirft ein korinthisches Christentum‘, (...)
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  29.  21
    Andreas Dorschel (1988). Ist soziale Gerechtigkeit ein ‘sinnloser’ Begriff? Zu einer These Friedrich August von Hayeks. Österreichische Zeitschrift Für Soziologie 13 (1):4-13.
  30.  18
    Andreas Dorschel (2014). Icons without turn: Über Bilder und Worte. In Wilhelm Vossenkuhl (ed.), Quo vadis Design? 4 Thesen. 17-37.
    Images, or icons, have been made the subject of a ‘turn’. But no new epoch under its sign is looming. The image is just one medium among others. The best we can do is to face what it may and what it may not achieve. Its main competitor is the word – though there is a field of transition between both. Words and numbers surpass the image when one needs to refer to something that cannot be seen – this holds (...)
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  31. Andreas Dorschel (2001). The Paradox of Opera. The Cambridge Quarterly 30 (4):283-306.
    Opera is a paradoxical genre. For it seems self-defeating to create an illusion of reality by means of the theatrical apparatus if the art form’s central mode of expression, lavish singing in all kinds of circumstances, defies realism anyway. A solution to the paradox is implied by the 18th century turn of European philosophy of art from mimēsis to aisthēsis. In terms of aesthetics, reality is no longer an object of imitation but rather the impact upon and presence for a (...)
     
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  32.  19
    Andreas Dorschel (1991). A morál költségei – Kant nyomán számolva. Magyar Filozofiai Szemle (4-5):678-708.
    Acting morally comes at a price. The fewer people act morally, the dearer moral acts will be to those who perform them. Even if it could be proven that a certain moral norm were valid, the question might still be open whether, under certain circumstances, the demand to follow it meant asking too much. The validity of a moral norm is independent from actual compliance. In that regard, moral norms differ from legal rules. A law that nobody obeys has eroded (...)
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  33.  18
    Andreas Dorschel (2003). Das ‘Urteil der Geschichte’. Über ‘historische Gerechtigkeit’ in der Wertung musikalischer Werke. Österreichische Musikzeitschrift 58 (2):6-17.
  34.  19
    Andreas Dorschel (2011). Music and Pain. In Jane Fulcher (ed.), The Oxford Handbook of the New Cultural History of Music. Oxford University Press 68-79.
    Ancient mythology related music to pain in a twofold way. Pain is the punishment inflicted for producing inferior music: the fate of Marsyas; music is sublimation of pain: the achievement of Orpheus and of Philomela. Both aspects have played defining roles in Western musical culture. Pain’s natural expression is the scream. To be present in music at all, pain needs to be transformed. So even where music expresses pain, at the same time it appeases that very pain. Unlike the scream, (...)
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  35.  14
    Andreas Dorschel (2006). Einwände gegen das Vergleichen. Ein Versuch, sie zu beantworten. Philosophisches Jahrbuch 113 (1):175-183.
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  36.  15
    Andreas Dorschel (2012). Offener Brief an Magister Alexander Gottlieb Baumgarten. In Philip Alperson & Andreas Dorschel (eds.), Vollkommenes hält sich fern. Ästhetische Näherungen. Universal Edition 9-15.
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  37.  17
    Andreas Dorschel (2003). Andreas Bächli / Andreas Graeser, Grundbegriffe der Antiken Philosophie. [REVIEW] Philosophical Books 44 (2):162-162.
  38.  14
    Andreas Dorschel (2012). Der Welt abhanden kommen. Über musikalischen Eskapismus. Merkur 66 (2012):135-142.
    Escape from worldly dealings can be sought on a number of routes – music may open one of them. For its matter, sound, is forever fleeting, and in its realm, before and beyond language, no duties and obligations arise. Yet these features are not, as they seem, rooted in the nature of music; rather, they were shaped thus in the history that art underwent in Europe during the 19th century.
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  39.  13
    Andreas Dorschel (1996). Über die Intentionalität von Emotionen. Zeitschrift Für Philosophische Praxis (1):9-12.
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  40.  9
    Andreas Dorschel (2005). Sentimentalität. Über eine Kategorie ästhetischer und moralischer Abwertung. Perspektiven der Philosophie 31 (1):11-22.
    Sentimentality: this term has had an odd career that converted it from an expression of praise into one of abuse. The obvious suspicion is that the word ‚sentimental‘ has had an entirely different meaning in the 20th and 21st centuries (when it has been deployed for abuse) as compared to the 18th century (when it had been used for praise). Scrutiny shows, however, that this is not the case. Rather the very same aspects of sentimentality that had appeared to, e.g., (...)
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  41. Andreas Dorschel (2008). Moral als Problem. Friedrich Nietzsche: Fröhliche Wissenschaft § 345. Zeitschrift Für Didaktik der Philosophie Und Ethik 30 (1):56-61.
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  42. Andreas Dorschel (1997). Utopie und Resignation. Schuberts Deutungen des Sehnsuchtsliedes aus Goethes ‘Wilhelm Meister’ von 1826. Oxford German Studies 26:132-164.
    In the lied, music interprets poetry. Interpretation is not arbitrary. At the same time, there is no such thing as a single correct interpretation of something else – at any rate not of something as complex as a poem by Goethe. Mignon’s song of longing “Nur wer die Sehnsucht kennt, / weiß, was ich leide” can be taken to manifest subjectivity utterly barren within itself. Yet the ability to express that state of mind transcends it; it implies imagination of something (...)
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  43.  7
    Andreas Dorschel (1993). Wilhelm Müllers ‘Die Winterreise’ und die Erlösungsversprechen der Romantik. The German Quarterly 66 (4):467-476.
    Wilhelm Müller's lyric cycle "Die Winterreise", superficially the depiction of the end of an unhappy erotic relationship, can be interpreted as a negation of the promises of deliverance which, during the early Romantic period, were associated with the spheres of dreams, death, nature, contemplation, and love. Even art, Müller's own medium, seems susceptible to this negation.
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  44.  12
    Andreas Dorschel (2013). Denktagebücher: Zur Poetik des philosophischen Journals. Philosophische Rundschau 60 (4):264-298.
    In philosophers’ diaries the individuality of men and women, their daily pain and pleasure, uniquely meets, and sometimes clashes, with the universal, or at least general, claims bound up with their metier. Following the genre’s history from the later 18th century to the present, Andreas Dorschel distinguishes (by way of ideal types) between (a) experimental diaries, (b) methodical diaries, (c) representative diaries, and (d) intimate diaries.
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  45.  29
    Andreas Dorschel (1989). What is It to Understand a Directive Speech Act? Australasian Journal of Philosophy 67 (3):319 – 340.
    In this paper I want to examine the concept of 'conditions of fulfilment' or 'compliance' or 'satisfaction' which have been introduced by some authors in order to provide analyses of meaning which are just as adequate to directive speech acts as truth-conditional semantics are (claimed to be) adequate to assertive speech acts. It will be argued that this aim is missed. Most analyses (except those of some primitive cases) will remain throughout imcomplete as long as they are not supplemented by (...)
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  46.  33
    Andreas Dorschel (2002). The Authority of the Will. Philosophical Forum 33 (3-4):425-442.
  47.  22
    Andreas Dorschel (1990). Handlungstypen und Kriterien. Zu Habermas' "Theorie des kommunikativen Handelns". Zeitschrift für Philosophische Forschung 44 (2):220-252.
    In his 'Theory of Communicative Action', Jürgen Habermas wishes to distinguish between three types of action: instrumental achtion, strategic action, communicative action. The distinction is meant to be drawn along three criteria: different 'ontological presuppositions' , different types of motives for action , different attitudes of actors . Criteria and do not work, and there are difficulties about criterion.
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  48.  6
    Andreas Dorschel (2006). ‘Best to Have the Opera House Bombarded’. An Unpublished Letter by Hugo Wolf. Studia Musicologica 47 (2):233-240.
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  49.  8
    Andreas Dorschel (1988). Moralkritik und Kritikverbot: Das naturalistische Fundierungsargument bei Nietzsche. Tijdschrift Voor Filosofie 50 (3):508 - 524.
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  50.  7
    Andreas Dorschel (2011). Ein Versprechen von Glück. Neuere philosophische Studien über das Schöne. Philosophische Rundschau 58 (3):226 - 247.
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