Reinholds Briefe uber die Kantische Philosophie gehoren zu den wirkungsmachtigsten Produkten seines umfangreichen Schaffens. Von den Zeitgenossen teils mit grosser Begeisterung aufgenommen, tragen sie wesentlich zur Etablierung der ersten Kant-Bewegung bei. Durch ihr Bestreben, die Vernunftkritik als Theorie der moralisch-religiosen Erneuerung zu prasentieren, gelten sie als die brisanteste unter den damaligen philosophischen Neuerscheinungen. Sie sind wegweisend fur einen Kantianismus, der sich im Laufe der 1790er Jahre als eine die politischen Umwalzungen in Frankreich flankierende Geistesrevolution begreift. Der neu herausgegebene Band enthalt (...) zwolf Briefe, welche die auffallendsten Resultate von Kants Vernunftkritik ausgehend von den dringendsten wissenschaftlichen und moralischen Bedurfnissen unserer Zeit darstellen. Der Adressat erfahrt, dass mit Kants Erkenntniskritik und moralischer Neubegrundung der speziellen Metaphysik ein taugliches Mittel zur Bewaltigung gegenwartiger Grundlagenkrisen im Gebiete von Moral, Naturrecht, Theologie und Asthetik bereitsteht. Mit Nachdruck wird das problemlosende Potential von Kants moraltheologischen Resultaten hervorgehoben. In Kants Vernunftglauben und Statuierung eines moralischen Erkenntnisgrundes fur das Dasein Gottes und die Unsterblichkeit der Seele sieht Reinhold die besten Voraussetzungen fur die Beendigung einer Reihe aufklarungshemmender Debatten. Im Visier steht allem voran der als Pantheismusstreit beruhmt gewordene Disput zwischen Mendelssohn und Jacobi, in dessen Einflussbereich ein wenig ergiebiger Kampf zwischen Naturalisten und Supernaturalisten dominant werden sollte. Die Darstellung geschichtlicher Kontexte zur Idee der Unsterblichkeit der Seele und die eingehende Auseinandersetzung mit den antiken Seelenlehren kulminieren in der These, durch Kants Kritik und Neufundierung der rationalen Psychologie konne auch der bisherige, Antike und Neuzeit durchziehende Gegensatz zwischen Spiritualisten und Materialisten als aufgelost gelten. Wiederholt wird zu Reflexionen uber die Geschichte der Menschheit angesetzt, die deutlich machen, dass Reinhold das Geschichtsbild der Illuminaten mehr und mehr in Anlehnung an Lessings Idee einer kommenden Menschheitsepoche des dritten Evangeliums sowie an Kants Vision eines weltburgerlichen Endzustandes vortragt. Die Neuedition ist mit einer ausfuhrlichen Einleitung und einem Kommentar versehen. In diesen Teilen wird unter anderem auf die Entstehungsgeschichte der Briefe, auf Reinholds Kant-Rezeption sowie auf sein Kant-Verstandnis, das mit der damals gangigen Ansicht uber den Alleszermalmer kontrastiert, eingegangen. Vermerkt werden zudem inhaltlich relevante Abweichungen von fruheren Fassungen der in den Band von 1790 eingeflossenen Textteile. (shrink)

Editor’s note: Raymund Schwager published the original German version of this text in 1985 . He had already presented an English translation one year earlier at a symposium on Girard’s thinking in Provo, Utah. Fortunately, this translation has been preserved in the Innsbruck “Raymund Schwager-Archive” and can, therefore, now be published for the first time. However, the translator is not known, so due credit cannot be given here. In preparation, this translation had to be revised, orthographic and other (...) mistakes had to be corrected, and footnotes, which Schwager had put in the German but not in the English .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Suffering, Victims, and Poetic Inspiration Raymund Schwager University ofInnsbruck Poetic inspiration has something to do with the divine. The Greek tragedies are classic examples of that. The poets regarded themselves as inspired by the divine Muses, and in their works the gods are quite naturally present in the lives of human beings. Sometimes the gods treat them in a friendly way, sometimes they spur on conflicts or even (...) inspire human beings to take revenge upon one another. At the end of some tragedies the gods appear as a deus ex machina who brings everything to resolution, or at least pretends to do so. Nevertheless, it is not these various gods, but rather human beings themselves, suffering human beings more precisely, who are at the center of this dramatic event inspired by the divine Muses. Human beings suffer because they come into conflict with each other and fall victim to the vengeful and violent acts of others. In the Greek tragedies human beings do not act in a calm and sensible way. Rather, they are in bondage to their passions, and through these passions the gods speak to them. While performing a sacrifice of purification and thanksgiving, Heracles flies into a rage inspired by several of the goddesses and slaughters his own children. In a Dionysian frenzy Agaue and her companions tear apart her own son. Orestes, believing himself to be obeying a command of Apollo, kills his mother, who had committed adultery and murdered her own husband. And above all, the great, genocidal war of Troy did not so much originate in the longing of Paris for Helen, as in a dispute between the gods. In every respect human beings seem to be more the victims of the gods than themselves wicked persons who commit evil deeds—and they are above all the ones who suffer the most. Helen, the "cause" of the massive slaughter of the Trojan war, is exclusively depicted by Euripides in the role of one who suffers greatly, indeed even beyond the bounds ofhuman endurance. Even Medea, who goes so far as to kill her own children, is not 64Raymund Schwager depicted by the same poet as a moral monster, but as a woman overwhelmed by boundless grief. The gods thus appear in a somewhat murky light: they are indispensable to the poets' purpose yet at the same time severely criticized. For Euripides they are often much worse than human beings. In his Heracles, he goes so far in his irony as to depict the goddess of vengeance herself criticizing Hera, who makes Heracles suffer in order to quench her thirst for revenge which was caused by the unfaithfulness of her husband Zeus. Euripides considers all these stories of gods to be humanly-contrived fables. Nevertheless, he also believes that there can be no drama without the gods. How could the mysterious depths of human passions be understood without the gods? If the poet had no one to indict except other human beings, his works would quickly become nothing but tepid moral tracts. The gods are indispensable and yet they must be criticized: the poetic inspiration in the Greek tragedies thrives on ambiguity. Suffering humanity is confronted with an incomprehensible fate which only the poet's ambiguous parables and images are able to depict. The great suffering figures in the tragedies of Euripides find their echo in another tradition's suffering figure, whose fate is also depicted in poetic words. A suffering figure who also both listens to and argues with his God: Job. A misfortune has befallen Job, which he simply cannot understand. And while even his alleged friends torment him, he suffers even more from his God. Job feels persecuted by God, tormented and driven to despair. Job would like to argue with God and even take him to court. But he cannot do so. He experiences God as an invisible enemy who is present everywhere. Nevertheless, he turns to this same God in his deepest distress and is confident of finding a savior in him. The God of Job is contradictory: this is a God on whom Job can rely but with whom he must also struggle. However, it is just this contradiction... (shrink)

Excerpt from Die Philosophie der Gegenwart in Selbstdarstellungen Der Titel der Sammlung musste naturlich eine Verallgemeinerung im Sinne dieses erweiterten Programmes erfahren. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such (...) as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.". (shrink)