Using this bit of dialogue from Oscar Wilde as introduction, we propose to demonstrate the pertinence of the hostess’ remark and to show that the “Fin de siècle” really did mark a certain “Fin du globe”, connoting as it does the decline of art, the end of an era and of the eras in which artistic experience, and even experience of the world, was realized in a specific style. It was indeed the end of what we will here call “globe (...) style”.For a long time the notion of style had a very general significance. The origin of the word can no doubt be traced back to the term stilus, designating the punch that monks used for writing, and also probably an Egyptian etymon signifying a pillar. Through metonymic extensions the name of the instrument (an instrument, nevertheless, used in a highly intellectual activity) and the name of the individual work (but a work of cultural and artistic nature) have been subject to generalization and ultimately designate the specific quality of a phenomenon. Obviously it was necessary that this phenomenon be confirmed and made official through imitation and tradition. As for generalization of the phenomenon of style, its scope has become almost unlimited, taking in all forms of creative activity whether artistic or not, and ultimately almost all beings as long as they have assumed a form hallowed by tradition. (shrink)

This paper poses a new challenge to control-based theories of moral responsibility. Control-based theories – as defended, for instance, by Aristotle and John Martin Fischer – hold that an agent is responsible for an action only if she acted voluntarily and knew what she was doing. However, this paper argues that there is a large class of cases of unreflective behavior of which the following is true: the persons involved did not have the kind of control required by control-based theories, (...) yet we intuitively take the persons involved to be morally responsible. (shrink)

Gerade in Ausnahmesituationen rücken Menschen zusammen – eigentlich. Das ist in Zeiten des Coronavirus anders, denn hier gilt das Gebot des „Social Distancing“. Ich möchte die Ambivalenz, die nicht nur in dieser paradoxen Wortkombination zum Ausdruck kommt, sondern auch in der Erfahrung von vielen Menschen, mit Hilfe eines leibphänomenologischen Zugangs näher beleuchten. Dabei untersuche ich, wie sich das spannungsreiche Verhältnis von Nähe und Distanz in Zeiten der Corona-Pandemie in Alltagssituationen sowie in Bildungskontexten zeigt. Darüber hinaus gehe ich der Frage nach, (...) was die Erfahrung des „Social Distancing“ für die Philosophie – nicht nur in Ausnahmesituationen – bedeuten kann, und plädiere dafür, sie als eine Übungsmöglichkeit des Philosophierens zwischen Nähe und Distanz, Körper und Geist, Eigenem und Fremdem sowie Natur und Kultur zu sehen, um auf diese Weise problematischen Extremen auf beiden Seiten zu entgehen. (shrink)

Die Unvollkommenheit des Menschen zwingt ihn biologisch zu Kompensationen, die in den kulturellen Leistungen zum Ausdruck kommen. Psychologisch bedeutet diese Unvollkommenheit eine Offenheit hinsichtlich einer unendlichen Vielfalt schöpferischer Möglichkeiten. Während Alfred Adlers Überlegungen auf den Finalismus einer idealen Gemeinschaft als die noch zu vollendende Evolution zielen, stellen Sigmund Freud und Donald W. Winnicott die Unabschließbarkeit seelischer Entwicklungen heraus. Die Unvollkommenheit des Seelischen kann sich in alle Richtungen entfalten, muss aber dabei immer mit den unvermeidlichen Konsequenzen rechnen. Das Umgehen mit unserer (...) Unvollkommenheit kann durchaus misslingen und führt zu Abwehrmaßnahmen, durch die die Menschen gottähnlich werden wollen. (shrink)

What is the role of aesthetics, everyday aesthetics in particular, in processes of solving social problems? Many if not most social problems arise from and affect our daily lives. As far as these problems contain aesthetic aspects, these typically are also of an everyday kind. In this paper, I address the relations between social problems and everyday aesthetics in five sections. I will start by briefly describing what I mean by social problems. Second, I will outline what solving such problems (...) means. Then, I will move on to defining aesthetics for the purposes of this article. Fourth, I will focus on the main question, the potential role of everyday aesthetics in solving social problems. Lastly, I will drill down a bit deeper into my own experiences in this matter in order to concretize the general points and give examples stemming from my working life. (shrink)

In this paper, I explore German playwright Bertolt Brecht’s conception of the art of acting, and his views on the new actor’s conduct towards their craft, as a pedagogical model for Brechts’ broader view on how we should live our lives. Drawing on his key writings – most importantly, his famous street scene essay – I will show that Brecht’s conception of the theory-practice connection in his approach to actor training/acting bears some deeper insight into Brecht’s conception of the art (...) of living a flourishing life. The new actor is called to develop a conduct of careful observation and imitation of human action, one that is marked by the pleasure and lightness of exploring the contradictory workings of the social world. By placing the actor’s craft at the heart of his educational philosophy, Brecht invites us (the audience) into the theatre as a pedagogical space. Here, not unlike Brecht’s actors, we are summoned to hone our ability to boldly engage with a complex world of human actions and ideas. Brecht maintains that there resides an intellectual as well as sensual delight in being challenged to not simply accept theatre’s presentations as ‘truth’; instead, we are to learn to ‘weigh up’, ‘test’, and ‘improvise’ joyfully with theatre’s proposed ideas and practices—so that we may find out if they serve, or hinder, the creation of a larger flourishing life (beyond the theatre): a life in which we can move together, pleasurably. (shrink)