Die "Gottesfrage" ist anerkanntermaßen eine äußerst komplexe, vieldeutige und obskure Frage. In ausführlicher Auseinandersetzung mit Heidegger, in dessen Schriften eine sehr einflussreiche einseitige und entstellende Interpretation und Kritik der großen metaphysischen Tradition immer wieder präsentiert wird, zeigt Lorenz B. Puntel, dass die Gottesfrage klar, rational und argumentativ, kurz: mit theoretischer Rigorosität, behandelt werden kann. Dies aber setzt einen umfassenden philosophischen Theorierahmen voraus, der die Entfaltung einer systematischen Konzeption des Seins als solchen und im Ganzen ermöglicht und in nuce enthält. (...) Anschließend wird eine solche Konzeption im Grundriss zur Darstellung gebracht. In einem ausführlichen Kapitel werden die Positionen von É. Lévinas und J.-L. Marion, den zwei wohl radikalsten postmodernen Kritikern und Gegnern jeder Form eines positiven Verhältnisses zwischen dem "Sein(sdenken)" und (dem Thema) "Gott", eingehend analysiert und deren radikale Unhaltbarkeit demonstriert. (shrink)

Die "Gottesfrage" ist anerkanntermaßen eine äußerst komplexe, vieldeutige und obskure Frage. In ausführlicher Auseinandersetzung mit Heidegger, in dessen Schriften eine sehr einflussreiche einseitige und entstellende Interpretation und Kritik der großen metaphysischen Tradition immer wieder präsentiert wird, zeigt Lorenz B. Puntel, dass die Gottesfrage klar, rational und argumentativ, kurz: mit theoretischer Rigorosität, behandelt werden kann. Dies aber setzt einen umfassenden philosophischen Theorierahmen voraus, der die Entfaltung einer systematischen Konzeption des Seins als solchen und im Ganzen ermöglicht und in nuce enthält. (...) Anschließend wird eine solche Konzeption im Grundriss zur Darstellung gebracht. In einem ausführlichen Kapitel werden die Positionen von É. Lévinas und J.-L. Marion, den zwei wohl radikalsten postmodernen Kritikern und Gegnern jeder Form eines positiven Verhältnisses zwischen dem "Sein" und "Gott", eingehend analysiert und deren radikale Unhaltbarkeit demonstriert. (shrink)

The article is devoted to philosophy of mathematics. Mathematical heuristics, being a complex of methods for solving the non-standard problems of mathematics (such problems which have no known algorithms to be solved), is the main subject of the research. As a specific mechanism for thinking, generating elements of guesswork needed as the basis of mathematical heuristics, the author considers intuition. In the work, the author uses Descartes’s, Poincaré’s, Hadamard’s and Piaget’s findings. Based on Descartes’s concept of rational intuition, the author (...) develops the concept of heuristic intuition. As a result, the author turns to the question of possibility of a complete translation of the user-derived mathematical statements in a discourse, in fact, that means a maximum depth of mathematical proof, i.e. its maximum rationalization. For this purpose, it is necessary to re-attract the intuition since it is able to transform the intuitive elements into the discourse ones. Therefore, from this point of view, the rationale is intuitively derived mathematical proof should be no more than a ‘multilayer‘ creative process. In general, the author, based on Poincaré’s research, proves that the essence of mathematical creativity is not to «sort out» and «choose». Referring to examples for illustration, the author reveals moments of «interference» of intuition, even in the process of solving school problems. Therefore, it is currently impossible to ignore the phenomenon of intuition and the results that have been historically derived a theory of knowledge in the study of creative mechanisms. (shrink)

In this article the philosophy of mathematics issues related to the procedure of mathematical symbolization are studied on the basis of phenomenon of implicit knowledge. The specificity of mathematical symbolization and conditions of its implementation, defines the role of mathematical symbolization in the development of mathematics. The author believes that the results can justify the thesis that the basis of mathematical symbolization is a priori epistemological ‘foundation‘. The author believes that the conclusions of the article significantly limit the prospects of (...) the popular contemporary philosophy of science epistemological relativism in the philosophy of mathematics, as well as in the theory of knowledge in general. Further studies on the role of implicit knowledge in the development of mathematics, according to the author, should contribute to the strengthening and further spread of a similar approach in the theory of knowledge. (shrink)

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It is argued that ideas and theories often evolve into preconceptions of our perceptions. Such evolution is implicit in Heidegger's notion of truths of alethia. The description of this process holds implications for the traditional givenness of humans for themselves in terms of the changabllity of absolute presuppositions. Among the implications are 1. the insufficiency of the historical mode for explaining changes in human self-perception; 2. the inadequacy of radical subjectivism and environmentalism; 3. a radical contingency and complexity to the (...) course of human conceptualization; and 4. the awareness that human efforts can influence alterations in preconceptions. The influence of modern brain theory is subject to these conditions. (shrink)

The papers in the 2010 “Clinical Ethics” number of the Journal of Medicine and Philosophy explore issues along La Frontera, the borders and boundaries of clinical ethics. The first three papers in this “Clinical Ethics” number of the Journal explore borders and boundaries drawn within clinical ethics, concerning the moral standing of complementary and alternative medicine, palliative sedation, and induced abortion and feticide. The fourth and fifth papers explore the borders and boundaries between research ethics and clinical ethics.

Anagrams and syllabic wordplay of the kind championed by Frederick Ahl in his Metaformations have not always been favourably received by scholars of Latin poetry; I would hesitate to propose the following instance, were it not for the fact that its occurrence seems peculiarly apposite to the context in which it appears. That Roman poets were prepared to use such techniques to enhance the presentation of an argument by exemplifying its operation at a verbal level is demonstrated by the famous (...) passage of Lucretius in which the poet seeks to illustrate the tendency of semina … ardoris to create fire in wood by the literal presence of elements from the word for ‘fires’ in that denoting wood. A similar conception may underlie the association insinuated by the love elegists between amor and mors, suggesting that death is somehow ‘written into’ love: so Propertius declares laus in amore mori, while Tibullus appears to point to the lurking presence of death in the pursuit of love in the lines interea, dum fata sinunt, iungamus amores: | iam ueniet tenebris Mors adoperta caput – so swift and unexpected is death's approach that it is already present in aMOReS in the preceding line. Ovid's awareness of the poetic potential of this kind of play is fully exhibited in his celebrated account of Echo and Narcissus in Metamorphoses 3, where the subject matter gives the poet ample scope to exploit the humorous and pathetic possibilities afforded by Echo's fragmented repetitions of the frustrated entreaties of her beloved. (shrink)

Virgil's fourth Eclogue is one of the most quoted, adapted and discussed works of classical literature. This study traces the fortunes of Eclogue 4 in the literature and art of the Italian Renaissance. It sheds new light on some of the most canonical works of Western art and literature, as well as introducing a large number of other, lesser-known items, some of which have not appeared in print since their original publication, while others are extant only in manuscript. Individual chapters (...) are devoted to the uses made of the fourth Eclogue in the political panegyric of Medici Florence, the Venetian Republic and the Renaissance papacy, and to religious appropriations of the Virgilian text in the genres of epic and pastoral poetry. The book also investigates the appearance of quotations from the poem in fifteenth- and sixteenth-century fresco cycles representing the prophetic Sibyls in Italian churches. (shrink)

Recent work in the ontology of music suggests that we will avoid confusion if we distinguish between two kinds of question that are typically posed in music ontology. Thus, a distinction has been made between fundamental ontology and higher-order ontology. The former addresses questions about the basic metaphysical options from which ontologists choose. For instance, are musical works types, indicated types, classes of particulars, or some other kind of entity? Higher-order ontology addresses the question of what lies ‘at the centre’ (...) of a specific form of music, such as rock or jazz—or perhaps classical music. The argument of this essay is, first, that a close examination of the best efforts in two of these territories shows that they have the effect of pressing the music in each sphere into implausible Procrustean beds. Second, it is argued that the general question that higher-order ontologies pose, that is, ‘What work-kind is it that lies at the centre of a given kind of music, F?’ is a question based on a mistaken but seductive assumption, namely that the concept of the work of F has actual application. In fact, these concepts—upon which higher-order ontology depends—are mere artefacts of philosophy. The question is also addressed why the assumption is so seductive. Finally, the question finally is posed about what, if anything, is implied from the foregoing about the traditional ontology of classical music. (shrink)