Twenty Years After Communism is concerned with the explosion of a politics of memory triggered by the fall of state socialism in Eastern Europe, and it takes a comparative look at the ways that communism and its demise have been commemorated by major political actors across the region.

Excerpt from The Anatomy of Modern Science: An Introduction to the Scientific Philosophy of to-DayIt was clear to me from the start that this need could be met in a way that would satisfy men of science only if the presentation dealt in the first place with the scientific results and not the philosophic problems. This book therefore deals with Inductive Philosophy, so to speak: the philosophic questions grow naturally out of the results and problems of science. I confidently believe (...) that this method is the one that will commend itself to English scientists.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Kapitola X., Zánik středověku v které běží o otázku, zda je náš rytíř figurou potvrzující středověk. Don Quijote začíná jako retro-rytíř. Krámuje kusy brnění svých prarodičů. Jeho cíl je, zdá se, inspirován středověce. Ve středověku existovali rytíři, v době Dona Quijote již ne. Přesto se v tomto románu bezúspěšně pátrá po potvrzení věku zvaného „medium aevum“. Je tento věk potvrzen alespoň skrytě? Anebo zjistíme, podíváme-li se na jádro našeho caballero andante, že je jen středověkým převlekem pro opuštění středověku? Následující, zeširoka (...) pojatá „dřevořezba“, dává na tuto otázku jednoznačnou odpověď. (shrink)

Večina slikovnih koncepcij boleha za tem, da začenjajo previsoko, namreč na ravni slikovnih del in slikovnih medijev. Zaradi tega pri doživljanju slike nismo pozorni na razpoke in brezna. Ta očitek zadeva tako filozofske teorije slike kot tudi umetnostno teorijo, umetnostno zgodovino in muzejsko prakso, ki se ne zna več čuditi temu, da obstaja nekaj takega kot slike. Naslednji razmisleki se vrtijo okoli geneze slike, ki omogoča vdor v zaprtost nekega v lepi ali nič več lepi videz ujetega estetskega sveta, tako (...) da se sprostijo tako pred- kot tudi post-estetski motivi umetnosti. Umetnost terja genealogijo, ki bo enakovredna Nietzschejevi genealogiji morale ali Husserlovi genealogiji logike.The majority of pictorial conceptions are troubled by starting from too high a level, namely from the level of fine-art works and fine-art media. This is why we are likely to fail to notice crevices and chasms. This reproach is directed both at philosophical theories of the painting and at art theory, art history and museum practice, which is no longer able to express wonder at the sheer existence of the painting. The following reflections tackle the issue of the genesis of the painting, which enables us to penetrate into the closed sphere of the aesthetic world as caught in the beautiful, or no longer beautiful, appearance, and thereby sets free pre- as well as post-aesthetical motives of art. Art demands a genealogy on an equal stand with Nietzsche’s genealogy of morality or Husserl’s genealogy of logic. (shrink)

Visualization in 19th-century German geography: Robert Schlagintweit and Hans Meyer as examples. – Visual representations of nature formed an essential part of 19th-century earth sciences. In particular, colonial photography – as a visual source, and as an instrument of the construction of national identities – serves essential research interests of current history and social sciences. The present paper is a case study on the role and function of photography in German geography of the 19th and early 20th centuries. It focuses (...) on the work of the Munich geographer Robert Schlagintweit and the Leipzig colonial geographer Hans Meyer ; the early history of photography in India and the function of images in the geographical exploration of overseas territories are discussed. Although there is nearly half a century between the work of R. Schlagintweit and H. Meyer, their photography shows remarkable parallels. The ideas of both on the practice of visualization are rooted in pedagogic and didactic concepts as well as in popular science. For both geographers photography was essentially a technical help, which often needed graphic revisions. And they both preferred photography to depict people and buildings . Concerning the more comprehensive question of how far their photography transmitted a specific German ‘image of abroad’, it is indicated that such a specific image should have its essential roots in a peculiar visual culture of German earth sciences in the first half of the 19th century. Thus the paper offers a starting point for further studies discussing the change from a ‘Biedermeier image’ of foreign cultures to a more ‘colonial’ one in 19th-century German geography. (shrink)

The volume brings together a collection of original papers on some of the main tenets of Joseph Raz's legal and political philosophy: Legal positivism and the nature of law, practical reason, authority, the value of equality, incommensurability, harm, group rights, and multiculturalism. James Griffin and Yael Tamir raise questions concerning Raz's notion of group rights and its application to claims of cultural and political autonomy, while Will Kymlicka and Bernhard Peters examine Raz's theory of multicultural society. Lukas Meyer investigates (...) the applicability of the notion of harm in the intergenerational context. Other papers are devoted to fundamental theoretical tenets of Raz's work. Hillel Steiner and Andrei Marmor examine Raz's account of value pluralism and incommensurability in light of what these authors consider to be goods whose equal distribution must be valued for its own sake. Robert Alexy and Timothy Endicott discuss traditional issues of jurisprudence and legal philosphy with special attention to Raz's contribution. Rüdiger Bittner, Bruno Celano, and J. E. Penner discuss and criticize aspects of Raz's theory of practical reason. Jeremy Waldron presents a critique of Raz's interpretation of authority.This volume concludes with a chapter by Joseph Raz in which he responds to arguments in the foregoing essays. (shrink)

Sophokles, der zweite der drei grossen Tragiker, fuhrte die griechische Tragodie zu ihrem Hohepunkt. Seine Dramen haben die am strengsten komponierte Form, seine Neuerungen lassen die Handlung auf der Buhne starker hervortreten: Er fuhrt den dritten Schauspieler ein, schrankt die Chorlieder ein, erweitert dagegen den Chor von 12 auf 15 Manner und verwendet als erster Buhnenmalerei. Er lost sich von der gewohnten Trilogie und stellt jede der drei zusammen aufgefuhrten Tragodien nach Stoff und Handlung abgerundet auf sich selbst. Mit diesen (...) Neuerungen schuf er sich die Mittel, die neue Tragodie vielseitiger, beweglicher und darstellerisch wie dramatisch anspruchsvoller zu gestalten. Und er hatte Erfolg: Achtzehnmal errang er mit seinen Dramen den ersten Platz. Das Zentrum seiner Dramen bildet der leidende Mensch: Der grosse Einzelne steht in der Mitte des Geschehens, das auf ihn zukommt und das er mit Schrecken und Leid selbst vorantreibt. Er ist kein Mustermensch, er steht vielmehr den Verstandigen und Gemassigten extrem gegenuber. Aus seinem Wesen entwickelt sich die Handlung, die bei Sophokles zu unerbittlichen Darstellungen der Condition humana mit allen Greueln wird, die der Menschheitsgeschichte eigen sind. Der Band enthalt die Dramen Aias, Die Trachinierinnen, Antigone, Konig Oidipus, Elektra, Philoktetes, Oidipus auf Kolonos und Die Satyrn als Spurhunde. Herausgegeben von Wilhelm Willige, uberarbeitet von Karl Bayer. Mit Anmerkungen und Nachwort von Bernhard Zimmermann.". (shrink)

The monograph Drei Wurzeln des Krieges. Und warum nur eine nicht ins Verderben führt by Bernhard Taureck was published in 2019. It is one of the few current philosophical contributions on the theory of war that is not limited to the question of the moral justification of war (such as Michael Walzer’s work). Instead, the book contains not only various references to the war discourses of antiquity and their multiple references to actuality, but also a detailed examination of the (...) question of how radically war determines our history, present and future. In this book, interdisciplinary statements on Taureck’s concisely summarised approach make critical reference to this question in the common interest of finding ways out of this situation. With contributions by Lothar Brock, Hans-Georg Ehrhart, Martin Kahl, Wolfgang Knöbl, Barbara Kuchler, Ishay Landa, Burkhard Liebsch, Herfried Münkler, Max Mutschler, Norman Paech, Christopher Pollmann, Bernhard H. F. Taureck and Pascal Weitmann. (shrink)