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.

The main objective of this text is to show that for Karl Jaspers all authentic philosophy is an attempt to express subjectivity in terms of the intersubjective categories of intellect. Subjectivity is understood as a plane of individual experience which ultimately comes down to the consciousness of freedom. Intersubjectivity on the other hand is perceived as a plane of expression of this experience, which can boil down to language. For it is only through the mediation of language that one can (...) illuminate its own being – its connection to the world and transcendence. Thus, the rational expression of experience is the essential condition for self-comprehension of any subjectivity. Ultimately, however, any attempt of rational inquiry reveals itself as insufficient. The human being, in his or her, pursuit of self-comprehension has to reach the boundary of language-based expression and therefore the boundary of all reasoning, where rational knowledge must give way to direct but inexpressible experiencing of what is the absolute source of all being. Thus, in the end, silence is the only true expression of transcendence. (shrink)

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)