У статті обґрунтовується теза про те, що герменевтичний досвід Г.-Г. Гадамера є тотожним досвіду мистецтва, яке постає автономним джерелом «досвіду істини». Автор відзначає, що пошук критеріїв художньої достовірності вимагає звернення до традиції формування фундаментальних естетичних категорій, серед яких, насамперед, символ, гра і свято. Символи як специфічні культурні коди, напрацьовані мистецтвом, апелюють до переломних моментів людської буттєвості, трансформуючи її духовну сутність. Доводиться, що перенесення уваги на «гру» демонструє реалізацію принципу засадничого взаємозв’язку між філософією та сферою практики, завдяки чому твір мистецтва постає (...) як актуальна присутність, сутність якої полягає у «постійному прирощуванні буття». Атмосферу співучасті з мистецтвом у Г.-Г. Гадамера передає свято. Таким чином, експлікація герменевтичного досвіду з допомогою понять символ, гра та свято в естетичній концепції Г.-Г. Гадамера дає можливість актуалізувати смислові шари, які містять у собі основні складові горизонту, що окреслює життєвий світ людини та розкриває досвід буття у світі. (shrink)

This collection presents the English-language reader for the first time with essays that are representative of Bernstein's much-neglected revisionist period, 1901-1921. Bernstein himself suggested that this later work included significant new elements, indicating further progress in his liberal-socialist theory. Bernstein's later work acquires additional significance in light of the events of 1989, which have discredited not only Marxism-Leninism, but revolutionary Marxist theory in general, thus making the reevaluation of Bernstein's revisionism a worthwhile experience.

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Summary In October of 2018 a new trilingual Achaemenid inscription from Naqsh-e Rostam was discovered and in March of 2019 a detailed investigation of it with linguistic and historical commentary was published online in ARTA. The inscription includes a previously unknown Old Persian verb, a-f-r-[?]-a-t-i-y, which the first publishers Soheil Delshad and Mojtaba Doroodi read as *ā-fra-yāti (perhaps “he comes forward to”) or *ā-fra-θāti (“he speaks forth to”). They conclude that “an Old Persian verb with the meaning ‘to greet, to (...) bless’ (etc.) seems to be called for”. It is clear that as a result of this discovery we get an Old Persian verb which could refer to an act which the Greek verb προσκυνεῖν may have described relating to the Persians. This new evidence stimulates further discussion about the practice and meaning of proskynēsis at the royal court in the Achaemenid Empire. My article shows that all literary and pictorial evidences on proskynēsis may be divided into two groups: 1) Greek authors’ information that represents proskynēsis mainly as prostration before the King; 2) Persian bas-reliefs that depict the scenes with proskynēsis as a hand-kissing gesture. It is supposed that the previously unknown Old Persian verb (like προσκυνεῖν in Ancient Greek usage) refers not only to specific gestures, but relates to a model of behaviour (‘salutation’, ‘obeisance’, ‘greeting’, ‘worship’, ‘respect’ etc.). It is argued that Achaemenid officials performed proskynēsis before the King as hand-kissing, while the rest of the people bowed down, kneeled or prostrated. Exceptions were made only for members of the royal family who did not perform proskynēsis, but kissed the King and got a kiss from him. (shrink)

Reproduktion des Originals: Vom Musikalisch-Schönen von Eduard Hanslick.

This paper consists in a study of the development of Husserl’s thought on the notions of phantasy and image consciousness. It shows how, following a first phase in which he still identified phantasy with image consciousness, Husserl gradually began to distinguish the two and define what is proper to each in an increasingly precise manner. The paper then shows how Husserl came to view pure phantasy as a modification of perception. Concerning image consciousness, it shows how the status of the (...) image-object and the nature of its reference to the image subject evolved throughout Husserl’s thought. The problems raised by this model are also discussed, in particular when it comes to cases where there is no image subject, e.g. in theatre. Finally, the paper shows how the development of these concepts in Husserl’s work involves a new conception of the notion of “phantasm” – one that goes hand in hand with rejection of the ‘content of apprehension-apprehension’ scheme. (shrink)

Catalizadas por la destitución del expresidente Martín Vizcarra y en el contexto de una pandemia, las protestas del 14N de 2020 en Perú se destacaron por su naturaleza radical y violenta, quedando grabadas en la memoria de la sociedad peruana como uno de los acontecimientos sociales y políticos más importantes de las últimas tres décadas. Este artículo explora la naturaleza radical de las manifestaciones del 14N, basándose en la distinción ontológica entre lo político/la política, según la conceptualiza el filósofo argentino (...) Ernesto Laclau. De acuerdo a Laclau, la política se refiere al ordenamiento de los agentes dentro de una red de instituciones y prácticas sociales sedimentadas, mientras que lo político representa la reactivación de la contingencia y la historicidad del orden social. Esta investigación, de carácter documental y sincrónico, se fundamenta en la consulta de fuentes escritas y no escritas relacionadas con las manifestaciones del 14N. Se concluye que dichas manifestaciones son una expresión de lo político, dado que desestabilizaron de manera radical el sistema de representación política del país, mostrando su contingencia y precariedad dentro del espacio social peruano. (shrink)

The large extent to which aesthetic terms pervade Adam Smith’s discussion of ethics would seem to suggest, in the least, that the spheres of aesthetics and ethics are interwoven in a way hardly possible to conceive in the wake of Kant. Despite this recognized closeness between the two areas, one account in the literature has claimed that Smith’s understanding of beauty anticipates Kant’s modern notion of disinterested pleasure. It is claimed that according to Smith, disinterested pleasure is aroused by the (...) harmony of our moral sentiments as well as by the beauty of “productions of art.” By analyzing the relation of beauty to utility in Smith’s aesthetics and ethics, I will be arguing against the attribution to Smith of a specifically disinterested pleasure in our judgments of the beauty of the productions of art, as well as in the beauty of moral objects, such as virtuous character and conduct. (shrink)

¿Es posible que la indiferencia en los Ejercicios Espirituales de san Ignacio presente alguna huella de los estoicos como Epicteto o Marco Aurelio? Este artículo analiza algunas observaciones que relacionan el ser estoico y el hacerse indiferente en dos escuelas espirituales totalmente diversas. Tras un estado de la cuestión, analizamos el Principio y Fundamento de los Ejercicios en relación a la indiferencia. Mediante algunos textos de los estoicos, comparamos el modo de comprender la vida, el fin del ser humano y (...) su relación divino-humana. A modo de conclusión, finalizamos con una serie de líneas sobre la indiferencia para el estoicismo y la teología ignaciana. (shrink)