The introduction to a special theme focus on Hermann Levin Goldschmidt’s thought, this article briefly situates his central work Contradiction Set Free in the context of the time of its publication before it introduces the papers that examine the book from various perspectives to highlight its significance for a critical approach to philosophy today.

_Spinoza’s Modernity _is a major, original work of intellectual history that reassesses the philosophical project of Baruch Spinoza, uncovers his influence on later thinkers, and demonstrates how that crucial influence on Moses Mendelssohn, G. E. Lessing, and Heinrich Heine shaped the development of modern critical thought. Excommunicated by his Jewish community, Spinoza was a controversial figure in his lifetime and for centuries afterward. Willi Goetschel shows how Spinoza’s philosophy was a direct challenge to the theological and metaphysical assumptions of modern (...) European thought. He locates the driving force of this challenge in Spinoza’s Jewishness, which is deeply inscribed in his philosophy and defines the radical nature of his modernity. (shrink)

Kant’s philosophy is often treated as a closed system, without reference to how it was written or how Kant arrived at its familiar form, the critique. In fact, the style of the critique seems so artless that readers think of it as an unfortunate by-product—a style of stylelessness. In _Constituting Critique_, Willi Goetschel shows how this apparent gracelessness was deliberately achieved by Kant through a series of writing experiments. By providing an account of the process that culminated in his three (...) _Critiques_, this book offers a new perspective on Kant’s philosophical thought and practice. _Constituting Critique_ traces the stages in Kant’s development to reveal how he redefined philosophy as a critical task. Following the philosopher through the experiments of his early essays, Goetschel demonstrates how Kant tests, challenges, and transforms the philosophical essay in his pursuit of a new self-reflective literary genre. From these experiments, critique emerges as the philosophical form for the critical project of the Enlightenment. The imperatives of its transcendental style, Goetschel contends, not only constitute and inform the critical moment of Kant’s philosophical praxis, but also have an enduring place in post-Kantian philosophy and literature. By situating the _Critiques_ within the context of Kant’s early essays, this work will redirect the attention of Kant scholars to the origins of their form. It will also encourage contemporary critical theorists to reconsider their own practice through an engagement with its source in Kant. (shrink)

A key moment in Spinoza reception, Heine's writing gains sharper theoretical contours when read with careful attention to the way in which he appropriates Spinoza. Heine's portrayal of Spinoza in his On the History of Religion and Philosophy in Germany does not only represent a critical intervention in the project of intellectual history writing that argues for Spinoza's thought to be constitutive for modernity, but Spinoza's presence can also be traced in his poetry and fiction. Heine's original appropriation of Spinoza (...) stages a new way to read Spinoza in the conjunction of Jewish emancipation and German idealism that allows him to advance the claim for both Spinoza's radical critical role in modernity and to legitimate his own poetic project. (shrink)

The literary nature of Kant's work, although traditionally dismissed, has an essential, formative impact on his philosophy. Tracing the experimental nature of Kant's early writing of "essays" up to his development of a new literary genre, the Kritik, this study explores Kant as an author highly aware of the problems of writing philosophy and whose self-conscious search for adequate means of expression and philosophical self-reflexivity culminates in his "transcendental style". A close reading of the "pre-critical" writings shows a Kant feeling (...) his way forward toward a form satisfying the new requirements his method was about to establish. The essay becomes the genre of free literary experimentation. When Kant turned to the Kritik he was thus consciously looking for a new genre. Departing from any former philosophical genres the Kritik is essay-derived. But it formulates its own generic set of rules by its performance-based self-legitimation. The Kritik der reinen Vernunft is the first of its kind, producing in its new genre a new form of discourse. The creation of an adequate genre displaying a chorus of voices marks the change in Kant. Writing after the Kritik, which contains the blueprint of philosophical discourse, means that Kant now does so from the now attained vantage point of self-reflexivity: his publications then divide themselves into theoretical or academic ones and--following his own use of the word--into practical ones: public statements taking firm stands for the cause of enlightenment. The notion of enlightenment that Kant develops in these publications denotes a rich, deeprooted concern which demonstrates Kant's underlying self-perception as a writer. (shrink)

This paper examines Rosenzweig?s philosophic project in the context of his time as a critical intervention in the discussion of the place of Jewish thought in the university and in society. If Hermann Cohen represented the first generation of Jewish philosophers claiming that participation in the university is constitutive for the institution?s claim to universalism, the second generation-represented by Martin Buber - was more diffident about the university and its openness. For Buber, literary modernism offered what the university would refuse. (...) Disappointed about the failure of the recognition of the efforts of the previous two generations, Rosenzweig represents the third generation. He turns the situation into a creative response anchoring philosophy as a project that calls for a resolute move outside the university. Ovaj rad ispituje Rozencvajgov filozofski projekat, u kontekstu njegovog vremena, kao kriticku intervenciju u diskusiji o mestu jevrejske misli na univerzitetu i u drustvu. Ako Herman Koen predstavlja prvu generaciju jevrejskih filozofa tvrdeci da je sudelovanje na univerzitetu konstitutivno za zahtev institucije za univerzalizmom, druga generacija? koju je predstavljao Martin Buber - bila je mnogo sumnjicavija oko univerziteta i njegove otvorenosti. Za Bubera, knjizevni modernizam je ponudio nesto sto je univerzitet odbio. Razocaran zbog neuspeha pokusaja da se prepoznaju napori prethodne dve generacije, Rozencvajg predstavlja trecu. On preokrece situaciju u kreativan odgovor usidrenoj filozofiji kao projekat koji poziva na odlucan iskorak van univerziteta. (shrink)

Exploring the subject of Jewish philosophy as a controversial construction site of the project of modernity, this book examines the implications of the different and often conflicting notions that drive the debate on the question of what ...

The Simmel companion Simmel-Handbuch is a book that offers a solid overview of Simmel’s works with numerous articles addressing specific aspects of his thought. The volume includes informative discussions of the overarching themes as well. Its scholarship is exhaustive and reflects the state of the art of German Simmel scholarship.