Vorbild

In Max Scheler il concetto di spirito (Geist) è particolarmente instabile: come il pennino di un sismografo è capace di registrare ogni minimo mutamento del suo pensiero. L'oscillazione più spettacolare avviene nel 1923. Il problema è che invece le diverse interpretazioni su Scheler, ancora oggi, procedono come se avessero a che fare con un termine univocamente definito. Ancora nel 1922, nella seconda edizione di Vom Ewigen, Scheler esprimeva la tesi che «lo spirito è infinitamente più potente (mächtiger) di tutta la natura insieme», già nel 1924, in Probleme einer Soziologie des Wissens, scrive esattamente il contrario: «originariamente lo spirito non ha in sé una qualsiasi traccia di forza o di efficacia». Inoltre mentre nel periodo intermedio i termini "persona" e "spirito" risultano rigorosamente correlati-nel Formalismus si arriverà a sostenere che «l'idea di uno spirito impersonale è insensata» - dopo il 1923 il concetto di "spirito" viene gradualmente riferito a tutta la natura, per cui la persona diventa una delle tante espressioni dello spirito. Che cosa succede nel 1923 per spiegare un rovesciamento di posizioni di tale portata?

Über die Vorbilder von Bauwerken des Historismus in Ungarn und zwar besonders die der Neobarockarchitektur

About the models of Hungarian Revivalist Architectural works, in particular on the stylistic connections of Baroque Revival Architecture

Scheler pone il concetto di esemplarità alla base di tutta l'etica materiale: questa infatti non ha a che fare con la ricerca di una norma o di un dover essere universali, cui conformarsi, ma piuttosto con l’esemplarità concreta di una persona: l’esemplarità rappresenta per l’etica materiale dei valori di Scheler ciò che il dover essere è per l’etica formale di Kant. Senza mettere a fuoco il concetto di esemplarità risulta pertanto incomprensibile il passaggio dall’etica formale kantiana all’etica materiale di Scheler.

Die Phänomenologie des Vorbildes und des Gegenbildes spielt bei Scheler in der Philosophie der Religion, in der Theorie der Funktionalisierung und in der Soziologie des Wissens und der Eliten jeweils eine Schlüsselrolle. Die Relevanz, die Scheler diesem Phänomen zuschreibt, kommt aber in der Ethik wohl am deutlichsten zum Vorschein.

There have been innumerable attempts to characterize personal identity either in terms of psychological continuity or in terms of the linear and self-referential process of reproduction of one's self. I will defend the thesis according to which personal identity emerges mainly as a process of transcendence of one's own "minimal self ". It is precisely by means of this critical distancing from his self, I contend, that the individual learns to see himself under a new perspective as far as to experience his self as a surprise. Amazed at his own self, he lives a reawakening which leads him to a transformation of his way of living. This transcendence of the self cannot take place self-referentially but only through the force of an example provided by another person. Such act neither aims at the annihilation of the individual, nor
does it contrast with self-love. It is in conflict merely with what Harry Frankfurt calls "selfindulgence". The idea of a transcendence of the self is already to be found in Plato, who fostered the overcoming of and purification from amathia (in the sense of a "not knowing but pretending to know") and from an excessive love of oneself. Indeed, these latter would be the two grave diseases which render formless the soul of a human being, for they stand in the way of the cura sui. The same theme will reappear in Max Scheler's phenomenological reduction, which endeavours to bracket egocentrism (construed as excessive love of oneself) in order to give a form to the personal identity.

Der Beitrag bespricht das Phänomen des Superheldenfilmuniversums und zeigt dessen Potenzial für Bildung und zur Entwicklung einer Geschichte mit Integrationskraft. Nach einer kurzen Einleitung über Superheldinnen und Superhelden werden einige kritische Aspekte dieser Filmart erwähnt. Der Beitrag bespricht den Superheldinnen- bzw. Superheldenfilm als Bildungsgegenstand. Schließlich werden Vorschläge bzgl. der Entwicklung von Superheldinnen  und  Superhelden  und  ihrer  Geschichten  gemacht: Die Geschichten werden mit Blick auf eine multikulturelle Gesellschaft immer integrativer und zeigen Möglichkeiten auf, wie Menschen verschiedener Kulturen etc. zusammenarbeiten können, um nationale und globale Probleme zu lösen.

There have been innumerable attempts to characterize personal identity either in terms of psychological continuity or in terms of the linear and self-referential process of reproduction of one's self. I will defend the thesis according to which personal identity emerges mainly as a process of transcendence of one's own "minimal self ". It is precisely by means of this critical distancing from his self, I contend, that the individual learns to see himself under a new perspective as far as to experience his self as a surprise. Amazed at his own self, he lives a reawakening which leads him to a transformation of his way of living. This transcendence of the self cannot take place self-referentially but only through the force of an example provided by another person. Such act neither aims at the annihilation of the individual, nor does it contrast with self-love. It is in conflict merely with what Harry Frankfurt calls "selfindulgence". The idea of a transcendence of the self is already to be found in Plato, who fostered the overcoming of and purification from amathia (in the sense of a "not knowing but pretending to know") and from an excessive love of oneself. Indeed, these latter would be the two grave diseases which render formless the soul of a human being, for they stand in the way of the cura sui. The same theme will reappear in Max Scheler's phenomenological reduction, which endeavours to bracket egocentrism (construed as excessive love of oneself) in order to give a form to the personal identity.