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Andreas Dorschel
Goethe University Frankfurt
  1. Is There Any Normative Claim Internal to Stating Facts?Andreas Dorschel - 1988 - Communication and Cognition: An Interdisciplinary Quarterly Journal 21:5-16.
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  2. Rethinking Prejudice.Andreas Dorschel - 2000 - Ashgate.
    The expulsion of prejudice is the centrepiece of intellectual progress, as it has been understood since the Enlightenment. that this fight has not been successful since is obvious, but this does not invalidate it. There is no reason to believe that people in the 20th century had fewer (rather than merely different) prejudices than people had in the 18th century; yet we might simply conclude that the fight has not been conducted resolutely enough. The question whether or not this might (...)
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  3.  3
    The Crypto‐Mrtaphysic of ‘Ultimate Causes’ Remarks on an Alleged Exposé.Andreas Dorschel - 1988 - Ratio 1 (2):97-112.
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  4.  2
    The Authority of the Will.Andreas Dorschel - 2002 - Philosophical Inquiry 24 (3):31-45.
  5.  13
    The Crypto-Metaphysic of 'Ultimate Causes': Remarks on an Alleged Exposé.Andreas Dorschel - 1988 - Ratio 1 (2):97-112.
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  6. Arbeit am Kanon: Ästhetische Studien zur Musik von Haydn bis Webern.Andreas Dorschel & Federico Celestini - 2010 - Universal Edition.
    In 'Arbeit am Kanon', Italian musicologist Federico Celestini and German philosopher Andreas Dorschel discuss aesthetic issues in the work of composers Joseph Haydn, Franz Schubert, Johannes Brahms, Anton Bruckner, Hugo Wolf, Gustav Mahler, Anton Webern, and Franz Schreker.
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  7. Arbeit am Kanon: Zu Hugo Wolfs Musikkritiken.Andreas Dorschel - 2007 - Musicologica Austriaca 26:43-52.
    Cultivation of the musical canon and canonisation of truly original work can be identified as guiding principles of both Hugo Wolf’s artistic and his critical practice. The latter is shaped by classicist tropes; they may serve strategic functions as well, yet cannot be reduced to them. While he rejects the merely old-fashioned, Wolf also leads a striking attack on what he terms “modern music”. His endorsed aesthetics intertwine the old and the new.
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  8. A morál költségei – Kant nyomán számolva.Andreas Dorschel - 1991 - 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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  9. Aesthetics of Conducting: Expression and Gesture.Andreas Dorschel - 2013 - In Jean Paul Olive & Susanne Kogler (eds.), Expression et geste musical. L'Harmattan. pp. 65-73.
    Expression in orchestral music is a matter of conductors rather than orchestras. Why should that be so? The straightforward answer seems to be that expression is bound to the individual self. But, then, does it have to be? Collective expression of, e.g., anger, rage or protest is not at all unusual in the public domain of politics. Our intuition of conductors’ expressive primacy could be salvaged if we were to conceive of orchestras as their instruments. But that will not do. (...)
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  10.  45
    Andreas Bächli / Andreas Graeser, Grundbegriffe der Antiken Philosophie. [REVIEW]Andreas Dorschel - 2003 - Philosophical Books 44 (2):162-162.
  11. Über Ausdruck, insbesondere den musikalischen.Andreas Dorschel - 2010 - In Andreas Dorschel & Elisabeth Kappel (eds.), Friedrich von Hausegger, Die Musik als Ausdruck. Universal Edition. pp. 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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  12.  7
    Über die funktionale Erklärung des normativen Geltungsanspruchs und das Konzept einer 'evolutionären Ethik'.Andreas Dorschel - 1992 - History and Philosophy of the Life Sciences 14 (2):309 - 328.
    Neodarwinian ethology, today above all represented by sociobiology, is conceived of by responsible exponents as a descriptive and explanatory theory that cannot include any normative declarations. Still other, indeed notable, authors belonging to the discipline in question, either underhand or frankly employ prescriptive or evaluative judgments, — or they claim (what is not an insight of natural science) that it is impossible to provide a rational foundation for prescriptive or evaluative judgments. (Michael Ruse and Edward O. Wilson even assert the (...)
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  13.  18
    Über die Intentionalität von Emotionen.Andreas Dorschel - 1997 - International Studies in Philosophy 29 (4):11-21.
    Intentionality is a key feature of emotions; we understand them as directed towards objects. Intentional objects need not be real objects. Furthermore, objects of emotions can be distinguished from their causes. At the same time, objects and causes may be related, and, for some emotions, have to be related if the emotions are to count as warranted. Psychoanalysis and comparable cures tend to ignore these relationships. That does not necessarily preclude therapeutic success. Yet being based on said ignorance renders such (...)
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  14. Über die Intentionalität von Emotionen.Andreas Dorschel - 1996 - Zeitschrift Für Philosophische Praxis (1):9-12.
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  15.  11
    Über die Rationalität von Prozeduren und Resultaten.Andreas Dorschel - 1992 - International Studies in Philosophy 24 (3):1-14.
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  16. Über das Verstehen und Interpretieren von Kunstwerken.Andreas Dorschel - 2005 - In Wolf-Jürgen Cramm, Wulf Kellerwessel, David Krause & Hans-Christoph Kupfer (eds.), Diskurs und Reflexion. Wolfgang Kuhlmann zum 65. Geburtstag. Königshausen & Neumann. pp. 375-387.
  17. Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity.Andreas Dorschel, Deniz Peters & Gerhard Eckel (eds.) - 2012 - Routledge.
    In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what is (...)
     
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  18. Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity, 2nd. Ed.Andreas Dorschel, Gerhard Eckel & Deniz Peters (eds.) - 2013 - Routledge.
    In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what is (...)
     
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  19. Über Kanonisierung.Andreas Dorschel - 2006 - Musiktheorie 21 (1):6-12.
  20. Über moralische Bemühungen um Leben.Andreas Dorschel - 1994 - Zeitschrift Für Didaktik der Philosophie Und Ethik 16 (4).
  21.  19
    ‘Best to Have the Opera House Bombarded’. An Unpublished Letter by Hugo Wolf.Andreas Dorschel - 2006 - Studia Musicologica 47 (2):233-240.
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  22. Bilder und Worte.Andreas Dorschel - 1997 - Weimarer Beiträge: Zeitschrift Für Literaturwissenschaft, Ästhetik Und Kulturwissenschaften 43 (1):110-122.
    ‘Logos’ is the Greek term for word, and language is indeed the realm of logic in a way that imagery never will be. While clearly not all use of words is argumentative – in fact, most is not –, their sequentiality brings them closer to argument than images, given the simultaneity of contents within the latter. In images, there is no discrete number of definite signs – the sort of thing language has in its vocabulary. The relations between colour and (...)
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  23. Darwinism as a Prohibition of Criticism. A commentary on Friedrich August von Hayek’s Theory of Moral Evolution.Andreas Dorschel - 1990 - International Journal of Moral and Social Studies 5 (1):55-66.
  24. Das anthropologische Argument in der praktischen Philosophie und die Logik des Vergleichs.Andreas Dorschel - 1995 - Logos. Anales Del Seminario de Metafísica [Universidad Complutense de Madrid, España] 2 (1):19-40.
    Arnold Gehlen's attempt to give anthropological grounds for morality stems from Kant's idea that being freed from the compulsion of instinct left human beings in need of compensation for the loss of the practical guidance which instinct had hitherto provided. Whereas Kant thought this compensation was to found only in reasoned morality, Gehlen would argue that morality provides recompense by becoming a quasi-instinct that functions without reflection and that needs to be bred into human beings. The author maintains that in (...)
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  25. Das anwesend Abwesende: Musik und Erinnerung.Andreas Dorschel - 2007 - In Resonanzen. Vom Erinnern in der Musik. Universal Edition. pp. 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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  26. Darwinismus als Kritikverbot. Zu Friedrich August von Hayeks Theorie der Moralevolution.Andreas Dorschel - 1996 - Aufklärung Und Kritik 3 (1):31-40.
  27. Der allgemeine Wille. Zu Rousseaus Contrat social (1762).Andreas Dorschel - 2010 - 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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  28. Die biologische pointe aller moralischen pointen.Andreas Dorschel - 1989 - Bijdragen 50 (1):24-39.
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  29. Die Biologische Pointe Aller Moralischen PointenZur Neodarwinistischen Ethologie.Andreas Dorschel - 1989 - Bijdragen 50 (1):24-39.
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  30.  4
    Der Getäuschte im Garten. La Nouvelle Héloïse: Rousseaus Aporetik der Liebe.Andreas Dorschel - 2012 - Zeitschrift Für Ideengeschichte 6 (2).
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  31. Die Idee der ‘Einswerdung’ in Wagners Tristan.Andreas Dorschel - 1987 - In Heinz-Klaus Metzger & Rainer Riehn (eds.), Richard Wagner, Tristan und Isolde. edition text + kritik. pp. 19-25.
  32. Die Idee der Verwandlung.Andreas Dorschel - 2007 - In Verwandlungsmusik. Über komponierte Transfigurationen. Universal Edition. pp. 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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  33. Die Idee des Konservatoriums.Andreas Dorschel - 2010 - In Laurenz Lütteken (ed.), Mendelssohns Welten. Bärenreiter. pp. 89-108.
  34.  22
    Die idealistische Kritik des Willens: Versuch über die Theorie der praktischen Subjektivität bei Kant und Hegel.Andreas Dorschel - 1992 - Meiner.
    In Die idealistische Kritik des Willens [German Idealism’s Critique of the Will] Dorschel defends an understanding of freedom as choice against Immanuel Kant’s and Georg Wilhelm Friedrich Hegel’s ethical animadversions. He objects both to Kant’s claim that „a free will and a will under moral laws are one and the same thing“ („ein freier Wille und ein Wille unter sittlichen Gesetzen einerlei“) (Immanuel Kant, Grundlegung zur Metaphysik der Sitten AB 98) and to Hegel’s doctrine that „freedom of the will is (...)
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  35. Die Kosten der Moral. Nachgerechnet an Kant.Andreas Dorschel - 1990 - 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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  36. Der ‘Kunstregelbau’. Kontrapunktik in Max Webers Fragment Zur Musiksoziologie.Andreas Dorschel - 2010 - In Ulrich Tadday (ed.), Philosophie des Kontrapunkts. edition text + kritik. pp. 135-142.
    In his social theory, Max Weber (1864 – 1920) attempts to identify patterns that have distinguished Western rationality. Music, he argues, is one of the domains that exhibit such structures. As a specific instance, Weber cites counterpoint as developed in 15th century Europe and – so he claims – culminating in Bach’s music. “No other epoch and culture possesses it”, Weber asserts. Counterpoint’s rationality is meant to manifest itself in rules; yet Weber’s approach lacks an analysis of such rules. Remarkably, (...)
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  37. Der Mensch als Tier. Anmerkungen zum Programm der ‘human sociobiology’.Andreas Dorschel - 1990 - Prima Philosophia 3 (2).
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  38. Dem Ohr voraus. Erwartung und Vorurteil in der Musik.Andreas Dorschel (ed.) - 2004 - Universal Edition.
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  39. Das Programm ästhetischer Erziehung bei Schiller und beim frühen Nietzsche.Andreas Dorschel - 1992 - Vierteljahrsschrift Für Wissenschaftliche Pädagogik 68 (3):260-284.
    Friedrich Nietzsche, in his early work, both appropriated and transformed Friedrich Schiller’s idea of aesthetic education. Art must cease to be a mere object of private pleasure and turn into a medium of public communication – this is the vision both philosophers share. As Nietzsche assigns the rôle held by language in Schiller to music, he shifts the project’s meaning. Yet both authors have to address the paradox that art, cut off from political and economic structures they disapprove of, is (...)
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  40.  11
    Die soziobiologische Obsoletierung des ‘Reichs der Zwecke’. Zum Versuch der naturwissenschaftlichen Legitimation einer zynischen Anthropologie.Andreas Dorschel - 1990 - Gregorianum 71 (1):5-22.
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  41.  77
    Das ‘Urteil der Geschichte’. Über ‘historische Gerechtigkeit’ in der Wertung musikalischer Werke.Andreas Dorschel - 2003 - Österreichische Musikzeitschrift 58 (2):6-17.
  42. Der Welt abhanden kommen. Über musikalischen Eskapismus.Andreas Dorschel - 2012 - 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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  43.  20
    Denktagebücher: Zur Poetik des philosophischen Journals.Andreas Dorschel - 2013 - Philosophische Rundschau 60 (4):264.
    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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  44.  2
    Ein Bett Gestalten.Andreas Dorschel - 2020 - Deutsche Zeitschrift für Philosophie 68 (3):439-450.
    In the process of making bedsteads, Plato claimed, makers look towards the ‘idea’ of the bed. But what is that idea? Two candidates come to mind: shape and purpose. The fact that we identify objects of very different shape, not even involving a bedstead, as beds seems to render purpose conceptually superior. But, then, what is a bed’s purpose? An obvious response appears tobe: lying down and sleeping. Yet, first, beds are not needed for that. Secondly, precisely when a bed (...)
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  45.  10
    Entwurf einer Theorie des Fluchens.Andreas Dorschel - 2015 - Variations 23:167-175.
    Resentment, voiced in words, turns into a curse. Curses appeal to a superior power that is meant to execute them – God. But if God were God, he would have better things to do than to execute resenters’ curses, and if he were less than God, he could not execute them. Hence those who curse are led, in the end, to curse God, too – and once again in vain.
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  46. Einwände gegen das Vergleichen. Ein Versuch, sie zu beantworten.Andreas Dorschel - 2006 - Philosophisches Jahrbuch 113 (1):175-183.
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  47. Empfindung, Gefühl und Emotion.Andreas Dorschel - 1994 - In Karl-Otto Apel & Matthias Kettner (eds.), Mythos Wertfreiheit? Neue Beiträge zur Objektivität in den Human- und Kulturwissenschaften. Campus. pp. 157-173.
    In book 3 of ‘De anima’, Aristotle distinguishes between sensations and feelings. On the level of sensation, we merely register that something is so and so; feeling, by way of contrast, takes that so and so to be agreeable or disagreeable. Emotion has to be distinguished from both sensation and feeling. One cannot have a sensation or feeling without noticing it. But others may be the first to realize that somebody is jealous or envious. Hence emotions like jealousy or envy (...)
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  48. Emotion und Leib.Andreas Dorschel - 1999 - Philosophia Naturalis 36 (1):35-52.
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  49. Emotion und Verstand.Andreas Dorschel - 1999 - Philosophisches Jahrbuch 106 (1):18-40.
  50. Erwartung und Vorurteil in der Musik.Andreas Dorschel - 2004 - In Dem Ohr voraus. Erwartung und Vorurteil in der Musik. Universal Edition. pp. 12-23.
    Art is whatever it is mediated through anticipations of diverse kinds. To the temporal art of music such anticipations are crucial. Composers and performers build up expectations in their musical works and interpretations, thwart them, delay their fulfillment, fulfill them. Some of these expectations arise on the level of chosen genre, others are peculiar to the individual composition. Listeners, correspondingly, may adjust their expectations or, alternatively, attempt to uphold them at any price, turning them into prejudices. And, as anything in (...)
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