ExcerptThis article compares two fairly recent autobiographical works about the experiences of two highly publicized global disasters: Josef Haslinger's Phi Phi Island: Ein Bericht (2004) and Kathrin Röggla's really ground zero: 11. september und folgendes (2001). Röggla was in lower Manhattan on September 11, 2001. Haslinger was a victim of the 2004 tsunami in Thailand, where he vacationed with his family. Both tell stories that are at once intensely personal, relating threats to the narrator's very existence, and decidedly public, as (...) the events in question were broadcast around the world and subject to prolific media commentary and overwhelming visual representation. (shrink)
More than in other Hebrew writings, the enigmatic queries for origin, use, and theology of the small Book of Lamentations cannot easily be appeased. There are too many discrepancies in our literary, historical, and theological data of these five chapters of literature. Affinities with ancient Sumerian city laments as well as echoes of analogous experiences in modern experience open up new dimensions in the interpretation of Lamentations.
The Code of Capital significantly advances our understanding of the origins of inequality and provides a framework for evaluating proposed solutions. But reviews have so far missed some of the most important insights of the book, including the author's insistence on the indeterminacy of the law and the corresponding incompleteness of existing solutions to inequality that primarily rely on economic drivers. The review demonstrates the relevance of the book's main contributions for evaluating the shared value thesis for investors and reflects (...) on some of the solutions to the law's indeterminacy proposed in the book, including the author's surprising neglect of the increasing importance of ethics in business when innovation outpaces the law. The review concludes with consideration of the theoretical advancements that The Code of Capital makes for our understanding of inequality in the twenty-first century. (shrink)
This volume of thirteen essays originated in a conference on Latin philosophy at Columbia University, organized by the editors in 2012. The guiding principle was to examine how writing philosophy in Latin gave a distinctive character to Roman philosophical thinking. The conference was interdisciplinary, involving philosophers and literary scholars, some interested in ancient history as well. In publishing the papers, the editors had in mind as a model Philosophia Togata I and II, the second volume of which is almost twenty (...) years old. More up to date, this volume also aims to fill gaps in the earlier enterprise by devoting one of the four parts to Seneca, not treated as a separate topic there, and by going beyond... (shrink)
It is no secret that, for Nietzsche, philosophy and poetry are closely related. Some of his most important works contain poems, or even present themselves as poetry. Yet, in their efforts to make Nietzsche a respectable philosopher, scholars have turned their attention away from this poetic dimension and have privileged instead the philosophical dimension of his work. The title of the present volume, Nietzsche als Dichter, echoes Arthur Danto’s influential Nietzsche as Philosopher, and therefore aims to reinstate the part previously (...) left aside. In order to do so, the articles in the volume focus on specific poems or poetic aspects of Nietzsche’s... (shrink)
Text seznamuje čtenáře s výukovou metodou nastavení problému, jeho řešení pomocí zavedení a aplikování teoretických pojmů, konceptovou analýzou vybraného díla a důslednou oporou o kontext a ko-text díla. Příklady vybírá ze soudobé scény výtvarného umění a jeho cílem je zdůvodněná interpretace díla. Opírá se o Goodmanovské termíny denotace, exemplifikace a exprese. Metaforickou exemplifikaci, expresi člení průhledem poznávacími perspektivami 1. a 3. osoby na prožitkovou a empatickou komponentu, opírá se tak o teorii artefiletiky. Otevírá a řeší tak problém vztahu relativních objektivních (...) daností díla, jeho intersubjektivně kotvené interpretace a subjektivně vnímaného prožitku z díla. Tvorbu chápe jako způsob poznání. (shrink)