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.

In this doctoral thesis, Kant's distinction between perfect and imperfect duties is examined. The thesis begins with an exploration of how the distinction originates and evolves in the writings of three of Kant's most prominent natural law predecessors: Hugo Grotius, Samuel von Pufendorf, and Christian Wolff. The thesis then moves on to Kant's own writings. It is argued that Kant draws the perfect-imperfect distinction in as many as twelve different ways, that these ways are not entirely consistent with one another, and that many of them, even taken by themselves, do not hold up to scrutiny. Furthermore, it is argued that Kant's claim that perfect duties always trump imperfect duties - which can be referred to as "the priority claim" - is not actually supported by any one of the ways in which Kant draws the perfect-imperfect distinction. After this critical reading of Kant's writings, the thesis then switches gears and a more "positive" project is attempted. It is argued that the perfect-imperfect distinction, even though it does not support the priority claim, is not altogether normatively neutral or uninteresting. In particular, for some of the ways in which the distinction is drawn, it is shown that the distinction yields the following normative implication: Sometimes perfect duties override imperfect duties and all other times there is no priority one way or the other. Finally, it is explained that this normative implication - which can be referred to as the "privilege claim" - translates into the following practical directive: When there is a conflict between a perfect duty and an imperfect duty, sometimes one must act in conformity with the former duty and all other times one is free to choose which of the two duties to act in conformity with. This practical directive represents the ultimate finding of this thesis.

Immanuel Kant (1724-1804), a philosopher who became known for the change in the direction of Western philosophical thought, for what he called the awakening of dogmatic sleep, or even the Copernican revolution of thinking, critical philosophy, taught geography at the University of Königsberg of the years of 1756, began his teaching career until 1796, ending his official teaching activities at the university, making a total of 49 geography courses over 40 years of teaching. Geography, therefore, goes through all stages of development of academic teaching and its philosophy, from the pre-critical period before 1781 to the critical period of criticism of the Pure Reason (1781A/1787B), the Practical Rationale (1788) and the Faculty of Judge (1790), showing the irreplaceable role that geography played in the development of its teaching and philosophical activities, to the point of being considered as the knowledge of the world without which one did not advance in critical philosophical, but enlightened and mundane, given space-temporally. Kant, in this sense, develops a close relationship between a philosophy that manifests itself geographically and an eminently philosophical geography. Thus the relation between philosophy and geography and of philosophy with the philosophy of geography professor and philosopher of Königsberg, as well as the nuances that emerge from this relationship, is the central objective of our research endeavor, which will be evidenced by the complexity that geography for Kant is becoming over time, because it is the science that concatenates the relationship between the human being and nature, grounding the human-natural relations within the limits of the frontiers of humanly valid scientific knowledge, the phenomenal, both from the point of view universal and singular view. In the development of the research, we go through works that extend from the years 1755 to the post-Third Critical period of 1790, showing that the spatio-temporal, geographical, natural-human relationship of Kant's world knowledge is established by a dynamic, which results in a systematicity and an organicity that is not only mechanical-causal but also teleological, which lacks observation, description and explanation, therefore, of a geographical philosophy and a philosophical geography, without which one does not learn to philosophize, therefore, it does not become clarifies and does not become a geographical citizen of the world. / Immanuel Kant (1724-1804), filósofo que ficou conhecido pela mudança nos rumos do pensamento filosófico ocidental, por aquilo que ele chamou de “despertar do sono dogmático”, ou ainda de “revolução copernicana do pensar”, a filosofia crítica, lecionou geografia na universidade de Königsberg dos anos de 1756, início de sua carreira docente, até 1796, fim de suas atividades oficiais de docência na universidade, perfazendo um total de 49 cursos de geografia ao longo de 40 anos de ensino. A geografia, portanto, passa por todas as etapas de desenvolvimento docente acadêmico e de sua filosofia, desde o período chamado de pré-crítico, antes de 1781, ao período crítico, das críticas da Razão Pura (1781A/1787B), da Razão Prática (1788) e da Faculdade de Julgar (1790), mostrando o papel insubstituível que a geografia teve no desenvolvimento de suas atividades docentes e filosóficas, ao ponto de ser considerada como o conhecimento do mundo sem o qual não se avançava ao filosofar crítico, não escolar, mas esclarecido e mundano, dado espaço-temporalmente. Kant, nesse sentido, desenvolve uma relação estreita entre uma filosofia que se manifesta geograficamente e uma geografia eminentemente filosófica. Assim, a relação entre filosofia e geografia e desta com a filosofia no pensamento do professor de geografia e filósofo de Königsberg, bem como as nuances que dessa relação emergem, é o objetivo central de nossa empreitada investigativa, que será evidenciada pela complexidade que a geografia para Kant vai se tornando ao longo do tempo, por ser a ciência que concatena a relação entre o ser humano e a natureza, fundamentando as relações humano-naturais dentro dos limites das fronteiras do conhecimento científico humanamente válido, o fenomênico, tanto do ponto de vista universal quanto singular. No desenvolvimento da pesquisa, passamos por obras que se estendem dos anos de 1755 ao período pós Terceira Crítica de 1790, mostrando que a relação espaço-temporal, geográfica, natural-humana, do conhecimento do mundo em Kant se estabelece por uma relação dinâmica, que resulta em uma sistematicidade e uma organicidade que é não só mecânico-causal, mas também teleológica, que carece de observação, descrição e explicação, portanto, de uma filosofia geográfica e de uma geografia filosófica, sem a qual não se aprende a filosofar, logo, não se esclarece e não se torna um cidadão geográfico, do mundo. / São Cristóvão, SE

À la suite d'Agrippa, maint sceptique a argué de la pluralité des systèmes pour ruiner toute ambition de vérité philosophique : des systèmes contradictoires ne pouvant être vrais simultanément, leurs prétentions respectives s'annulent. L'argument n'a pourtant de valeur que si la pluralité des systèmes est elle-même irrationnelle. Or plusieurs philosophes ont rationalisé la diversité des systèmes philosophiques, suggérant par là que la raison puisse s'approprier sa propre limite ; notamment Kant, dans l'" Histoire de la raison pure " qui conclut la Critique de la raison pure (1781) ; Hegel, dans les Leçons sur l'histoire de la philosophie (1805-1830) ; Victor Cousin, dans Du Vrai, du beau et du bien (1828) et l'Histoire générale de la philosophie (1863) ; Charles Renouvier, dans l'Esquisse d'une classification systématique des doctrines philosophiques (1885-1886) ; et Jules Vuillemin, dans Nécessité ou contingence (1984).Étudier de manière interne chacune de ces entreprises permet de déterminer quels en sont les critères fondamentaux, la forme mathématique générale, et le but philosophique. L'histoire kantienne de la raison pure, injustement dédaignée, repose sur les concepts fondamentaux du criticisme, structure maint chapitre des trois Critiques, et annonce la paix philosophique perpétuelle dont est porteur le criticisme. Les Leçons de Hegel ne sont ni un résumé empirique ni une histoire biaisée de la philosophie : fondées sur la Logique et la Phénoménologie, elles mettent au jour la dialectique interne des systèmes. La classification de Renouvier n'est pas, comme on le dit parfois, a posteriori, mais repose au contraire sur le jeu a priori d'une table des catégories et d'une théorie de la contradiction. Enfin, la classification vuilleminienne des systèmes, qui s'appuie sur une classification des formes de prédication, généralise la classification kantienne. Seule la classification de Victor Cousin s'avère finalement a posteriori.Ancrées dans les concepts fondamentaux de chacune de ces doctrines, ces classifications montrent qu'un système peut construire l'image des autres et de leurs relations aussi rigoureusement qu'il décrit le monde : les relations entre systèmes ne sont pas moins structurales que les systèmes eux-mêmes.

Zugl.: Heidelberg, Univ., Diss., 2007.

Κύριο θέμα αυτής της εργασίας αποτελεί η καντιανή έννοια της αυτονομίας, υπό την αναγκαία προϋπόθεση της ελευθερίας της βούλησης,η οποία καθιστά δυνατή την επιλογή και ως εκ τούτου την ηθική υπευθυνότητα των ανθρώπων. Το ενδιαφέρον εστιάζεται επίσης, και στην προσπάθεια του Καντ να δείξει ότι η ελευθερία και περαιτέρω η αυτονομία, μπορούν να συμβιβαστούν με το αυστηρό αιτιοκρατικό σύστημα. Eπιπλέον, η εργασία προσφέρει μια διεξοδική ανάλυση βασικών καντιανών εννοιών και επιχειρεί να φέρει στο προσκήνιο την αξία της καντιανής αυτονομίας, τονίζοντας ωστόσο τα ερμηνευτικά θέματα τα οποία εγείρονται. Τέλος, παρουσιάζει δυο θεμελιώδεις, αλλά αντίθετες, προσεγγίσεις της καντιανής αυτονομίας. / The main topic of this thesis is the kantian notion of autonomy, under the necessary presupposition of freedom of the will, which enables individuals to make free choices and consequently, to be morally responsible for these choices. Interest also, focuses on Kant's effort to show that freedom of the will, and further autonomy, can be reconciled with the strict deterministic system. Additionally, it offers an extensive analysis of basic kantian notions and undertakes to bring to the fore the value of kantian autonomy, whilst highlighting the interpretative issues which arise. Finally, it presents two fundamental, but different approaches to kantian autonomy.

Cette thèse porte sur le fonctionnement du discours urbanistique à Montréal durant les Trente Glorieuses. Contre l’interprétation dominante selon laquelle l’urbanisme des Trente Glorieuses serait démesurément technophile et confisquerait le pouvoir de parler de la ville, nous montrons qu’en dramatisant la décomposition de l’objet urbain et en faisant de la définition même de la ville un problème, l’urbanisme crée un espace discursif ouvert dans lequel la technique se présente à la fois comme un problème et une solution. Dans un premier temps, nous analysons la prégnance de la critique de l’urbanisme technocratique (dont l’expression typique se trouve chez Jane Jacobs) dans la théorie politique contemporaine, au moyen d’une analyse du livre à succès Seeing Like a State de James C. Scott. Nous montrons que cette critique repose sur une hypothèse du surplomb dont le fonctionnement est analogue à ce que Michel Foucault appelle « l’hypothèse répressive ». Nous expliquons son succès en montrant qu’elle correspond à la vision dominante de la critique comme procès de la raison. Rejetant la réception qui en a été faite par les anti-planificateurs, nous montrons enfin que l’on retrouve dans la méthode archéologique de Foucault des éléments pour une analyse de l’urbanisme qui ne soit pas uniquement centrée sur les tares de l’idéologie moderniste et la croissance démesurée du pouvoir technocratique. Dans un deuxième temps, nous forgeons une hypothèse quant à la structure du discours urbanistique au moyen d’une relecture d’Emmanuel Kant, Reinhart Koselleck et Hans Jonas. Plutôt que d’assimiler l’urbanisme à une forme démesurée (hubris) du rationalisme, il s’agit d’y trouver une réflexion particulièrement sophistiquée sur les limites du pouvoir de connaître, dont l’analytique de la finitude kantienne est la forme paradigmatique. Nous utilisons ensuite l’histoire des concepts de Koselleck pour éclairer le fonctionnement et les effets intradiscursifs de la remise en question du concept traditionnel de ville à laquelle procède l’urbanisme. Enfin, l’éthique de la technique de Jonas nous permet de montrer que la planification moderne s’appuie sur (et se justifie par) les dangers que pose un développement techno-industriel incontrôlé. Dans un troisième temps, nous testons cette hypothèse au moyen d’une étude du discours urbanistique montréalais de 1941 à 1967. Analysant comment les premiers professionnels du Service d’urbanisme de la Ville se représentent Montréal, nous traitons de l’idée de « ville en mouvement », des modalités de représentation de l’espace urbain et de l’injonction à réinventer la ville que l’on retrouve dans le discours urbanistique. À partir de trois figures transversales, soit Hans Blumenfeld, Claude Robillard et Jean-Claude La Haye, nous montrons que le discours urbanistique montréalais des Trente Glorieuses est polyphonique, c’est-à-dire qu’on y retrouve différentes tactiques de légitimation qui forment toutes des variations d’une même grande stratégie discursive de décomposition et recomposition de l’objet urbain. Nous verrons ces tactiques à l’œuvre dans la rénovation urbaine (le plan Dozois et le projet pour le quartier de la Petite-Bourgogne), l’organisation de l’expertise urbanistique (l’Institut d’urbanisme et la Commission provinciale d’urbanisme), et les velléités de planification métropolitaine (Horizon 2000). / This dissertation focuses on the structure of the urban discourse in Montreal during the Trente Glorieuses (Glorious Thirty). Against the dominant interpretation, according to which the urban planning of the Glorious Thirties was disproportionately technophile and had confiscated the power to speak of the city, we show that by dramatizing the decomposition of the urban object and by making the very definition of the city a problem, urban planning creates a discursive space in which technique presents itself as both a problem and a solution. First, we analyze the significance of the critique of technocratic urban planning (the typical expression of which is found in Jane Jacobs) in contemporary political theory, by means of an analysis of the best-selling book Seeing Like a State by James C. Scott. We show that this critique is based on an “overhang hypothesis”, the operation of which is analogous to what Michel Foucault calls “the repressive hypothesis”. We explain its success by showing that it corresponds to the dominant view of criticism as the trial of reason. Rejecting the reception given to it by the anti-planners, we then show that one can find in Foucault's archaeological method elements for an analysis of urban planning that is not only centered on the flaws of modernist ideology and the disproportionate growth of technocratic power. Secondly, we forge a hypothesis about the structure of the urbanistic discourse by means of a rereading of Immanuel Kant, Reinhart Koselleck and Hans Jonas. Rather than assimilating urban planning with a disproportionate form (hubris) of rationalism, it is a question of finding in it a particularly sophisticated reflection on the limits of the power to know, of which the analytic of Kantian finitude is the paradigmatic form. We then use the history of Koselleck's concepts to shed light on the functioning and the intradiscursive effects of the questioning of the traditional concept of city that is carried out by urban planners Finally, Jonas’s ethics of technology allows us to show that modern planning relies on (and is justified by) the dangers of uncontrolled techno-industrial development. Thirdly, we test this hypothesis by means of a study of Montreal's urban planning discourse from 1941 to 1967. Analyzing how the first professionals of the City's Planning Department represented Montreal, we deal with the idea of a city in motion, the methods of representing urban space and the injunction to reinvent the city that we find in urban discourse. Based on three transversal figures—namely Hans Blumenfeld, Claude Robillard and Jean-Claude La Haye—we show that the urban planning discourse of the Glorious Thirties in Montreal is polyphonic, which is to say, we find different legitimization tactics that all form variations of the same great discursive strategy of decomposing and recomposing the urban object. We will see these tactics at work in urban renewal (the Dozois plan and the project for the Little Burgundy district (Petite-Bourgogne)), the organization of urban planning expertise (l’Institut d’urbanisme et la Commission provinciale d’urbanisme), and metropolitan planning ideas (Horizon 2000).

Detta är en uppsats som tar sig an, på ett semantiskt sätt, ordet Gud och människors syn på vad ordet Gud har för betydelse. Genom att göra en idéanalys av Jonna Bornemarks analys av Nicolas Cusanus för att se om detta kan vara en väg för att ge en mera mångfasetterad bild och värde av ordet Gud och gudsbilden till den scientistiska människan i Sverige. Uppsatsen tar avstamp i att försöka visa på de nycklar Cusanus filosofi ger genom Jonna Bornemarks tolkning av Cusanus i Det omätbaras renässans. / Nicholas Cusanus levde mellan åren 1401 och 1464. Cusanus var astronom, matematiker, teolog och filosof. En verklig renässansmänniska. Cusanus var en man som var på gränsen mellan skolastiken på medeltiden och renässansens mera kosmopolitiska livshållning som tiden gav. Cusanus var starkt influerad av den mystiken som bland annat Mäster Eckhart stod bakom. Den mystika negativa teologin som talade om att det är enklare att beskriva vad den kristna Gud inte är, än att berätta vad som Gud är. Cusanus studerade både Aristoteles och den Plotinos nyplatonska filosofin. Denna filosof kom jag kontakt med genom Cusanus lilla bok Gudsseendet med stort innehåll, vilket han skrev som en guide till munkarna i Tegernsee. Den behandlar den sinnliga bilden och de begrepp som gör att man kan se det som kan finnas bakom den ikoniska bilden. Den ikoniska bilden uppfattar Cusanus vara det djup som en bild kan vara bärare av. Det symboliska värdet på den bild som väcker åskådarens reflektion och reaktion. Den ikoniska bilden är bärare av detta djup som kan vara en utlösande av det personliga symboliska värdet för den specifika bilden. I Gudseendet är det en ikon som Cusanus kallar för ”Guds ikon”. Cusanus öppnade dörrar för mig i hur man kan tänka om att inte ser med de fysiska sinnena, utan måste använda sitt inre öga för att kunna se det som är större än det jag bara kan med de fysiska sinnena erfara. Startpunkten till denna uppsats är att kanske kunna förstå hur människan kan komma närmare det som inte sinnligt kan erfaras, den kunskapen menar Cusanus behöver människan för att vara en hel människa. Bornemark tar Cusanus filosofi till dagens samhällsproblem med att samhället alltid vill mäta allting. Studiens inriktning är att försöka svara på de frågor som uppsatsen ställer inför Bornemarks tolkning av Cusanus filosofi. / <p>På grund av corona utfördes framläggningen online.</p>

In here, the criminalization of sexual violence is a manifestation of increased recognition of feminism, and proof of international law reaching at liberal criteria for legitimization. Though, in making conclusions other necessary criteria for fully recognized legitimacy are acknowledged (such as other types of rights, types of security and other levels for analysis). Though, from a strict feminist critical approach the criminalization of sexual violence, and the extent of such criminalization can by itself prove legitimacy or illegitimacy.The criminalizing of sexual violence took place over 100 years ago, yet the systematic use of it in warfare was not publicly condemned until the ICTR (International Criminal Tribunal of Rwanda) and the ICTY (International Criminal Tribunal of former Yugoslavia) (Buss, 2009, p. 356) took on the duty to prosecute and convict. Still today women’s security and sexual violence are research fields that awake a lot of hostile emotions.Findings show that there is few, if any, affects for those tribunals that fail to bring justice to rape victims; calling for an analysis of Walzer’s political fit. The international praxis of impunity supports feminism in an existing ‘male truth’ risking the security of women. The legitimacy of the institution of international law is, however, not dependent on one legal procedure.Liberalist and feminist different interpretations of adequate necessity to create peace frame after 15 224 words a utilitarian illusion which slows down the pace of the implementation of a feminist security agenda. However, the progress is still evidence of strife towards the Kantian society of states. An inconsistent moral consensus finally results in the conclusion that this thesis cannot confirm the institution of international law illegitimate, arguably validating legitimacy.

This thesis project examines both inner and outer circumstances of knowledge in an attempt to emphasize the importance of personal reflection. I search for answers on how to communicate feelings through colour and form by studying Mark Rothko and the abstract expressionism. A personal reflection is made parallelly to expand my own understanding of the subject and my own role in relation to it. I also explore painting as amethod of deepening my understanding of Rothko. Mark Rothko is both subject of study and tutor as I give myself the task of translating his art into my own design. The result offers thoughts and ideas on the significance of the work of hand, the use of colour and the meaning of intention, which I claim are important aspects when aiming for emotional results. However I also reflect upon the fact that the communication remains individual and that it is therefore problematic to confirm success in this matter. / Detta är ett undersökande arbete som vänder sig både inåt och utåt. Det är en djupdykning i Mark Rothkos konstnärskap som sker parallellt med en personlig reflektion. Inledningsvis handlar det om att arbeta i gränslandet mellan konst och design och hurdet kan se ut. I förlängningen handlar det om hur den konstnärliga historien kan fungera som inspiratör och vägledare för innebörd och uttryck i formgivningen. Genom att studera den abstrakta expressionismen och Mark Rothko söker jag svar på hur känslomässig kommunikation kan ske genom färg och form. Förutom litterär research utför jag också en praktiskt undersökning där jag använder måleriet som en metod för att förstå mitt studieobjekt; Mark Rothko. Målet är att översätta Mark Rothkos konst till min design. Det handlar om att studera, internalisera och applicera. Resultatet bjuder in till en diskussion om handlagets, färgens och intentionens betydelse för formgivningen, där jag hävdar att dessa aspekter är viktiga för ett emotionellt berörande resultat, men att kommunikationen förblir individuell.