Diss. (sammanfattning) Stockholm : Kungliga tekniska högskolan, 2006. / Härtill 5 uppsatser.

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 251-288).

Transmutation is explored with respect to the sixteenth century text L'Idea del Theatro, by Giulio Camillo, linking the arts of alchemy, eloquence and divination. Alchemy establishes the doctrine of transmutation; eloquence is founded on the creative movement of deviation, while divination points to symbolization. The 'corporeal visions' of Camillo are set in opposition to the 'single eye' vision from which originate theories on perspective by the architects Leon Bastista Alberti and Sebastiano Serlio.

This thesis explores the question of history’s future as a research discipline in the academy and the question of the discipline’s function in ‘pure’ inquiry. Central to the notion of research is the notion of discovery of new knowledge, but what constitutes new historical knowledge rather than simply more historical information is not clear. As the idea of research (which is understood to mean the discovery and creation of new knowledge) is central to the idea of the modern university, the future of history as a research discipline in the research university would seem to depend on the discipline being clear on its research function. Further complicating resolution of this question is the fact that the funding of research is informed by science and technology paradigms where research is defined as ‘pure basic research’, ‘strategic basic research’, ‘applied research’, and ‘experimental development’. / Curiously, what these classifications mean for the humanities generally and history in particular, remains unexamined—despite the fact that professional survival depends on the academic convincing sceptical funders of the relevance of humanist research. Do historians do basic research? If basic research is inquiry at the edge of understanding, how, and by whom, is the edge defined? In the first decades of the University of Berlin—the institution that formed the model for the modern research-university—the edge was defined through philosophy and history. Hegelian systematic philosophy, Fichtean philosophy of the subject, and the philosophical historicism of such thinkers as Ranke, Niebuhr, Ast and Boeckh was concerned with the subject’s knowledge of knowledge: there lay the edge. By the end of the nineteenth century no discipline was foundational. Epistemological ‘advance’ had resulted in not only the split of knowledge into that derived from humanities or ‘spirit’ studies (Geisteswissenschaften) and that from science studies (Naturwissenschaften), but also the proliferation of disciplinary specialization that further entrenched the dichotomy. / In the twenty-first century, inquiry’s edge has moved on. Climate change, environmental degradation and biological and genetic engineering have posed wholly new existential questions. The Archimedean point from where the edge is viewed is no longer anthropocentric. Society and nature are inextricably connected. The physical and the spiritual can no longer be considered separately. When ‘we’ can either be manufactured or artificially enhanced the notion of autonomy and self-fashioning takes on a different hue in postmodernity than in modernity. There is now an increasing but unsatisfied need for more interdisciplinary and holistic knowledge. Unfortunately, no effective models or processes exist to enable this need to be met. This thesis explores ways in which the deficiencies might be overcome and explores academic history’s possible location within a future integrated-knowledge schema.

Thesis (doctoral)--Friedrich-Alexanders-Universität Erlangen, 1905. / Also issued in: Humboldt-Gymnasium Berlin. Wissenschaftliche Beilage zum Jahresbericht ; Programm nr. 61. Vita. Bibliography: p. [1].

No description available.

Basée sur l’idée de progrès, la science moderne, d’inspiration cartésienne, est perçue par Simone Weil comme la principale cause de la crise moderne des valeurs. Sous-tendue par le mouvement droit, elle a perdu le principe d’analogie et s’est, de la sorte, dessaisie du monde ambiant des réalités quotidiennes. Aussi apparaît-elle non seulement comme à la source du scientisme, de la croyance en une raison scientifique autonome et du culte rendu aux applications techniques, mais aussi à l’origine du capitalisme industriel, du communisme révolutionnaire, du totalitarisme, de l’effondrement de l’ordre axiologique universel traditionnel concomitant à la crise de la civilisation. Les conséquences issues de ce mouvement de déracinement n’ont pas seulement conduit à l’oppression prolétarienne et coloniale ou au modernisme comme primat des valeurs d’innovation sur les valeurs de tradition, mais surtout à l’oppression généralisée et à l’oubli des structures axiologiques primordiales universelles que sont l’Etre, la Nécessité, le Passé, le Surnaturel. Fondé sur une dialectique structurelle déracinement-enracinement, pesanteur-grâce, le discours philosophique de Simone Weil sur la modernité poursuit un double enjeu. Sans se démarquer de la raison philosophique immanente, elle s’attelle à la fois à la dénonciation des propensions et défaillances qu’offrent les valeurs illusoires modernes d’argent, d’algèbre, de machinisme, d’impérialisme, de révolution, de démocratie, qu’à la conception d’une philosophie de la médiation des valeurs apte à contribuer à la renaissance d’une culture d’attention au capital axiologique de l’humanité. En effet, la modernité n’apparaissant plus que comme synonyme de crise des valeurs, il convient de tirer au clair ce piège qui fait de l’homme l’esclave de ses propres productions en y entreprenant une herméneutique ouverte non seulement au principe ontologique de nécessité, au-delà de toute projection avant-gardiste, mais surtout à une herméneutique des civilisations inspiratrices de l’humanité, en dehors de tout misonéisme passéiste, où le Surnaturel s’atteste dans sa plénitude comme critérium des valeurs authentiques et principe de médiation témoignant de l’enracinement de toutes choses dans l’être. Sans être en opposition avec les impératifs de découverte, d’invention et de développement, la philosophie weilienne de la médiation des valeurs se dévoile dans sa posture et sa validité comme une philosophie d’inspiration universelle à l’enracinement des peuples, des cultures et des nations, attentive à une pensée permanente des rapports entre la tradition et l’innovation, l’universalité et l’historicité. / Based on the idea of progress, the modern science, inspired by Descartes, is seen by Simone Weil as the primary cause of the modern crisis of values. Sustained by a linear movement, this science has lost the principle of analogy and, by consequent, it has lost its bindings with the surrounding world of everyday reality. Also, this science shows itself not only as the source of scientism, this belief in an independent scientific reason and the cult of the technical applications, but also as the source of industrial capitalism, of the revolutionary communism, of the totalitarianism, of the collapse of the traditional axiological order simultaneously to the crisis of civilization. Theses consequences resulting from the movement of uprooting not only led to the proletarian and the colonial oppression and to the modernism as the priority of the values of innovation on the values of tradition, but especially to a generalized oppression and the forgetting of the primordial universal axiological structures: the Being, the Need, the Past and the Supernatural.Based on a structural dialectic, the dislocation and the rooting, the fall and salvation, the philosophical discourse on modernity of Simone Weil seeks a double stake. Without a delimitation of the reason of the immanent philosophy, she is equally attached to the denunciation of the propensities and the failures of the modern illusory values of the money, of the algebra, of the machinery, of the imperialism, of the revolution, of the democracy, and to the conception of a philosophy of the mediation of values able to contribute to the rebirth of a culture attentive to the axiological capital of the humanity. Indeed, if the modernity appears no more as a synonym of the crisis of values, we must clarify this trap that makes the man the slave of his own productions by a hermeneutic open not only to the ontological principle of necessary, beyond any avant-garde projection, but principally a hermeneutic of the inspired civilizations of the humanity, without any outdated misoneism, where the Supernatural is attested in its fullness as criterion of the authentic values and as a principle of mediation reflecting the roots of all things in the Being. Without being in a conflict with the requirements of the discovery, of the invention, of the progress, the weilian philosophy of values mediation reveals itself as a philosophy of universal inspiration, founding the rooting of peoples, of cultures and of nations, paying permanent attention to the relationship between the tradition and the innovation, between the universality and the historicity.

The thesis aims to interpret the philosophy of negative Platonism, which Jan Patočka developed during the 1950s. In the first part, negative Platonism, whose preliminary notion is derived from the interpretation of the eponymous programme essay, is studied in the context of contemporary philosophical discussion and Patočka's subjectivist humanistic conception he developed in the latter half of the 1940s as well as his lectures on classical philosophy. The second part contains author's own systematic interpretation of negative Platonism, including the reconstruction of the textual corpus of Patočka's programme. Finally, the third part, which considers first the inspirational sources of the observed project, reviews negative Platonism and outlines a concept, with which Patočka replaced negative Platonism in the late 1950s. The thesis aims to outline the philosophy of negative Platonism as an important stage in Patočka's philosophical development as well as a significant part of the modern history of European thinking.

Janusz Korczak war für das XX. Jahrhundert ein Licht für unsere Würde. Sein Licht war nicht wie eine Explosion, aber ein Sternchen. In seinem Bühnenstück Senat der Verrückten hat der Traurige Bruder gesagt: Es das Leben hat recht. Wer nicht auf schöne Weise leben kann, soll sich zur heldenhaften Geste des Todes Waffen. Wer für das Vaterland nicht leben kann, soll für es sterben. - Leben ist wichtiger und schwieriger als der Tod. - Es ist leichter, es in einer Wetenartigen Explosion zu verbrennen, es in einem feurigen Regen zu Bahlen, als Komet oder Stern des Guten funkeln zu lassen. Powered by TCPDF (www.tcpdf.org)

Thesis--Heidelberg. / Includes bibliographical references (p. 253-[257]).