"Hannah Arendt war der schwierigste Film, den ich je gemacht habe", sagt Margarethe von Trotta. Die grosse Denkerin Hannah Arendt fühlte sich.

No presente artigo analisaremos o filme Visão: A vida de Hildegarde Von Bingen, 2009, verificando o esforço da cineasta alemã Margarethe Von Trotta para estabelecer um modelo exemplar de feminino a partir da vida da visionária Hildegarde Von Bingen, tendo como pano de fundo a sua carreira ligada à questão do Feminismo. A exemplaridade surge como um dos pontos altos dos filmes de Vida de Santo, ou hagiografia fílmica, por essa razão verificaremos sua estética, estrutura e finalidade. Bem (...) como traçaremos as relações necessárias entre a personagem histórica, sua música, seu pensamento, com o que dela sobressai na obra cinematográfica. Por método, partimos incialmente apenas da obra midiática, decupando-a, estudando sua narrativa, forma estética e estrutura, para só então levantar as questões mais importantes ali colocadas relacionando-as com os fatos sociais. (shrink)

Die Protestbewegungen und gesellschaftlichen Umwälzungen unserer Zeit haben dazu beigetragen, das Interesse an den antiken Kynikern und ihrer Lehre von der Umwertung aller Werte neu zu wecken. Geprägt durch Diogenes von Sinope und Krates von Theben, seinen markantesten Vertretern, war der Kynismus zu einem wichtigen Bestandteil der griechischrömanischen Popularphilosophie geworden. Zweck dieses Sammelbandes ist es, durch Wiederabdruck wegweisender Beiträge zu Persönlichkeiten, Aspekten und einzelnen Begriffen dieser geistigen Bewegung sowie durch eine kritische Einleitung und eine ausführliche Bibliographie einen Überblick über 150 (...) Jahre Kynikerforschung zu geben, die seit Eduard Zellers griechischer Philosophiegeschichte bemüht war aufzuzeigen, wie nachhaltig kynisches Gedankengut bis ins ausgehende Altertum die Literatur beeinfluîte und selbst bei frühchristlichen Autoren seine deutlichen Spuren hinterließ. (shrink)

Mit diesem 1957 von Gilles Deleuze zusammengestellten Band, der in einer kongenialen Aneinanderreihung von Textpassagen aus allen wichtigen Werken Bergsons einen guten Überblick über das Bergsonsche Denken vermittelt, begann die Wiederentdeckung Bergsons in Frankreich nach dem Zweiten Weltkrieg. Dabei wird sichtbar, dass es neben der Intuition, dem Gedächtnis und dem *élan vital* vor allem die Dauer ist, die begrifflich im Mittelpunkt von Bergsons Philosophie steht. Sämtliche Texte wurden von Margarethe Drewsen einheitlich neu übersetzt; der Band lässt sich dadurch wie (...) eine kompakte Einführung aus Bergsons eigener Feder lesen. (shrink)

Brillant geschriebenes und nobelpreisgekröntes Hauptwerk Bergsons, das weit über die Lebensphilosophie hinaus auf die Literatur und Ästhetik der Folgezeit wirkte und auf Autoren wie Proust, Gide, T. S. Eliot und Musil großen Einfluß ausübte. Mit seinem epochemachenden Hauptwerk "L'évolution créatrice", für das er 1927 den Nobelpreis für Literatur erhielt, greift Bergson unmittelbar in die Diskussion über zeitgenössische Evolutionstheorien ein, die die Biologie um die Jahrhundertwende beherrschten. Gegenüber mechanistischen Konzepten wie dem Neo-Darwinismus, die er - mit großer Sachkenntnis im Detail - (...) als unzureichend für das Verständnis der Komplexität evolutionärer Prozesse kritisiert, versucht Bergson für die Philosophie die Deutungshoheit über den Lebensbegriff zurückzugewinnen. Die Grundfrage des Werks lautet: Gibt es etwas, das alle Lebewesen in ihrer Entwicklung gemeinsam haben und das insofern ein bestimmendes Merkmal des Lebens selbst ist? Bergson findet die Antwort im titelgebenden Begriff der "schöpferischen Evolution". Nicht nur ist die Evolution als schöpferisch zu denken, sondern zugleich der schöpferische Akt als "evolutiv". Als treibende Kraft und Ursache aller Veränderungen macht Bergson dabei den ursprünglichen "élan vital" (Lebensimpuls) aus, der zu einem Zentralbegriff seiner Philosophie wurde. Die Kritik am Szientismus seiner Zeit führt Bergson darüber hinaus zu einem neuen Zugang zur Lebenswirklichkeit, den er in der (methodisch präzise bestimmten) "Intuition" entdeckt. So wird die Auseinandersetzung mit der Evolutionstheorie zugleich zu einer großangelegten Neubestimmung der philosophischen Methode. L'évolution créatrice wurde 1912 von Gertrud Kantorowicz zum ersten Mal ins Deutsche übertragen. Ihre in Sprache und Terminologie stark vom George-Kreis geprägte Übersetzung wurde für diese Neuausgabe vollständig überarbeitet und enthält jetzt auch die in der ersten deutschen Ausgabe fehlenden Anmerkungen und Nachweise Bergsons. (shrink)

In »Materie und Gedächtnis« , seinem Hauptwerk, erörtert der französische Philosoph und Nobelpreisträger Henri Bergson das Zusammenwirken von Körper und Geist in der freien Handlung. Auf höchstem gedanklichen Niveau, aber in bestechend einfacher Sprache geschrieben, zählt das Werk zu den wenigen herausragenden Grundtexten der Gegenwartsphilosophie, vergleichbar »in ihrer Zeit mit Berkeleys Principles oder Kants Kritik« .Nachdem Bergson im Essai sur les données immédiates de la conscience das Verhältnis von Freiheit und Determinismus auf eine neue Basis zu stellen versucht hat, wendet (...) er sich hier, in Auseinandersetzung mit der Psychologie und Hirnphysiologie seiner Zeit, dem alten philosophischen Problem des Verhältnisses von Geist und Materie zu. Dabei reduziert er ›Materie‹ weder – idealistisch – auf reine Vorstellungen noch nimmt sie – materialistisch – als deren dinglichen Grund an, sondern sieht sie als eine Gesamtheit von ›Bildern‹, wobei er den Bildbegriff auf halbem Wege zwischen Ding und Vorstellung ansetzt und damit vor die Trennung von Existenz und Erscheinung zurückgeht. Eine herausragende Bedeutung kommt dabei dem Gedächtnis zu: hier verstanden nicht als ›mechanisches‹ Registrieren aufgenommener Inhalte, sondern als ›reines‹, lebendiges Gedächtnis, das sich einer geistigen, in der Vergangenheit entstandenen Bilderwelt bedient und der Dauer korrespondiert. Das auf Dauer ausgerichtete Gedächtnis verweist auf eine Selbstständigkeit des Geistes, die allerdings qua Handlung wieder auf den Körper zurückwirkt. »Der Geist entnimmt der Materie die Wahrnehmungen, aus denen er seine Nahrung zieht, und gibt sie ihr zurück in Form von Bewegung, der er seine Freiheit aufgeprägt hat«. (shrink)

In _Politics with Beauvoir_ Lori Jo Marso treats Simone de Beauvoir's feminist theory and practice as part of her political theory, arguing that freedom is Beauvoir's central concern and that this is best apprehended through Marso's notion of the encounter. Starting with Beauvoir's political encounters with several of her key contemporaries including Hannah Arendt, Robert Brasillach, Richard Wright, Frantz Fanon, and Violette Leduc, Marso also moves beyond historical context to stage encounters between Beauvoir and others such as Chantal Akerman, Lars (...) von Trier, Rahel Varnhagen, Alison Bechdel, the Marquis de Sade, and Margarethe von Trotta. From intimate to historical, always affective though often fraught and divisive, Beauvoir's encounters, Marso shows, exemplify freedom as a shared, relational, collective practice. _Politics with Beauvoir_ gives us a new Beauvoir and a new way of thinking about politics—as embodied and coalitional. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Jesse Kai.in THE INTENT OF ROMANTICISM: KANT, WORDSWORTH, AND TWO FILMS Great Kant, As a believer calls to his God, I call upon you for help, for solace, or for counsel to prepare me for death. The reasons you gave in your books were sufficient to convince me of a future existence — that is why I have recourse to you — only I found nothing at all for (...) this life, nothing that could replace the good I have lost.... my heart splits into a thousand pieces. If I hadn't read so much of your work I would certainly have taken my own life by now. But the conclusion I had to draw from your theory stops me — it is wrong for me to die because my life is tormented, and I am instead supposed to live because of my being. Now put yourself in my place and either damn me or give me solace. Maria von Herbert, August, 1791 ' This ESSAY is an attempt to describe a kind of thoughtfulness that has its origins in the beginnings of the Romantic movement and is of ethical relevance today. I will first locate the moral problematic that this thoughtfulness responds to as it arises within the framework established by Kant's moral philosophy. It is that of despair in the face of life and, while this is a problematic Kant himself would consider invalid, the solution it calls for, were he to try to provide it, involves the kind of thinking he considers in the Critique of Judgement, though not in quite the way he understands it. I will then suggest that the Wordsworth of the 1802 "Preface" can be taken as sketching out the sort of response to this problematic that Kant himself refuses to give or even recognize as philosophically needed. This will be a kind of artwork which is at the same time a certain process of thinking. The intent of Romanticism referred to in my title is thus both the concern to resolve this Kantian problem and the goal of achieving this Wordsworthian artwork. What I shall finally propose is that this kind of artwork is ofcurrent interest to moral philosophy and will 121 122Philosophy and Literature elaborate this claim through the discussion of two recent instances, both films — Margarethe von Trotta's The SecondAwakening ofChrista Klages and J.J. Murphy's Print Generation. I Kant sets a complicated and multifaceted background for both Romanticism and modern moral philosophy. His positions are complex and even convoluted and some of his most important ideas are both obscure and presented only obliquely. The problem ofdespair which comes to be at the heart of Romanticism develops out of the two Kantian themes of thoughtful autonomy (enlightenment) and the purposive unity of man and the world. Kant argues that practical reason must affirm these ideas as the Postulates of Freedom and God. In taking this position, however, Kant is implicitly committed to the existence of things good in themselves other than, and finally coordinate to, the Good Will, though he gives no direct account of such goods. Despair in the face of life is grounded in the inability or failure to appreciate these goods, and while Kant provides hints, he is never able to recognize or articulate a means of evidential access to them. Both the need of such goods and the appropriation of them remain submerged and latent themes in his writings. Let us begin with the question ofGod and the wholeness of all things. It would be a disaster, Kant says, if we could not, no matter how hard we tried, accomplish the purpose set for us by the Moral Law which is happiness in accord with virtue. It would be intolerable if the virtuous were always to be unhappy, or the vicious always to have their peace. However, since happiness is only marginally in our control, we need to postulate both immortality of the soul and existence of God as moral author of the world to assure that this purpose, or the summum bonum, can be achieved. What we cannot do, God will. This is the so-called moral argument for the existence of God and its outcome... (shrink)

Masterminded by women, the Red Army Faction terrorized West Germany from the 1970s to the 1990s. Afterimages of its leaders persist in the works of pivotal artists and writers, including Gerhard Richter, Elfriede Jelinek, and Slavoj Žižek. Why were women so prominent in the RAF? What does the continuing cultural response to the German armed struggle tell us about the representation of violence, power, and gender today? Engaging critical theory, Charity Scribner addresses these questions and analyzes signal works that point (...) beyond militancy and terrorism. This literature and art discloses the failures of the Far Left and registers the radical potential that RAF women actually forfeited. _After the Red Army Faction_ maps out a cultural history of militancy and introduces "postmilitancy" as a new critical term. As Scribner demonstrates, the most compelling examples of postmilitant culture don't just repudiate militancy: these works investigate its horizons of possibility, particularly on the front of sexual politics. Objects of analysis include as-yet untranslated essays by Theodor Adorno and Jürgen Habermas, as well as novels by Friedrich Dürrenmatt and Judith Kuckart, Johann Kresnik's _Tanztheaterstück Ulrike Meinhof_, and the blockbuster exhibition _Regarding Terror_ at the Berlin Kunst-Werke. Scribner focuses on German cinema, offering incisive interpretations of films by Margarethe von Trotta, Volker Schlöndorff, and Fatih Akin, as well as the international box-office success _The Baader-Meinhof Complex_. These readings disclose dynamic junctures among several fields of inquiry: national and sexual identity, the disciplining of the militant body, and the relationship between mass media and the arts. (shrink)

This research explored the ethical issues that nurses reported in the process of elaboration and further disclosure after an initial diagnosis of a terminal illness had been given. One hundred and six hospice nurses in Norway and Denmark completed a questionnaire containing 45 items of forced-choice and open-ended questions. This questionnaire was tested and used in three countries prior to this study; for this research it was tested on Danish and Norwegian nurses. All respondents supported the ethics of ongoing disclosure (...) to terminally ill patients based on ethical principles embedded in their country’s Patients’ Rights Acts. Truth, as an intrinsic value, proved foundational to patient autonomy, the most frequent ethical principle these nurses reported to justify their ethical position on information disclosure to terminally ill people. Telling the truth about a diagnosis was not the end of ethics in hospice care, but rather the beginning because what occurs ethically in dealing with prognosis issues became central to these hospice nurses, the patients and their families. Coupled with truth-telling, compassionate interaction and care become extensions of patients’ rights. (shrink)

I sit on the edge of the bed of my youngest daughter and read the fairy tale of the Three Billy Goats Gruff. My little four-year-old daughter has heard this story thousands of times and simply loves it. In my eagerness to create a good story and a good setting I add some personal description to the story. Then she who is thrilled with the story makes a strange face and corrects my telling: “No, mama, it is not like that. (...) You have to tell the truth”. Indo-Pacific Journal of Phenomenology , Volume 11, Edition 1 May 2011, 59-67. (shrink)

When analysing and evaluating discourse, the discourse itself, the speech event and the activity type it represents, forces the analyst to search for a theoretical and methodological framework which is suitable for analysing the activity exposed in the data. Interactive political argumentation demands both a theory of argumentation and a theory of spoken language to fully grasp what is going on in the discourse. The pragma-dialectical argumentation theory offers both analytical and evaluative tools, but rests upon a reconstruction of the (...) argumentative discourse which is hierarchical and static. If applied to interactive argumentation this kind of reconstruction will not reveal interactive aspects of the parties' argumentation. On the other hand, conversation analysis, which concentrates on interactive aspects of the discourse, does not offer a tool for the evaluation of the quality of each party's argumentation. (shrink)

À une époque où l'on constate la présence massive des femmes dans le monde public, féminisant la culture, Yvonne Knibiehler lance son défi provocant : comment les femmes peuvent-t-elles contribuer à faire avancer la réflexion sur les questions de la sexualité, notamment en ce qui concerne les relations entre les sexes et l'éducation sexuelle des jeunes, alors que la fête libératrice de la Révolution sexuelle est finie? Comment construire au présent une éducation des jeunes à la sexual...

The word ‘empowerment’ has become a popular term, widely used as an important claim, also within the health services. In this paper the concept's philosophical roots are traced from Freire and his ‘Pedagogy of the Oppressed’ to the philosophical thoughts of Hegel, Habermas, and Sartre. An understanding of the concept, as a way to facilitate coping and well‐being in patients through reflection and dialogue, emerges. Within an empowerment strategy the important claim on the nurse and the patient will be to (...) reveal the patient's own resources and limitations in times with sickness and reduced functionality to promote the patient's choice to act and cope. From this point of view an education‐programme for the frail elderly is outlined. If the nurse wants to empower the elderly patient she has to be willing to be educated through the dialogue with the patient, and to look for the patient's own meaning of being frail and elderly. The coping and self‐care solutions for the patient may then even be different from the preferences of the nurse, and this does not mean that the empowerment strategy is a failure or that the patient then has to continue without the assistance from the nurse. Within an empowerment strategy, in the Freirerian sense, the important thing is that both the patient and the nurse together critically reflect on the meanings of the sickness so that the patient can be able to make his own conscious choices. (shrink)

In this article the authors intend to present a very important topic of the geometry of space: the polyhedra. After having introduced their definition, their presence will be shown in nature, in everyday life and in art, starting from ancient Greece up to the present day. First of all, we will deal with regular polyhedra; subsequently we will introduce the important family, especially in the applications, of the Archimedean polyhedra. Finally, the interesting Goldberg polyhedra will be presented.

We observe a number of connections between recent developments in the study of constraint satisfaction problems, irredundant axiomatisation and the study of topological quasivarieties. Several restricted forms of a conjecture of Clark, Davey, Jackson and Pitkethly are solved: for example we show that if, for a finite relational structure M, the class of M-colourable structures has no finite axiomatisation in first order logic, then there is no set (even infinite) of first order sentences characterising the continuously M-colourable structures amongst compact (...) totally disconnected relational structures. We also refute a rather old conjecture of Gorbunov by presenting a finite structure with an infinite irredundant quasi-identity basis. (shrink)

Educational practice is concerned in profound ways with what is pedagogically good and right for children, and as parents and teachers we intend to help each child to cultivate his or her personal and educational potential in a human fashion. In the spirit of ancient Aristotle and Plato, Continental pedagogues and philosophers have for centuries explored the meaning of pedagogical practice/praxis and of the pedagogical good, the quality of both being regarded not as a means to an educational end, but (...) as the end itself. But what, indeed, is the pedagogical good, and what is the significance of the pedagogical good for students? Somehow we know the good, and yet we know it not. We recognize the good experientially, but the real meaning of what we intuit eludes our grasp. So how do we explore this elusive pedagogical quality - and is it possible to explore it? Based on phenomenological interviews with both young students and adults recalling episodes from school, as well as artistic narratives, this paper aims to illuminate experiential aspects of the pedagogical good and to reflect on the significance of the good in terms of pedagogical relational practice. It is suggested that the pedagogical good is not a quality that we as teachers can possess, or do, or practise, but rather a relational force beyond our pedagogical practice that opens up the world to children and preconditions the pedagogical relation. (shrink)

In this work we will deal with ellipses and ovals, comparing them both from the geometric point of view and from the one of applications. There is a notable similarity between these curves so often it’s not possible to recognize which of the two figures is, unless we consider other elements to distinguish them. We will show the presence of both curves in architectural works and in treatises, motivating their use, when it’s possible, with geometric and technological considerations.