Cette étude vise à esquisser les fondements et influences philosophiques de la pensée de l’historien de l’art Aby Warburg par le biais de deux penseurs : Friedrich Nietzsche et Ernst Cassirer. La question de la mémoire offre un fil conducteur à cette investigation dans la mesure où, pour Warburg, celle-ci est véhiculée de manière insigne par et dans l’image. D’abord, il s’agira de souligner que la Renaissance italienne, point de départ de l’investigation mémorielle de ce dernier, s’est présentée avant tout en tant que question au sein de l’imagination historique allemande. C’est notamment chez l’historien de la culture Jacob Burckhardt et Nietzsche, deux maîtres à penser de Warburg, que cette période historique est thématisée pour repenser le rapport de l’individu à son passé. Ensuite, l’approche des sciences de la culture, une constellation disciplinaire duquel se revendique Warburg, nous permet de voir de quelle manière la méthode de celui-ci se distingue de l’abstraction esthétique afin de préserver le sens équivoque de la mémoire et la possibilité de faire l’expérience vivante ou posthume de l’image. Enfin, c’est par le biais du symbole, objet d’étude centrale de la philosophie de Cassirer, que Warburg en viendra à penser les polarités de l’image. Sans vouloir rabattre la pensée de Warburg sur celle d’un système, le dialogue avec Cassirer permettra de voir comment ceux-ci ont réussi leur pari de rendre compte de la pensée mythique et de ses intermédiaires avec la raison. / This study aims to outline the philosophical foundations and influences of art historian Aby Warburg's work through two thinkers: Friedrich Nietzsche and Ernst Cassirer. The question of memory offers a red thread to this investigation insofar as, for Warburg, it is conveyed in an insignificant way in and through the image. First, it will be emphasized that the Italian Renaissance, the starting point of his investigation of memory, was presented above all as a question within the German historical imagination. In particular, the cultural historian Jacob Burckhardt and Nietzsche, two of Warburg's influences, thematized this historical period in order to rethink the relationship of the individual to his past. Secondly, the approach of cultural sciences, a disciplinary constellation used by Warburg, allows us to see how his method differs from aesthetic abstraction to preserve the equivocal meaning of memory and the possibility of experience the life or the afterlife of images. Finally, it is through the symbol, the central object of study in Cassirer's philosophy, that Warburg comes to ponder the polarities of the image. Without seeking to reduce Warburg's thought to that of a system, the dialogue with Cassirer will make it possible to see how they succeeded in their wager to give an account of mythical thought and its intermediaries with reason.

Marie Eugenie delle Grazies Drama Der Schatten wurde am 28. September 1901 im Wiener Hofburgtheater, einer der bedeutendsten Bühnen Europas, uraufgeführt, jedoch nach nur vier Vorstellungen abgesetzt. Das mit dem Bauernfeld-Preis ausgezeichnete Stück bildet den Zenit von delle Grazies literarischem Schaffen und beinhaltet Diskurse von hohem damaligem Stellenwert, die uns einen tieferen Einblick, vom Standpunkt der modernen Frau, ins Fin-de-Siècle Wien geben können. Das Drama und seine Dichterin wurden im Wien der Jahrhundertwende sowohl gefeiert als auch gerügt. Delle Grazie hatte mit Vorurteilen gegen sie als Frau und Dichterin, sowie mit der Kritik an ihrer unkonventionellen Dramaturgie zu kämpfen. Betrachtet man Der Schatten jedoch im Kontext der Zeit, wird schnell erkennbar, dass die Wiener Dichterin sich vorzüglich darauf verstand die Diskurse ihrer Zeit aufzugreifen und künstlerisch und unikal zu verarbeiten. Inhaltlich ist ihr Protagonist, der Dichter Ernst Werner, die moderne Antwort auf Goethes Faust. Werner ist der faustische Künstler, der sich in freudscher Fasson mit seiner dunklen Seite, seinem Schatten, auseinandersetzt. Dabei werden immer wieder Nietzsches philosophische Ideen thematisiert, insbesondere die des Übermenschen, der sich seine Welt neu erschafft. Darüberhinaus weist das Drama in seiner Darstellung ritualistische Charakteristen auf und erschöpft in seiner Thematik postmodernes Gedankengut, wie es im Film der Jahrtausendwende problematisiert wird.

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An ethical understanding of responsibility should entail a richly qualitative comprehension of the links between embodied, unique individuals and their lived realities of behaviour. Criminal responsibility theory broadly adheres to ‘rational choice’ models of the moral self which subsume individuals’ emotionally embodied dimensions under the general direction of their rational will and abstracts their behaviour from corporeal reality. Linking individuals with their behaviour based only on such understandings of ‘rational choice’ and abstract descriptions of behaviour overlooks the phenomenological dimensions of that behaviour and thus its moral significance as a lived experience. To overcome this ethical shortcoming, engagement with the aesthetic as an alternative discourse can help articulate the ‘excessive’ nature of lived reality and its relationship with ‘orthodox’ knowledge; fittingly, the comics form involves interaction of rational, non-rational, linguistic, and non-linguistic dimensions, modelling the limits of conceptual thought in relation to complex reality. Rational choice is predicated upon a split between a contextually embedded self and an abstractly autonomous self. Analysis of the graphic novel Watchmen contends that prioritisation of rational autonomy over sensual experience is symptomatic of a ‘rational surface’ that turns away from the indeterminate ‘chaos’ of complex reality (the unstructured universe), instead maintaining the power of rational and linguistic concepts to order the world. This ‘rational surface’ is maintained by masking that which threatens its stability: the chaos of the infinite difference of living individuals. These epistemological foundations are reconfigured, via Watchmen, enabling engagement beyond the ‘rational surface’ by accepting the generative potential of this living chaos and calling for models of criminal identity that are ‘restless’, acknowledging the unique, shifting nature of individuals, and not tending towards ‘complete’ or stable concepts of the self-as-responsible. As part of the aesthetic methodology of this reconfiguration, a radical extension of legal theory’s analytical canon is developed.

La notion de l'absurde a pris dans la pensée et le langage courant un très grand nombre de significations, parfois très éloignées les unes par rapport aux autres. Il est arrivé à au moins deux reprises que le terme « absurde » soit entendu dans le sens d'un courant : dans la philosophie absurde théorisée par Albert Camus en 1942, et dans le Théâtre de l'absurde (Beckett, Ionesco, etc.), qui lui a connu son apogée dans les années cinquante. Ces deux mouvements pourraient être envisagés comme l'expression d'un seul et même courant, l'absurde, qui prend ses racines dans une Europe ébranlée par les horreurs de la guerre et l'affaissement de la religion chrétienne. Pour les contemporains, l'hostilité et le désordre de l'univers, de même que la solitude irrémédiable de l'individu apparaissent comme des vérités à la fois douloureuses et difficile à ignorer. Roman Polanski (1933-), cinéaste à la fois prolifique et éclectique, ouvre à l'absurde de nouveaux horizons, ceux du septième art. L'analyse de son oeuvre (et des éléments autobiographiques qui la sous-tendent parfois) met à jour d'indéniables parentés avec les figures-clés de l'absurde que sont Camus, Kafka, Nietzsche et les dramaturges européens de l'après-guerre. Ces parentés se repèrent tout autant dans les thématiques récurrentes de ses films que dans leurs obsessions formelles. / The idea of absurd has taken a huge amount of different meanings in thought and current speech. Some of these meanings may present important differences with others. There is at least two occurrences where the word “absurd” has been understood as a current: first, in the philosophie absurde, theorized by Albert Camus in 1942, and second, in the Theater of the Absurd (Beckett, Ionesco and others), who had his hours of glory during the 1950s. These two movements can be seen as two branches of a single current, the Absurd, who has its roots in Europe after World War II. The horrors of the conflict and the loss of faith in Christianity pushed the intellectuals and artists of this period to become very sensitive to ideas such as hostility (of men, of world...) and loneliness. Roman Polanski (1933-), film director well-known for the eclecticism of his work, showed very notable acquaintances with Absurd in many of his movies. The analysis of his art (and of the autobiographical elements that sometimes appear in it) proves a clear relation with important figures of the Absurd current, such as Camus, Kafka, Nietzsche, and European playwrights of the post-war era. This relation can be observed in themes as well as in the mise en scène of Polanski's films.

Diss. Univ. Greifswald, 2007 (leicht überarb.). / Bibliographie: S. 263-284.

Zugleich: Diss. Heidelberg, 2008. / Literaturverz.

The thesis "Mirroring of Motives of F. Nietzsche's Critique of Christianity in D. Bonhoeffer's Prison Theology" contemplates Bonhoeffer's thoughts on non-religious interpretation, that Bonhoeffer expands upon in his letters from prison, in the light of critique of Christianity that was expressed by Friedrich Nietzsche. Chapter I looks into the history of interpretation of Bonhoeffer's research and provides a brief overview of past and contemporary efforts to explain Bonhoeffer's approach to philosophy. Chapter II introduces basic principles and key topics of the critique of Christianity first in Nietzsche's work The Antichrist, followed by Bonhoeffer's Letters and Papers from Prison. Chapter III compares the most obvious motives in the thinking of Nietzsche and Bonhoeffer within the aforementioned scope. Selected themes in works of these two German thinkers overlap particularly in their philosophy of life, understanding of a man come of age, and their critiques of Christianity that is deflecting from this world towards the transcendent sphere of the world beyond (in German, it is expressed as a difference in the meaning of "Diesseits" and "Jenseits"). Bonhoeffer's thoughts on the preaching of Gospel to the man come of age who is free of false, religious misbeliefs, and who feels strong, capable,...

The main topic of this diploma thesis resides in the comparison of the expressionist painting and the existential literature in connection with the motif of screaming. Despite the temporal and geographical distance of the two artistic movements (we are focused more profoundly in the German and Austrian expressionist painting, while the main literary work of this thesis, the existential novel The Fall comes from the great mind of a French writer, Albert Camus), the research aspires to prove the interconnection of the two movements and their common tendencies, based on the analyses of chosen themes, motifs, technics, and structure. We propose the motif of screaming as the main part of the comparison, as it constitutes an essential axis of the occidental art, as well as the crucial contact point between Expressionism and Existentialism. In spite of the bountifulness of the various interpretations this motif offers, we have chosen only selected ideas and concepts. As far as the formal structure is concerned, the work is divided into three chapters, where the first two are focused on the origins, a brief characterization of the main point of the two esthetics. Furthermore, they describe their related counterparts of the visual arts and literature (the Expressionist literature and Existential painting...

Indiana University-Purdue University Indianapolis (IUPUI) / The history of Western civilisation is generally demarcated into three broad epochs: ancient, Christian and modern. These eras are usually defined in political terms, but they may also be differentiated in terms of fundamental differences in the nature of the organisations that constitute civil society in each age, how they defined the public good, and even what they consider philanthropic. In the nineteenth century, for instance, 'Scientific philanthropy' displaced 'Christian charity' as the dominant model for charitable giving; a development accompanied by a number of other secularising trends in Western civil society, generally understood as a broad cultural shift in conceptions of public good, from religious to scientific. From the fourth to the sixth century CE, by comparison, another broad cultural shift, from paganism to Christianity, also led to fundamental changes in the nature and composition of ancient civil society. A central premise of this dissertation is that fundamental historical transformations in Western civilisation – from pagan to Christian, to modern, to post-modern – may be traced to the influence of some of the most important philosophers in the Western philosophical tradition, among them: Protagoras, Socrates, Plato, Francis Bacon and Friedrich Nietzsche. Each of these philosophers may be seen to have promulgated their teachings in a consciously Promethean manner; as gifts of fire, understood as philosophical teachings intended to be promulgated for the wider benefit of humankind. In Greek myth, Prometheus, whose name is traditionally thought to have literally meant 'forethought', is the one who steals fire from the gods and gives it to humans. Prometheus is also the first figure in history to be described as "philanthropic" (Prometheus Bound, 11 & 28). Plato, Bacon and Nietzsche all employ significant variants of the Promethean mũthos in their philosophical works, and may be seen to personally identify with the figure of Prometheus, as an allegorical figure depicting the situation of the wise, particularly in relation to political power. This dissertation thus closely analyses the Promethean mũthos in order to cast light on the philosophical philanthrôpía and Promethean ambitions of Protagoras, Socrates and Plato, and to provide the basis for consideration of the same in Bacon and Nietzsche.