Diss.--Fakultät I, Geisteswissenschaften--Berlin--Technische Universität, 2007. / Bibliogr. p. 183-194.

Texte remanié de: Doctoral dissertation--Philosophy--Pisa--Scuola normale superiore, 2004. / Bibliogr. p. 631-650.

Inaug.-diss.--Strassburg. / Curriculum vitae. "Bibliographie": p. vi-vii.

Thesis--University of Paris.

Walter Benjamin persistently refers to Leibniz’s monad, from his doctoral dissertation (1919), to his last written work, the theses ‘On the Concept of History’ (1940). This dissertation argues that the systematic intent of Benjamin’s early work (1916–1928) can be brought out most clearly by examining Benjamin’s appropriation of Leibnizian metaphysics. The task of this dissertation is to interpret Benjamin’s Leibniz, and to follow the gestures of his text. Benjamin was not interested in presenting a scholarly interpretation of Leibniz’s philosophy. Leibniz’s monad had a unique significance for Benjamin’s own philosophical project. In his early work, this project was to determine a method for the philosophical interpretation of art. The core of my dissertation distills what could be called Benjamin’s ‘aesthetic theory.’ According to Benjamin, works of art do not express their truth-content discursively; rather, they express an idea in a configuration of material detail. I argue that Benjamin draws on a Leibnizian concept of expression. One thing expresses another if it preserves the same logical relationships as that which it represents. According to Benjamin, an idea is the most adequate expression of a work: it preserves the configuration of a work’s material content, and represents this configuration (or “constellation” in Benjamin’s terms) in the nexus of predicates in a ‘complete individual concept,’ or idea. The second aspect of this argument is more applied in its focus: Benjamin’s Habilitation thesis describes an elective affinity between Leibniz’s monadic metaphysics and the Baroque Trauerspiel. Benjamin’s analysis of the Baroque dramas and his interpretation of Leibniz are mutually illuminating. The point that legitimates this comparison is not only historical, as both are products of the seventeenth century, but can also be presented as an idea. Both Leibniz’s metaphysics and the Baroque Trauerspiel are engaged in the secularization of history. My argument proceeds in five chapters. In Chapter One, I trace the historical sources of Benjamin’s interpretation of Leibniz. In Chapters Two, Three, and Four, I discuss Benjamin’s monadic theory of ideas. Finally, in Chapter Five, I address Benjamin’s response to Schmitt’s Political Theology. The Epilogue to this dissertation is a reading of Hamlet, which was, in Benjamin’s view, the Baroque Trauerspiel, par excellence. Hamlet’s world is a self-enclosed totality, or monad.

Walter Benjamin persistently refers to Leibniz’s monad, from his doctoral dissertation (1919), to his last written work, the theses ‘On the Concept of History’ (1940). This dissertation argues that the systematic intent of Benjamin’s early work (1916–1928) can be brought out most clearly by examining Benjamin’s appropriation of Leibnizian metaphysics. The task of this dissertation is to interpret Benjamin’s Leibniz, and to follow the gestures of his text. Benjamin was not interested in presenting a scholarly interpretation of Leibniz’s philosophy. Leibniz’s monad had a unique significance for Benjamin’s own philosophical project. In his early work, this project was to determine a method for the philosophical interpretation of art. The core of my dissertation distills what could be called Benjamin’s ‘aesthetic theory.’ According to Benjamin, works of art do not express their truth-content discursively; rather, they express an idea in a configuration of material detail. I argue that Benjamin draws on a Leibnizian concept of expression. One thing expresses another if it preserves the same logical relationships as that which it represents. According to Benjamin, an idea is the most adequate expression of a work: it preserves the configuration of a work’s material content, and represents this configuration (or “constellation” in Benjamin’s terms) in the nexus of predicates in a ‘complete individual concept,’ or idea. The second aspect of this argument is more applied in its focus: Benjamin’s Habilitation thesis describes an elective affinity between Leibniz’s monadic metaphysics and the Baroque Trauerspiel. Benjamin’s analysis of the Baroque dramas and his interpretation of Leibniz are mutually illuminating. The point that legitimates this comparison is not only historical, as both are products of the seventeenth century, but can also be presented as an idea. Both Leibniz’s metaphysics and the Baroque Trauerspiel are engaged in the secularization of history. My argument proceeds in five chapters. In Chapter One, I trace the historical sources of Benjamin’s interpretation of Leibniz. In Chapters Two, Three, and Four, I discuss Benjamin’s monadic theory of ideas. Finally, in Chapter Five, I address Benjamin’s response to Schmitt’s Political Theology. The Epilogue to this dissertation is a reading of Hamlet, which was, in Benjamin’s view, the Baroque Trauerspiel, par excellence. Hamlet’s world is a self-enclosed totality, or monad.

This thesis is a study of G.W. Leibniz’s views on compossibility. Leibniz calls substances that can be brought into existence together “compossible,” and he says that substances that cannot be brought into existence together are “incompossible.” Incompossibility and compossibility together divide substances into sets of individual substances that make up possible worlds. God then chooses from these possible worlds the best one to bring into existence. Thus without compossibility, the contingency of the world, and even God’s choice could have no rational basis. It is on these grounds that Leibniz thought compossibility was the most powerful—and perhaps, only—defense against the position that the actual world is the only possible world. This is a position that was powerfully argued for by Benedict de Spinoza. For largely theological reasons Spinoza’s position was unacceptable to Leibniz. Since Leibniz’s own time thinkers have found it difficult to see why all the substances are not compossible with one another given certain other philosophical and theological claims Leibniz is committed to. This state of affairs has been exacerbated by the fact that Leibniz himself seems not to have been concerned with providing a clear answer to this conundrum. In an attempt to fill in this omission, and to justify Leibniz’s intuition philosophers have proposed varying accounts of compossibility. Unfortunately, all of these accounts fall short of upholding a comprehensive rational explanation of the world’s contingency based on the objective rational choice of God. My dissertation presents a picture that is multi-faceted in its sensitivity to Leibniz’s theological, physical and logical concerns while nevertheless harmonizing with other tenets of Leibniz’s overall philosophy. I seek to achieve this end by defending the view that compossibility is based on the logical properties of the complete concepts of substances understood as embedded within networks of mutual intelligibility. / Thesis (Ph.D, Philosophy) -- Queen's University, 2014-04-09 13:03:19.752

No description available.

Universit̀a, Diss.--Milano, 2005.

Thesis--Leipzig. / Includes bibliographical references.