Aufklärung

El presente ensayo desea mostrar en qué sentido podemos hablar de Baudelaire como de un ontólogo del presente, apoyados en las observaciones de Foucault de que encontramos manifiesta en la vida y en la obra del artista la divisa moderna por excelencia, darse por sí mismo el propio presente como tarea y, a su vez, de que dicha tarea se tradujo en el poeta en una «voluntad de " heroificar " el presente», tarea esencialmente crítica y estética.

This article analyzes Renzo Llorente's interpretation that Peter Singer's work Animal Liberation does not have a moral structure based on utilitarianism, but on the principle of non-maleficence. The article critically analyzes this interpretation and seeks to answer the problems raised. We consider how this interpretation does not hold when Singer's ethics is understood as a whole and not just from a single work. However, we defend, in this article, although the Animal Liberation ethical proposal has aspects of the principle of non-maleficence, the work remains utilitarian inasmuch as the principle of not causing harm is based and justified for utilitarian reasons. Keywords: , , , animals.

Die Erforschung des historischen und systematischen Kontextes von Kants Philosophie weist bis auf den heutigen Tag signifikante Lücken auf. Dies gilt umso mehr für unser Verständnis der Bedeutung der gegenüber Kants Philosophie erhobenen Einwände und Kritikpunkte sowohl für die verschiedenen Entwicklungsphasen seiner Philosophie wie für ihre Rezeption und Darstellung in späteren Jahrhunderten. Die im vorliegenden Band versammelten Beiträge wollen einen Beitrag zur Schließung dieser Lücken leisten. Sie gehen auf Vorträge zurück, die auf dem VII. Multilateralen Kant-Kolloquium zum Thema „Kant und seine Kritiker – Kant and his critics – Kant et ses critiques“ gehalten worden sind, das vom 28.-30. April 2017 an der Martin-Luther-Universität Halle-Wittenberg stattfand.

Karl Philipp Moritz reste encore plutôt confidentiel en France, alors qu’il est un auteur essentiel pour comprendre ce qui se joue au XVIIIe s. autour de la formation de l’esthétique comme discipline philosophique, mais aussi comme recherche expérimentale, terrain littéraire et lieu d’expression d’une critique d’art. Précurseur d’une vision pédagogique de l’expérience de l’art, il ancre le débat esthétique d’emblée dans une dimension qui dépasse le strict champ de l’art pour aller vers la psychologie et l’anthropologie. Moritz était d’abord connu de son vivant en tant que psychologue et écrivain. Il crée la première revue de psychologie expérimentale où des écrits de spécialistes – médecins ou philosophes – côtoient des rapports de police, des autobiographies réelles ou imaginaires, des récits de rêves par des anonymes et des extraits littéraires. Moritz se fait connaître également par ses écrits sur l’art dont le plus connu fut rédigé à Rome en 1786 aux côtés de Goethe qui reprendra à son compte plusieurs de ses idées. Moritz devient par la suite professeur à l’Académie des Beaux-arts de Berlin où il enseignera la théorie de l’art. Son éclectisme marquera ainsi toute une génération d’artistes et de théoriciens comme Jean Paul, Friedrich Schlegel ou Schiller.

Le mérite de Moritz est d’avoir su marier, grâce à une définition dynamique de l’œuvre d’art, une théorie de la création avec une théorie de la réception faisant de l’artiste un spectateur face à la nature et du spectateur l’artisan de la relation qu’il construit avec l’œuvre d’art.

En effet, chez Moritz, l’œuvre acquiert pour la première fois dans l’histoire de la théorie de l’art le statut d’un objet radicalement autonome dont le corps reste pourtant fragmentaire, incomplet, car assimilé à la trace restant d’un mouvement créateur qui ne saurait être plein que dans l’acte présent. Moritz pose ainsi les jalons d’un débat sur la part d’histoire et la part d’expérience immédiate dans l’art qui se poursuit encore aujourd’hui.

Bei dem nachfolgenden Text handelt es sich um ein Vorlesungsmanuskript. Den entsprechenden Vortrag habe ich am 01. Oktober 2021 auf der VIII. Tagung für praktische Philosophie in Salzburg gehalten. Zugleich stellt dieser Text einen Auszug aus einer umfangreicheren, aber noch unveröffentlichten Studie dar. Der Postmoralismus ist zusammen mit der Aletheiologie 1 , der Fundamentalanthropologie 2 und der Postmortalitätstheorie 3 mein genuiner Beitrag zur Philosophie des 21. Jahrhunderts. Ich hoffe, den umfassenderen Text zum Postmoralismus schon bald zu veröffentlichen. Möge der vorliegende Text schon einmal mit der Idee des Postmoralismus bekanntmachen. Der Postmoralismus, das sei hier vorweg noch angemerkt, hat natürlich seine Vordenker (ohne dass diese bereits Postmoralisten in meinem Sinne wären). Zu nennen wären beispielsweise Hobbes, LaMettrie, Sade, Schopenhauer, Nietzsche oder Mackie.

Von der Rationalität wird seit der Epoche der Aufklärung viel erwartet. Fraglich ist, ob die Rationalität wirklich halten kann, was sich große Denker von ihr versprochen haben.
Systematisch werden die aufklärerischen Visionen beleuchtet, die in ihrer Vielfalt das Versprechen der Rationalität ausmachen. Zugleich werden in Form von Revisionen ebenjene Visionen und ihre Manifestationen neu gesichtet, geprüft oder auch kritisiert und zurückgewiesen: Was wurde in welchem Maße eingelöst und wo wurden Versprechen gebrochen?
Die Beiträge loten den Geltungsanspruch von Rationalität im Spannungsverhältnis von 18. und 21. Jahrhundert aus. So liefern sie eine Einschätzung des Aufklärungsprozesses bis hinein in die Gegenwart.

Esta comunicação propõe analisar as explicações sobre o Grande Terremoto de Lisboa de 1755, sob a ótica de Immanuel Kant, expoente do Aufklärung, baseado em seus artigos publicados entre fevereiro e março de 1756. Buscaremos por meio da análise do material citado, conhecer a perspectiva kantiana sobre a hecatombe e a argumentação geológica que ele apresenta sobre a catástrofe, se afastando assim do debate acerca da Providência divina. Considerando que as explicações acerca da catástrofe se converteram em um campo de disputas entre a religião e a ciência natural, elegemos como orientação as reflexões do sociólogo Pierre Bourdieu, pois, à luz do seu conceito de campo, iremos avaliar em que medida a oposição entre o discurso religioso predominante até 1750 foi gradualmente abalado por um discurso pautado nas causas naturais na tentativa de explicação da tragédia. Nesse cenário, interessa-nos perceber em que medida os escritos de I. Kant traduzem esse novo momento e quais as contribuições o pensador oferece para a compreensão do debate.

In dieser Arbeit untersuche ich Gotthold Ephraim Lessings (1729-1781) Werk Laokoon oder über die Grenzen der Malerei und der Poesie (1766) . Die Arbeit gliedert sich in drei Teile: Zunächst betrachte ich kurz das Werk und analysiere seine Hauptpunkte und zwar Lessings Grenzziehung zwischen der Malerei und der Poesie. Als Beispiel dafür wird ein Vergleich zwischen Winckelmann und Lessing hinsichtlich der Laokoon-Gruppe gemacht. Als nächstes wird die Rezeption von Lessings Laokoon in Betracht gezogen und zwar in den Fällen J.W. Goethes, Aby Warburgs und Rudolf Arnheims. Mit Hilfe dieser Untersuchungen möchte ich einen Beitrag für ein umfassenderes Verhältnis von Lessings Werk leisten. Anschließend füge ich einen kurzen Überblick ein und widme mich der Frage nach der Gültigkeit Lessings Darlegungen heutzutage, nämlich im Laufe der modernen Kunstentwicklungen am Beispiel der Medien und des Films.

This paper reconstructs the history of the reception across the Italian Catholic world of the first sex education film ever screened in Italy, the documentary “Helga” (Erich F. Bender, 1967). Most Catholics were initially fearful and skeptical about the film and its pedagogical potential, and condemned in particular the decision by the national censorship board that the film was “suitable for all”. However, as the weeks went on, and while the film surprisingly topped the box office, their position became less hostile, and more and more nuanced, to the point that some Catholic teachers started testing “Helga” with teenage classes on sex education.

(Tese de doutorado defendida em 2016, Universidade de São Paulo)
Este trabalho trata da ficção histórica de Goethe em duas fases de sua obra. Em primeiro lugar se ocupa do drama pioneiro do Sturm und Drang, Götz von Berlichingen (1773), para então se voltar às Revolutionsdichtungen — conjunto de obras produzidas entre 1791 e 1803, período auge do Classicismo de Weimar, em que o autor emitiu juízos sobre diferentes fases da Revolução Francesa. Ao optar por tal tema, visou-se resgatar Goethe como um importante participante do debate histórico-filosófico que começa com os iluministas e culmina no pensamento político da Restauração. Por esse motivo a pesquisa se iniciou com uma busca dos antecedentes do drama histórico do Sturm und Drang, voltando a Gottsched e Lessing.
Geralmente o desenvolvimento da ficção histórica do século XVIII é tomado como passivo em relação aos avanços da filosofia ilustrada, como se uma consciência histórica propriamente moderna houvesse aflorado em certos escritores a partir das leituras que fizeram de novas teorias da época. Contra tal suposição, defendeu-se que há na beletrística alemã da virada do século algumas formulações acerca da relação entre indivíduo e processo histórico que, antes de tudo, desafiaram o progressismo dos iluministas tardios, para os quais o advento da Revolução Francesa marcava o próximo passo no aperfeiçoamento da humanidade. Acompanhar o modo como a história foi tratada nas obras do Sturm und Drang até as do Classicismo de Weimar permite-nos, ademais, constatar a radical atualização da missão da cultura literária, que deveria então lidar com as emergências do presente. A literatura almejada naquele contexto deveria funcionar como uma contracorrente do senso comum e um veículo intelectual autônomo, capaz de erguer-se além das paixões partidárias e posicionar corretivos para as contradições contemporâneas. Tais corretivos traziam o diferencial de serem desvinculados das ciências, religião, cultura política ou sabedoria popular — a nova arte deveria, assim, ser tomada como autônoma na medida em que podia cindir radicalmente com a cultura do presente em crise, tornando possível o surgimento de um ideal renovado de humanidade e de vida conjunta que a própria Revolução Francesa não foi capaz de concretizar. Aqui reside o que há de mais polêmico —e moderno— nas chamadas Revolutionsdichtungen e no Classicismo de Weimar como um todo.

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Durante las últimas dos décadas del siglo XVIII, los intelectuales alemanes se enfrentaron a la tarea de reflexionar acerca del concepto de ilustración (Aufklärung), que, si bien era utilizado con frecuencia desde hacía años, conservaba una vaguedad que generaba inquietud y sospechas. El libro reúne los principales documentos donde los protagonistas del movimiento ilustrado reflexionan acerca de su sentido, alcance, causas y consecuencias, configurando un debate complejo en el que la pregunta “¿qué es ilustración?” se entrelaza con una multitud de otras cuestiones, incluyendo problemas estéticos, morales y, fundamentalmente, políticos. Las respuestas, sin embargo, son muy distintas entre sí. No existe una caracterización de ilustración a la que todos, o siquiera la mayoría, adhiera. Al contrario, los documentos reunidos en el libro –varios de los cuales aparecen por primera vez en español– muestran que la ilustración, como proyecto colectivo, abarca voces dispares, incluyendo puntos de vista que la cuestionan.

From amazon.com:
""Whoever needs an act of faith to elucidate an event that can be explained by reason is a fool, and unworthy of reasonable thought." This line, spoken by the notorious 18th-century libertine Giacomo Casanova, illustrates a deeply entrenched perception of religion, as prevalent today as it was hundreds of years ago. It is the sentiment behind the narrative that Catholic beliefs were incompatible with the Enlightenment ideals. Catholics, many claim, are superstitious and traditional, opposed to democracy and gender equality, and hostile to science. It may come as a surprise, then, to learn that Casanova himself was a Catholic. In The Catholic Enlightenment, Ulrich Lehner points to such figures as representatives of a long-overlooked thread of a reform-minded Catholicism, which engaged Enlightenment ideals with as much fervor and intellectual gravity as anyone. Their story opens new pathways for understanding how faith and modernity can interact in our own time.

Lehner begins two hundred years before the Enlightenment, when the Protestant Reformation destroyed the hegemony Catholicism had enjoyed for centuries. During this time the Catholic Church instituted several reforms, such as better education for pastors, more liberal ideas about the roles of women, and an emphasis on human freedom as a critical feature of theology. These actions formed the foundation of the Enlightenment's belief in individual freedom. While giants like Spinoza, Locke, and Voltaire became some of the most influential voices of the time, Catholic Enlighteners were right alongside them. They denounced fanaticism, superstition, and prejudice as irreconcilable with the Enlightenment agenda.

In 1789, the French Revolution dealt a devastating blow to their cause, disillusioning many Catholics against the idea of modernization. Popes accumulated ever more power and the Catholic Enlightenment was snuffed out. It was not until the Second Vatican Council in 1962 that questions of Catholicism's compatibility with modernity would be broached again.

Ulrich Lehner tells, for the first time, the forgotten story of these reform-minded Catholics. As Pope Francis pushes the boundaries of Catholicism even further, and Catholics once again grapple with these questions, this book will prove to be required reading."

"Megaleh Temirin (Revealer of Secrets), ed. Jonatan Meir, Three volumes, Mosad Bialik, Jerusalem

Megaleh Temirin (Revealer of Secrets), first published in Vienna in 1819, is one of the sharpest and wittiest pieces of Jewish literature written in the first half of the nineteenth century, and is perhaps the most important piece of Hebrew prose composed before the stories of Mendele Mocher Seforim. A sly and complex story deriding Hasidism and Hasidim, it is told through the correspondence between the beadles of Hasidic courts and contemporary rabbis, and it presents a dark picture of  avaricious frauds and swindlers whose main concern was control over territory and the souls of believers, a goal achieved by beguiling the authorities and attacking all opponents. Perl lends his book a ‘Hasidic’ feel both in its physical design and in its language, presenting a Maskilic version of In Praise of the Ba’al Shem Tov that lays Hasidism bare so that no reader will ever be able to look at that, or any other Hasidic book, in the same way again. In addition to the book’s satiric sting, which would have been enough to bring its readers a dual pleasure, Perl’s hints at contemporary people and places, hidden within anagrams and numerological tricks. With the unraveling of these clues, which also include the use of actual Hasidic sources, the book is a valuable, contemporary view of historical reality. A meticulous reading of the book may therefore open a window on the hidden worlds of Hasidism and the Haskalah at the start of the nineteenth century.


The first volume (Imagined Hasidism) serves as an introduction to the complex satirical writings of Josef Perl of Tarnopol (1773-1839). At the center of the book stands an analysis of the satires, Megaleh Temirin (1819) and Bochen Tzadik (1838), including a systematic treatment of the ‘characters’ in the central works and a discussion of the dozens of manuscripts to be found in the Perl Archive in Jerusalem. Perl’s writings are analyzed here in the fuller context of Hebrew and Yiddish literature in general and Maskilic and Hasidic literature in particular, as well as other polemical writings and governmental records critical of Hasidism. The study thus presents a complex and nuanced picture of the relationship between literature and history, between the anti-Hasidic reports and the more complicated historical reality, and lays the groundwork for further research into the genre of nineteenth-century Maskilic satire.

The second and third volumes (Megaleh Temirin) present for the first time an annotated edition of Megaleh Temirin. It is based on the first edition and the scattered manuscripts and it includes a comparison to its Yiddish translation. The book is accompanied by appendices on its origins and contents, including fundamental treatments of several passages: an explication of the encoded names, the Hasidic sources used by the author, and the variants found in the manuscripts and in the only edition of the book in Yiddish.

The editor of the book, Professor Jonatan Meir, teaches in the Goldstein-Goren Department of Jewish Thought at Ben-Gurion University. He has published several articles on the Haskalah of Eastern Europe, Hasidism, and a number of varied topics in twentieth-century Kabbalah.


Contents

Volume 1  - Critical Edition

Concerning this edition
Key personalities
Sefer Megale Temirin – Critical Edition


Volume 2 - Appendixes:
1. Glossary, Abbreviations, Acronyms
2. Explanation of the Speaking Names
3. Perl’s Hasidic Sources
4. Manuscripts of Sefer Megale Temirin
5. Yiddish Introduction to Sefer Megale Temirin
Bibliographic Abbreviations

-------------------------------
Reviews:
(1) Dan Meron, 2013, ‘Megaleh Temirin’, Kivunim Hadashim 29, 55 pages (Hebrew)
(2) David Assaf, 2014, ‘Hasidim will not Read it but Tear it’, Haaretz, Tarbut ve-Sifrut, p .6 (Hebrew) http://onegshabbat.blogspot.co.il/2014/04/blog-post_18.html
(3) Eliezer Brodt, 2014, 'New book Announcement- Megale Temirin', The Seforim Blog http://seforim.blogspot.co.il/2014/01/new-book-announcement-megale-temirin.html
(4) Matan Hermoni, 2014,  הסבתא המופקרת של הספרות העבריתHaaretz, Sfarim (Hebrew) http://www.haaretz.co.il/.premium-1.2382365
(5) Shinichi Yamamoto, 2015, 山本　伸一, "ヨナタン・メイール編著『想像のハシディズム』", ユダヤ・イスラエル研究　第28号  http://www.waseda.jp/assoc-jsjs/jistudies.html
(6) David Biale and David Assaf,, 2015, 'Revealer Revealed', Jewish Review of Books, pp. 17-21  http://jewishreviewofbooks.com/articles/1454/revealer-revealed/
(7) Hillel Halkin, 2015, "Sex, Magic, Bigotry, Corruption- and the First Hebrew Novel', Mosaic Magazine,  http://mosaicmagazine.com/observation/2015/05/sex-magic-bigotry-corruption-and-the-first-hebrew-novel/
(8) Tomer Persico, 2015, "Interview", Lula'at haEl Blog, http://tomerpersico.com/2015/08/10/meir_perl/

Risposta alla domanda: che cos’è l’illuminismo? è il più celebre contributo alla discussione sul significato dell’Aufklärung apertasi sulle pagine della rivista mensile «Berlinische Monatsschrift». Nella presente edizione non si perde mai di vista la cornice storica entro cui scrivono Kant e i membri della Mittwochsgesellschaft, ma la fortuna di questa discussione va ben oltre il secolo dei Lumi e conta, tra i suoi protagonisti, alcuni dei più grandi esponenti della storia del pensiero occidentale. Le nozioni di “minorità” e “autonomia” parlano ancora con viva voce al nostro presente, soprattutto ai più giovani, per i quali la condizione di minorità si presenta spesso più come una necessità che come una scelta. A. M. Iacono esplora nella postfazione il significato di questi concetti nel nostro tempo e li mette criticamente in discussione.

Attraverso la ricostruzione delle principali tappe della storia del ducato di Guastalla tra Cinque e Settecento l’articolo intende riflettere sulle motivazioni che hanno indotto Lessing ad ambientare l’Emilia Galotti in Italia e riconsiderare la tragedia sullo sfondo del dibattito settecentesco circa le prerogative del Sacro Romano Impero e il problema del particolarismo, sia italiano che tedesco. Dipingendo gli effetti negativi del particolarismo presso la corte gonzaghesca di Guastalla nella tragedia, questa la nostra tesi, Lessing sembra prendere indirettamente posizione in una polemica che infiammava la pubblicistica e le élite intellettuali tra Berlino e Vienna. Questo avveniva significativamente (forse anche per ragioni opportunistiche) proprio nel momento in cui il drammaturgo, ormai deluso dalla realtà politica e culturale prussiana, progettava di lasciare Berlino per trasferirsi nella capitale austriaca. Con questa prospettiva interpretativa il saggio vuole contribuire a una migliore comprensione del contesto in cui nacque e fu recepita dal pubblico del tempo l’Emilia Galotti, e verificare fino a che punto la posizione di Lessing nel suddetto dibattito si rifletta altresì nelle scelte estetiche e contenutistiche adottate nella tragedia. 

In reconstructing the most important landmarks of the history of the Duchy of Guastalla between the Sixteenth and Eighteenth centuries this article explores the reasons behind Lessing’s decision to choose an Italian setting – Guastalla – for Emilia Galotti, and reconsiders the tragedy in the context of the eighteenth-century debate regarding the prerogatives of the Holy Roman Empire and the question of Italian and German particularism. It argues that in depicting in his tragedy the negative effects of particularism at the Gonzaga court in Guastalla, Lessing appears to be implicitly positioning himself in a controversy that from Berlin to Vienna agitated both the press and the intellectual elite. Significantly, this occurred (perhaps also for opportunistic personal reasons) at the same time that Lessing, disillusioned with the political and cultural situation in Prussia, was planning to leave Berlin for the Austrian capital. Through this hermeneutical perspective the article aims to contribute to a better understanding of the context in which Emilia Galotti was created and received by the public, and to verify to what point Lessing's position in the above-mentioned debate had an impact on the choices regarding form and contents which were adopted by the author in the tragedy.

Gotthold Ephraim Lessing (1729-1781), bedeutender Dichter der Aufklärung ist Autor des ersten Ideendramas der deutschen Literatur, „Nathan der Weise“. Die vorliegende Arbeit unternimmt den Versuch, die Humanitätsbotschaft des Stückes herauszuarbeiten und als strukturbestimmendes Element darzustellen.

Gotthold Ephraim Lessing (1729-1781), important poet of the Enlightenment is the author of the first drama of ideas of German literature called "Nathan the Wise". The present work attempts to bring out of the play Lessing’s concept of humanitas and to present it as a structure-directing element.

Gotthold Ephraim Lessing (1729-1781), importante poeta de la Ilustración es el autor del primer drama de ideas de la literatura alemana que lleva como título "Nathan el Sabio". El presente trabajo trata de poner de manifiesto el concepto de humanitas en la obra de Lessing y presentarlo como un elemento director de su estructura.

Résumé: Cette étude reprend la discussion tenue par Philippe Sabot en Foucault, Sade et les lumières quand on a traité  des utilisations de l'œuvre du marquis de Sade par Michel Foucault depuis l’Histoire de la folie jusqu’à la volonté de savoir. Ce qui nous intéresse savons de cette relation? C’est la question principale qui a guidé notre étude.

The paper addresses Kant’s concept of Aufklärung  with regard to three main  points. First, the idea of  'sapere'  involved in  the use of the motto  "sapere aude", which  should not be referred to knowledge (to a  technical reason), but to a concept of reason  culminating in wisdom ( Weisheit ). Second,  the notion of  Selbstdenken, which can be  interpreted as having an inner relationship  with a communicative and intersubjective  (thus not a solipsistic) reason; third, the atti-  tude toward religious beliefs expressed by the  doctrine of the postulates of practical reason,  which shows a limit in Kant’s enlightenment  that could be corrected through a further step  of formalization. 

Este trabajo se propone discutir el  concepto kantiano de Ilustración (  Aufklärung  ) en un triple aspecto: 1) la noción de  saber  implícita en el uso del lema  “sapere  aude”, referida no al conocimiento (a una  razón técnica), sino a una noción de razón  que culmina en la sabiduría (Weisheit ); 2) la  noción de  pensar por sí mismo  (Selbstdenken), de la que se muestra su conexión intrínseca con una razón intersubjetiva y comuni-  cativa, no solipsista; 3) la actitud hacia las  creencias religiosas tal como se presenta en la  doctrina de los postulados de la razón prácti-  ca, que señala un límite en la Ilustración kan-  tiana superable con una ulterior formalización

The last text Gotthold Ephraim Lessing ever wrote – a short fragment entitled "Notes on An Assessment of the Current Movements of Religion" (Anmerkungen zu einem Gutachten über die itzigen Religionsbewegungen) – has long puzzled readers. While the first generation of Lessing scholars recognized the fragment’s importance, all attempts to decipher its allusions have failed because the historical context of the piece remained obscure. In my essay, I identify the text to which Lessing’s "Notes" are referring for the first time: a legal petition with the bulky title "Most Subservient Assessment Concerning the Current Movements of Religion, Especially Within the Protestant Church, As Well As Regarding the Imperial Commissional Decree in the Case Against Bahrdt" (archived in the Bavarian State Library, Munich). This discovery not only illuminates the historical background of Lessing’s final work and makes visible his previously unknown dialogue with Johann Jacob Moser, the petition’s anonymous author. It also shows that Lessing intended to forcefully intervene in what was arguably the most notorious religio-political legal battle of the 18th century – the Imperial Aulic Council’s case against the radical enlightenment thinker Carl Friedrich Bahrdt. Thus, Lessing’s last fragment sheds light on the rhetorical strategy that allowed Lessing, as opposed to Bahrdt, to avoid the most serious persecution during the famous “Fragments Controversy.”

Çeviren: Murat Erşen

Fransızca orijinal başlık: Qu’est-ce que la critique? La culture de soi

Yayın Tarihi: Temmuz 2020

Elinizdeki edisyon Michel Foucault’nun iki konferansını bir araya getirmektedir. Foucault ilk konferansı 27 Mayıs 1978’de Sorbonne’da Fransız Felsefe Cemiyeti huzurunda vermiş, konuşma onun gözetiminde 1990 yılında “Eleştiri Nedir?” başlığıyla yayımlanmıştır. Diğer konferansıysa, 12 Nisan 1983’te Berkeley, California Üniversitesi’nde “Kendilik Kültürü” başlığıyla sunulmuştur. İki konferansı ayıran 1978 ile 1984 arasında Foucault’nun düşüncesi önemli bir evrim geçirse de, Kant’ın Was ist Aufklärung? (“Aydınlanma Nedir?”) metnine yaptığı referans bu dönemde yazdığı tüm metinlerde ve yaptığı tüm konuşmalarda merkezi bir yer işgal eder; çünkü Aydınlanma üzerine bu metni tekrar tekrar ele almasının amacı, felsefi ve tarihsel soru olarak “kendilik kültürü” temasıyla neden ilgilendiğini açıklamaktır. Böylece kitapta yer alan “Eleştiri Nedir?” ve “Kendilik Kültürü” başlıklı konferanslarla bunlara eşlik eden tartışmalar, hem Foucault’nun düşünsel evrimini takip etmeyi sağlar hem de onun Was ist Aufklärung?’u nasıl farklı biçimlerde okuduğunu görme imkânı tanır.

[Published in French - May 2017 - Presses du réel: http://www.lespressesdureel.com/ouvrage.php?id=5513&menu=]

This book is an essay conceived as an intellectual portrait of the German writer, psychologist and art theorist Karl Philipp Moritz (1756-1793), whose purpose is to investigate the relationships between aesthetics, psychology and anthropology in the second half of the 18th century, and the importance of their simultaneous development for the debates about art after 1800.

Summary
Moritz remains rather unknown outside of Germany, where he is considered as an essential author for understanding the formation of aesthetics as a philosophical discipline, but also as experimental research, literary field and art critic in the 18th century. By foreshadowing an educational vision of the art experience, Moritz anchored the aesthetic debate in a psychological and anthropological dimension, which went beyond the narrow field of art.

Moritz was first known in his lifetime as a psychologist and a writer. He funded the first journal of experimental psychology where the writings of specialists – doctors or philosophers – were collected together with police reports, real or imaginary autobiographies, anonymous accounts of dreams, literary extracts or texts of mystics. Moritz also won recognition for his writings on art; the most famous was written in Rome in 1786 alongside Goethe who would, some years later, use many of his ideas. After his stay in Italy, Moritz taught art theory at the Academy of Fine Arts in Berlin. His eclecticism influenced a generation of artists and theorists such as Jean Paul, Friedrich Schlegel and Schiller.

The merit of Moritz is that of having been able to combine, thanks to a dynamic definition of the work of art, a theory of creation with a theory of reception. In the artist, he saw a spectator in front of nature, while the spectator became the architect of the relationship he built with the artwork. Indeed, with Moritz, the artwork acquired for the first time in the history of art theory the status of a radically autonomous object whose body nevertheless remains fragmentary, because its assimilation to the remaining traces of a creative movement can be completed only in the present act. Moritz thus laid the foundations for a debate on the part of history and the part of direct experience in art that continues today.

La massoneria ha caratterizzato la vita politica, sociale e culturale dell’Europa del Settecento, influenzando anche l’opera di intellettuali, artisti e scrittori.
Questo studio analizza le modalità con le quali la letteratura europea, e in special modo la tedesca, tra Sette e Ottocento, ha rielaborato narrativamente ed esteticamente motivi e tematiche provenienti dall’ambito massonico.
Con lo sguardo rivolto alle dottrine e alle pratiche rituali libero-muratorie e alla nascente cultura dei media nel Settecento, nel libro si dimostra come le opere prese in considerazione possano essere interpretate quali vere e proprie performances culturali e rituali che intendevano coinvolgere anche i lettori o gli spettatori nella stessa «esperienza» che avveniva nello spazio segreto ed «eterotopico» delle logge.
In tal senso, si individuano significativi nessi tra le pratiche iniziatiche massoniche e quelle letterarie proprie della Goethezeit.

Reconstruction of the dream theory of the Enlightenment, with a discussion of literary dreams in Richardson's "Clarissa", Rousseau's "Nouvelle Héloïse", Wieland's "Geschichte des Agathon", and Goethe's "Werther". A case study for the relation between knowledge in science and literature.

Beinahe verbirgt der bescheidene Titel die keineswegs bescheidene Zielsetzung der anzuzeigenden Studie. Mit Gotthold Ephraim Lessing. Epoche und Werk erhebt Friedrich Vollhardt, Ordinarius an der Ludwig-Maximilians-Universität München, nämlich den Anspruch, „das Exemplarische an der individuellen Entwicklung des Schriftstellers zu erfassen und damit zugleich ein Bild der Epoche zu entwerfen“ (S. 10).  Ausdrücklich abweichend von den großen Meistererzählungen über das Zeitalter der Aufklärung versucht sich Vollhardt also an einem vielschichtigen Porträt jenes „Jahrhunderts der Sattelzeit(en)“ (S. 119), dem Lessings Schriften gleichermaßen als Muster und Beispiel dienen.

Hannes Kerbers Studie erneuert den epochalen Streit zwischen Aufklärung und Christentum. Im Zentrum steht dabei die spektakuläre Doppelrolle Gotthold Ephraim Lessings. Mit den »Fragmenten eines Ungenannten« veröffentlicht Lessing nicht nur die schärfste in deutscher Sprache vorgebrachte Kritik am Christentum, sondern er widerspricht dieser Kritik zugleich im Namen einer strengen Orthodoxie.

Lessings doppelte Provokation entfesselt den »Fragmentenstreit«, die philosophisch vielleicht anspruchsvollsten, theologisch jedenfalls folgenschwersten Kontroverse im Deutschland des 18. Jahrhunderts. In Kerbers sorgfältigen Interpretationen von Lessings Schriften - von "Über den Beweis des Geistes und der Kraft" bis zu "Nathan der Weise" - und einer genauen Rekonstruktion des ideengeschichtlichen Kontexts zeigt sich der Fragmentenstreit als eine Aufklärung der Aufklärung, die die Herausforderung des Christentums in ihrer ganzen Radikalität offenlegt.

Hegel aura vécu dans une période de bouleversements historiques successifs, qui ont eu une influence certaine sur sa philosophie, de l’Esprit comme de l’histoire ou de la politique, en tant que spectateur éclairé : la Révolution Française est parmi ceux-là, et elle aura marqué la réflexion et la philosophie hégelienne jusqu’à ses derniers écrits. La Phénoménologie de l’Esprit a au sein de cette réflexion, disséminée dans l’œuvre hégelienne, une place importante, parce qu’elle marque le premier écrit véritablement critique de cette époque, se distanciant ainsi de l’enthousiasme que l’esprit révolutionnaire avait suscité chez le jeune Hegel, comme chez de nombreux intellectuels de son temps.

Der Zugriff von Monika Ficks Lessing und das Drama der anthropozentrischen Wende ist streng systematisch, obgleich das Buch aus elf Einzelstudien besteht, die über einen Zeitraum von fast drei Jahrzehnten entstanden und eine Vielzahl unterschiedlicher Texte in den Blick nehmen. Ficks Deutungen der Dramen "Der Freygeist", "Miß Sara Sampson", "Minna von Barnhelm", "Emilia Galotti" und "Nathan der Weise", des frühen Gedichtfragments "An den Herrn M**", der "Laokoon"-Abhandlung sowie verschiedener religionsphilosophischer Essays der 1770er Jahre werden nämlich fest zusammengehalten durch den Begriff der „anthropozentrischen Wende“.