The thesis that cultures oppose the emphasis on emancipative values and liberal democracy has mostly been criticized for its political instrumentality. By contrast, the empirical claim about most AsiansWestEast’, confirming a universal model of human development rather than Asian exceptionalism, or any other form of cultural exceptionalism.

This study investigates the effect of country-level emancipative forces on corporate gender diversity around the world. Based on Welzel’s theory of emancipation, we develop an emancipatory framework of board gender diversity that explains how action resources, emancipative values and civic entitlements enable, motivate and encourage women to take leadership roles on corporate boards. Using a sample of 6390 firms operating in 30 countries around the world, our results show positive single and combined effects of the framework components on board (...) gender diversity. Our research adds to the existing literature in a twofold manner. First, our integrated framework offers a more encompassing, complete and theoretically richer picture of the key drivers of board gender diversity. Second, by testing the framework empirically, we extend the evidence on national drivers of board gender diversity. (shrink)

This study introduces a human empowerment framework to better understand why some businesses are more socially oriented than others in their policies and activities. Building on Welzel’s theory of emancipation, we argue that human empowerment—comprised of four components: action resources, emancipative values, social movement activity, and civic entitlements—enables, motivates, and entitles individuals to pursue social goals for their businesses. Using a sample of over 15,000 entrepreneurs from 43 countries, we report strong empirical evidence for two ecological effects of the (...) framework components on prosociality. We find that human empowerment lifts entrepreneurs’ willingness to choose a social orientation for their business, and reinforces the gender effect on prosociality in business activity. We discuss the human empowerment framework’s added value in understanding how modernization processes fully leverage the potential of social business activities for societies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching TV, (...) as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching TV, (...) as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

Keine ausführliche Beschreibung für "Die Naturrechtslehre Samuel Pufendorfs" verfügbar.

Aesthetics is commonly considered a complicated field of inquiry, particularly for students. Nevertheless, aesthetic experiences often raise questions about the nature of music which philosophical aesthetics is intended to answer. To bring students in contact with aesthetics depends primarily on the choice of appropriate methods. Case studies exemplify aesthetic theory in a small story. They can engage students in aesthetic inquiry directly related to students' musical world. Case studies also offer further applications to music education in terms of performing, improvising, (...) or giving pre-concert lectures. Music education could use the opportunities which aesthetics offers in order to enhance making music and aesthetic experiences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of the Sense and the Senses:Aesthetic Education in Germany and the United StatesAlexandra Kertz-Welzel (bio)The dream that art is able to humanize human beings is very old. One person fascinated by this idea claimed:The creative artist educates and perfects through his work the nation's capacity for appreciation, just as conversely the general feeling for art thus developed and sustained creates the fruitful soil which is the (...) condition for the birth, the growth, and the activity of creative forces.1The author asserted that art has educational power and is able to improve appreciation as well as activate creative energy. Art is a way to transform the individual through its aesthetic power.Although these ideas sound similar to some approaches in arts education, this quotation does not represent the ideas of an art educator or a music educator. It is a quotation from one of the most powerful and most dangerous believers in the transforming power of art and music, in particular—Adolf Hitler (1889-1945). His ideology matched perfectly with the ideas of German music education in the 1930s, and therefore music education was a significant part of the school curriculum during the Third Reich. One of the most tempting ideas for music educators is the claim that music is capable of transforming human beings and their society.The idea of the educational power of music starts at least with Plato. Since the 1950s, aesthetic education has emphasized the aesthetic value and educational power of music. The German and the American concepts of aesthetic education are significantly different, but as a result of historical developments, they also share some similarities.The main intent of this paper is to analyze crucial issues of aesthetic education that exist in Germany and the United States. By comparing the two approaches, some core issues of music education will also be revealed in terms of idealistic dreams that are intent on making the world a better place [End Page 102] through music. This leads to some interesting insights concerning the significance but also the ambiguity of art for societies.The Roots: Ancient Greece, Schiller, and Holistic DreamsThe origin of the term aesthetics can be found in the Greek word aisthesis, which means perception through the senses.2 This meaning of aisthesis is originally not related to art. It concerns all kinds of sensations through seeing, hearing, touching, smelling, and tasting. In Greek philosophy, aisthesis as a way of experiencing the world through the senses is opposite to cognition in terms of an intellectual way of realization, the theoria. But given that art is something one can perceive through the various senses, aisthesis also concerns art.Most theories of aesthetic education refer to the ancient Greek idea of music, the musiké, which is a unity of music, dance, and literature. Plato emphasized the educational power of music and its effects on character development: "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul.... "3 Since music is so powerful, the correct use and the correct kind of music are important. According to Plato, art is a way to learn about truth and ideas through beauty. But art is also dangerous, because the senses "lie" and art is only an imitation of truth. For Plato, the senses are not as clear as the intellect.Plato's concerns about the ambivalence of sensorial perception are typical for the way aisthesis and aesthetics have been understood throughout the history of philosophy. The tension between a "true" intellectual approach to knowledge and an inferior approach through the senses is one aspect of the well-known mind-body dichotomy.During the eighteenth century, the era of enlightenment, Alexander Baumgarten (1714-62) introduced the term aesthesis into the philosophical discussion.4 In his book Aesthetica (published in 1750), he attempted to justify sensorial perception and emotions as a unique way of understanding the world. Baumgarten was not interested in the arts at all and tried to establish aesthetics as the science of sensuous cognition in order to improve the sensuous capacity for cognition. Immanuel Kant (1724-1804) was the... (shrink)

Community music is a successful concept in the world of music and music education. Based on ethnomusicological research, community music tries to implement the notion of music for all that transforms societies and people. While celebrating informal learning and the musical amateur, community music has never really been philosophically challenged or critically analyzed. This might be surprising because community music is a rather vague concept. This paper critically analyzes some of community music’s foundations in terms of epistemological or ethnomusicological issues, (...) Kitsch, the notion of learning, and the relation to higher education. In order to improve musicking internationally, it is crucial to start critically investigating the very foundations of community music and with regard to fostering a collaboration with music education. (shrink)

Abstract:Classical music has often been a chosen enemy in discourses about music in general and music education in particular. It has been blamed for being an elitist culture and perpetuating inequality in societies. This and many more rather one-sided arguments dominate the discourse about classical music. But are they really true? Should classical music therefore be eliminated from the music education curriculum? This paper analyzes selected aspects of the ongoing criticism of classical music in music education from a philosophical and (...) sociological perspective. It identifies, questions, and addresses significant arguments. The main thesis of this paper is that it might be time to deconstruct the discourses surrounding classical music, as particularly dominated by Anglo-American education, toward understanding classical music in music education from a global point of view, recognizing it as one musical culture among many others. (shrink)

In recent years, comparative education and comparative music education became important fields of research. Due to globalization, but also to international student assessments, it is most common to compare the outcomes of entire school systems or specific subject areas. The main goal is to identify the most successful systems and their best practices in order to help struggling countries to improve. While the notion of borrowing from successful systems might at first glance seem convincing, it has its clear downsides: it (...) fosters a kind of “cargo culture,” where the export and import of educational models and successful practices is undertaken without taking into account critical aspects of this procedure. This paper examines critically borrowing foreign educational practices as a goal of comparative music education, in the context of globalization. It takes an interdisciplinary perspective, using results from comparative education research and utilizing it for music education and music education philosophy. (shrink)

Burnout is a risk for many music teachers, particularly the highly successful and effective teachers. Burnout is more than a personal feeling of discomfort or fatigue. It is an attack on professional efficiency and personal integrity. Burnout is affecting male and female music teachers in different ways, because women tend to react to stress in other ways than men and are in a different position in schools, often suffering from the various roles they have both in professional and private life. (...) The school environment, which is often male dominated, output-oriented, and focused on achievement, is sometimes not a good place for a female music educator's creativity, intuition, and search for personal growth. This paper explores ways philosophy of music education can contribute to a more comprehensive understanding of female music teachers' burnout, also offering opportunities for prevention or treatment. (shrink)

In recent years, the internationalization of music education has become an important topic. Scholars of various research traditions try to find the best solutions for problems in music education theory and practice by taking a look at what other countries do. English as common language seems to facilitate this recent development. However, in spite of this seemingly unproblematic way of communicating, there are various obstacles which make the mutual understanding and the internationalization of music education difficult. This particularly concerns different (...) scholarly cultures and traditions of presenting research, both in written papers and oral presentations. Most scholars realize that there are difficulties, but because they mostly only know one culture of research well, they are not aware of the reasons for these problems. Therefore, it is important to take a critical look at the scholarly traditions in Germany and the United States, examining reasons and suggesting solutions for an internationalization of music education that takes into account the strengths of various traditions, while at the same time fostering international understanding and the improvement of music education all over the world. (shrink)

Derecho natural y positivismo jurídico.--Derecho y poder.--Ley y conciencia.--Hans Welzel.--Obras de Hans Welzel.

En el texto se analiza la caída del idealismo y de la filosofía en general tras la muerte del hegelianismo. Un proceso llevado a cabo por el positivismo, la teoría de las ideologías, la filosofía de la vida y el existencialismo. Si bien en la teoría y praxis jurídica será el positivismo el principal protagonista. Este giro tiene como consecuencia centrar el estudio científico sobre el derecho, exclusivamente en el derecho positivo. Frente al reduccionismo del positivismo, Welzel expone el (...) resurgir del dualismo entre concepto de derecho e idea del derecho, de mano de la filosofía neokantiana, y muy especialmente de Rudolf Stammler. Un resurgir que permite presentar a la filosofía kantiana como una teoría complementaria del positivismo jurídico, al aceptar ésta el concepto del derecho del positivismo, depurado de los restos terminológicos de etapas ya superadas. (shrink)

The lecture not only deals with the positive or de facto validity (the "effectiveness") but, also, with the normative, ob liga tory validity of right (its "legitimacy"). For the definition of positive validity, he refers to the "theories of recognizance" originating from the 19th century whereby, how­ ever, he divorces the general theory of recognizance prevailingly adopted today from the older, "individual", theories of recognizance. Utilizing the decisive factor of recognizance, he separates the positive validity of the legal right from (...) the mere enforcement (in the sense of the theory of constraint). The second part of the lecture deals with the question if and under what prerequisites an actual existing positive right is also allocated a normative obligatory power ("normative" validity). He demonstrates the necessity of such a question on the "nihilism of va lues" of extremist sociological trends. Realistically and gradually he unfolds the problem by the course the "dualism of is and should be" by Kelsen on one hand and Rickert, Max Weber, Radbruch on the other, took, and which lead, with their trains of thought in agreement, to the forfeiture of the "should be" to the "is" of the existing de facto power at the times. In doing so, they destroyed the prere­ quisites from which they themselves started off, not only as practical-acting but, also, as theoretical-thinking men, in one and the same breath. (shrink)

Name der Zeitschrift: Das Mittelalter Jahrgang: 22 Heft: 1 Seiten: 93-114.

In lieu of an abstract, here is a brief excerpt of the content:The Crisis of Authority From Holy Obedience to Bold Moral Imagination in European ChristianityKajsa AhlstrandIf we speak of a crisis of authority in Christianity we need to have some kind of common understanding of Christianity. The religion called Christianity is found in all inhabited continents and in a great variety of cultural forms. Two recent lists of countries with the greatest number of Christians show that the United States (...) is the country with the greatest number of Christians, followed by Brazil and Mexico.1 The Americas are on the top of the lists, but among the top ten we also find three Asian countries (China, India, and the Philippines), two African countries (Nigeria and the Democratic Republic of Congo), and four European countries (France, Russia, Germany, and Italy). (Australia is not on any of the lists since the total number of Australian citizens is smaller than the number of Christians in the top ten countries.) Although Christians live on all continents, it is a well-known fact that the majority of Christians now live in the Southern Hemisphere.When we talk about Christianity as an entity we have to be aware that there are enormous variations within Christianity with regard to cultural traditions, standard of living, level of education, and so on. A French Roman Catholic professor of theoretical physics may have very few convictions in common with a Pentecostal Nigerian peasant, although they both regard themselves as Christians.One way of looking at this diversity of values within Christianity is to go to the Inglehart-Welzel cultural map of the world.2 This map shows eight different “fields” of values located within a grid determined by two axes. The vertical axis goes from traditional to rational-secular values, the horizontal axis from survival values to self-expression values.The traditional values to secular-rational values dimension is described as “...the contrast between societies in which religion is very important and those in which it is not. [...] Societies near the traditional pole emphasize the importance of parent-child ties and deference to authority, along with absolute standards and traditional family values [...]. Societies with secular-rational values have the opposite preferences on all of these topics.” [End Page 49]The other dimension, survival values to self-expression values, is described thus: “Self-expression values give high priority to environmental protection, tolerance of diversity and rising demands for participation in decision making in economic and political life. These values also reflect mass polarization over tolerance of outgroups, including foreigners, gays and lesbians and gender equality. The shift from survival values to self-expression values also includes a shift in child-rearing values, from emphasis on hard work toward emphasis on imagination and tolerance as important values to teach a child.”When we apply this to the geographical dimensions of Christianity, we find that societies dominated by Christianity or in which there are significant numbers of Christians are found in every field of the map. This makes it difficult to speak of “Christian values” as if there were any values held by all or even a majority of Christians. Instead we find Christians in Africa who tend to embrace survival and traditional values—that is, religion is very important in their lives and they emphasize the importance of obedience to authority, especially within the family—whereas in the opposite diagonal corner (secular-rational values coupled with self-expression values) we find the Nordic countries, where, although the majority of the population belong to a church, religion plays a very limited role in day-to-day life and children are encouraged to rely on their empathy and imagination rather than to obey their parents and teachers.When we, in the following, move to the topic of a possible crisis of authority in Christianity, we have to remember that the suggested crisis is by no means a universal one. If we use Inglehart’s value map, the crisis of authority is located in the societies that score high on self-expression values, and if they also score high on secular-rational values the “crisis” is further aggravated. What the map does not show, however, is that there are individuals and groups within every... (shrink)

This paper maps out various options for thinking about two issues: the structural relationship between practical wisdom and the moral virtues, and the various functions of practical wisdom. With the help of a case study of the virtue of honesty, three main concerns are raised for what I call the Standard Model of practical wisdom. Two other models, the Socratic Model and the Fragmentation Model, are also critically evaluated. I end by taking seriously an eliminativist approach according to which the (...) trait of practical wisdom does not exist. (shrink)

Humean Laws for Human Agents presents cutting-edge research by leading experts on the Humean account of laws, chance, possibility, and necessity. A central question in metaphysics and philosophy of science is: What are laws of nature? Humeans hold that laws are not sui generis metaphysical entities but merely particularly effective summaries of what actually happens. The most discussed recent work on Humeanism emphasizes the laws' usefulness for limited agents and uses pragmatic considerations to address fundamental and long-standing problems. The current (...) volume develops and critically examines pragmatic Humean accounts, with innovative new work on the epistemology of laws and chance, the problem of induction, counterfactuals, special science laws, and a Humean account of essence. Taken together, the papers provide a roadmap for developing pragmatic Humeanism and connate views, setting the agenda for future research. (shrink)

This article examines the methodology of a core branch of contemporary political theory or philosophy: “analytic” political theory. After distinguishing political theory from related fields, such as political science, moral philosophy, and legal theory, the article discusses the analysis of political concepts. It then turns to the notions of principles and theories, as distinct from concepts, and reviews the methods of assessing such principles and theories, for the purpose of justifying or criticizing them. Finally, it looks at a recent debate (...) on how abstract and idealized political theory should be, and assesses the significance of disagreement in political theory. The discussion is carried out from an angle inspired by the philosophy of science. (shrink)

A pioneer in the field, Christian Metz applies insights of structural linguistics to the language of film. "The semiology of film . . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinema: langue ou langage?'"--Geoffrey Nowell-Smith, Times Literary Supplement "Modern film theory begins with Metz."--Constance Penley, coeditor of Camera Obscura "Any consideration of semiology in relation to the particular field signifying practice of film passes inevitably through a (...) reference to the work of Christian Metz. . . . The first book to be written in this field, [ Film Language ] is important not merely because of this primacy but also because of the issues it raises . . . issues that have become crucial to the contemporary argument."--Stephen Heath, Screen. (shrink)

This article examines the methodology of a core branch of contemporary political theory or philosophy: “analytic” political theory. After distinguishing political theory from related fields, such as political science, moral philosophy, and legal theory, the article discusses the analysis of political concepts. It then turns to the notions of principles and theories, as distinct from concepts, and reviews the methods of assessing such principles and theories, for the purpose of justifying or criticizing them. Finally, it looks at a recent debate (...) on how abstract and idealized political theory should be, and assesses the significance of disagreement in political theory. The discussion is carried out from an angle inspired by the philosophy of science. (shrink)

"Man ist nicht umsonst Philologe gewesen, man ist es vielleicht noch" - Nietzsches Bekenntnisse zur Philologie sind zahlreich. Auf der Grundlage von Quellenstudien beschreibt die Abhandlung Nietzsches tiefe Prägung durch die historisch-kritische Methode der Bonner Schule. Um Philosoph zu werden, musste er sich nicht, wie bisher angenommen, von der Philologie lösen, sondern sprach ihr gerade im Spätwerk eine zentrale Rolle zu. Diese Einsicht führt zur Neubestimmung von Begriffen wie Text, Genealogie, Interpretation, Perspektivismus und zur Zurückweisung herrschender Auffassungen der Wissenschaftsgeschichte, der (...) Hermeneutik und des Dekonstruktivismus. Die Studie endet mit einem von Nietzsche ausgehenden, historisch begründeten Plädoyer für die skeptisch-philologische Literaturwissenschaft. (shrink)

This collection provides the first in-depth introduction to the theory of the religious imagination put forward by renowned philosopher Douglas Hedley, from his earliest essays to his principal writings. Featuring Hedley's inaugural lecture delivered at Cambridge University in 2018, the book sheds light on his robust concept of religious imagination as the chief power of the soul's knowledge of the Divine and reveals its importance in contemporary metaphysics, ethics and politics. Chapters trace the development of the religious imagination in (...) class='Hi'>Christian Platonism from Late Antiquity to British Romanticism, drawing on Origen, Henry More and Samuel Taylor Coleridge, before providing a survey of alternative contemporary versions of the concept as outlined by Karl Rahner, René Girard and William P. Alston, as well as within Indian philosophy. By bringing Christian Platonist thought into dialogue with contemporary philosophy and theology, the volume systematically reveals the relevance of Hedley's work to current debates in religious epistemology and metaphysics. It offers a comprehensive appraisal of the historical contribution of imagination to religious understanding and, as such, will be of great interest to philosophers, theologians and historians alike. (shrink)

I first summarize the main line of argument used by Harman and Doris against Aristotelian virtue ethics in particular. In section two I present what seems to me to be the most promising response to their argument. Finally in section three I briefly review and assess the other leading responses in the now sizable literature that has developed in this area.

The turn of the century saw a significant increase in the amount of attention being paid by philosophers to empirical issues about moral character. Dating back at least to Plato and Aristotle in the West, and Confucius in the East, philosophers have traditionally drawn on empirical data to some extent in their theorizing about character. One of the main differences in recent years has been the source of this empirical data, namely the work of social and personality psychologists on morally (...) relevant thought and action. -/- This entry briefly examines four recent empirical approaches to moral character. It will draw on the psychology literature where appropriate, but the main focus will be on the significance of that work for philosophers interested in better understanding moral character. The four areas are situationism, the CAPS model, the Big Five model, and the VIA. The remainder of this entry devotes a section to each of them. (shrink)

Die sogenannte Syphilisfrage ist von Beginn an ein Thema der Nietzscheforschung. Das vorliegende Buch versucht diese Frage zu beantworten, indem es sich auf eine aufwändige Spurensuche bis zurück zur Syphilis der Renaissance-Päpste begibt. Wie war in verschiedenen Zeiten der Umgang mit der Krankheit und der fortwährenden Furcht, infiziert zu sein? Mit welchen Subtexten bringen Dichter und Denker zur Zeit Nietzsches das Thema zur Sprache? Und wie gab Nietzsche selbst in seinen Werken und Briefen davon Kunde? Das Buch betrachtet Nietzsche im (...) europäischen Kontext des 19. Jahrhunderts, in dem die Angst vor der Lustseuche allgegenwärtig war. Christian Niemeyers Nietzsche-Lektüre im Zeichen der Syphilis eröffnet überraschende Deutungsmöglichkeiten im Werk Friedrich Nietzsches. (shrink)