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Philosophy, Modern.

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The book aims at a new exposition of the basic idea of modern aesthetics by way of a reconstruction of its genesis in the 18th century, between Baumgarten's Aesthetics and Kant's Critique of Judgment. The claim is that the historical invention of aesthetics was not about expanding the range of legitimate objects of philosophical inquiry-these objects all existed before aesthetics. Rather, aesthetics, by introducing the category of the "aesthetic," fundamentally redefined these objects. But most importantly, the reconstruction of the historical genesis of aesthetics shows that the introduction of the category of the "aesthetic" required nothing less than a transformation of the fundamental terms of philosophy. What begins in-or as-aesthetics is modern philosophy.More precisely, Force shows that in-or as-aesthetics modern philosophy began twice, in two different, even opposite forms. On the one hand, Baumgarten's Aesthetics is organized around the new concept of the "subject": the concept of the subject as the totality of faculties, as the agent defined by his capabilities; of the subject as one who is able. By conceiving sensible cognition and (re)presentation as the exercise of subjective faculties acquired in practice, Baumgarten has framed the modern conception of human practices (and of philosophy as the inquiry into the conditions that enable the success of these practices). That is why aesthetics, the reflection upon the aesthetic, is a central pillar of modern philosophy: in aesthetics, the philosophy of the subject or of the subject's faculties assures itself of its own possibility.Yet here, in the aesthetic and the reflection on it, the aesthetics "in the Baumgartian manner" (Herder), as the theory of the sensible faculties of the subject, at once faces a different aesthetics: the aesthetics of force, which conceives the aesthetic not as sensible cognition but instead as a play of expression-propelled by a force that, rather than being exercised, like a faculty, in practices, realizes itself; a force that does not recognize or represent anything because it is "obscure" and unconscious; a force not of the subject but of man as distinct from the same man as subject. The aesthetics of force is a science of the nature of man: of his aesthetic nature as distinct from the culture, acquired by practice, of his practices.That is the hypothesis the six chapters of Force intend to unfold. The first chapter, analyzing the rationalist concept of the sensible, recollects the point of departure of aesthetics: the sensible is that which is without determinable definition or measure. The second chapter reconstructs Baumgarten's aesthetics of sensible cognition as a theory of the subject and its faculties. The third and fourth chapters draw on writings by Herder, Sulzer, and Mendelssohn to develop the basic motifs of a counter-model, an aesthetics of force: the aesthetic, as the operation of an "obscure" force, is a performance without generality, divorced from all norm, law, and purpose-a play. And the aesthetic, as the pleasure of self-reflection, is a process of the transformation of the subject, of its faculties and practices-a process of aestheticization.The aesthetics of force founds an anthropology of difference: between force and faculty, between man and subject. The two concluding chapters explore the consequences: for the idea of philosophical aesthetics; and for ethics as the theory of the good. The fifth chapter engages Kant to show that an aesthetics conceived as an aesthetics of force is the scene of an irresolvable contention: aesthetics unfolds within philosophy the contention between philosophy and aesthetic experience. The sixth chapter draws on Nietzsche to demonstrate the ethical import of aesthetic experience as the experience of the play of force: it teaches us to distinguish between action and life; it teaches the other good of life. - "The last word of aesthetics is human freedom."

Aesthetics, Modern

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Dans Par-delà la révolution copernicienne, l'auteur avait pris pour fil conducteur la critique husserlienne de la révolution copernicienne de Kant : si, pour ce dernier, l'être des objets se règle sur les structures a priori du sujet transcendantal, c'est en phénoménologie, à l'inverse, chaque catégorie essentielle d'objets qui prescrit en miroir une structure régulatrice du sujet constituant. Le présent ouvrage prolonge cette démarche : car loin que le système des objets soit clos une fois pour toutes, la sphère des objets culturels et idéaux est au contraire en perpétuel devenir ; cela n'implique-t-il pas, du côté du sujet, une plasticité et une relativité historiques de son essence et de ses facultés ? En outre, si l'on considère les structures de la raison scientifique, on doit avec Husserl faire le constat qu'elles sont privées de permanence anhistorique et que l'histoire est scandée par des coupures épistémologiques où se redéfinissent le style de la rationalité et les catégories de la raison scientifique. Quelle est l'instance qui produit de telles mutations de la rationalité ? Est-ce le sujet transcendantal, ou bien une dimension a-subjective plus originaire que le sujet lui-même ?

Philosophy, Modern.

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On November 11 and 12, 2011, a symposium held at the University of North Carolina in Chapel Hill honored John M. Headley, Emeritus Professor of History. The organizers, Professor MelissaBullard--Headley's colleague in the department of history at that university--along with ProfessorsPaul Grendler (University of Toronto) and James Weiss (Boston College), as well as Nancy GraySchoonmaker, coordinator of the Program in Medieval and Early Modern Studies--assembled presenters, respondents, and dozens of other participants from Western Europe and North America to celebrate the career of their prolific, versatile, and influential colleague whose publications challenged and often changed the ways scholars think about Martin Luther, Thomas More, the Habsburg empire, early modern Catholicism, globalization, and multiculturalism. This special issue contains the major papers delivered at the symposium, revised to take account of colleagues' suggestions at the conference and thereafter. John O'Malley studies the censorship ofsacred art with special reference to Michelangelo's famed "Last Judgment" and the Council of Trent. John Martin sifts Montaigne's skepticism about contemporaneous strategies for self-disclosure andself-discipline. Stressing the significance of grammar, Constantin Fasolt helps us recapture theRenaissance's and the early modern religious reformations' disagreements with antiquity. RonaldWitt's reappraisal of humanist historiography probes Petrarch's perspectives on ancient Rome. JohnMcManamon includes tales of theft and market manipulation in his study of the early moderncollection and circulation of books and manuscripts, the commodification of study. To "nuance" John Headley's conclusions about "the Europeanization of the world," Jerry Bentley repossesses the influence of other than European societies on several European theorists of human rights. Kate Lowe's remarks on the reconstruction of race in the Renaissance explores the effects of a critical mistranslation on what being black was taken to mean by Europeans. David Gilmartin introduces readers to the shape of democracy in nineteenth- and twentieth-century India, as well as to the understandings of popular sovereignty that affected elections, suggesting strides that scholars might take "toward a worldwide history of voting". The remarkable range of.

Civilization, Modern.

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Der erste Band der Bauwelt Fundamente versammelt 34 Texte von Architekten und Architekturtheoretikern, die das Bauen in den ersten sechs Jahrzehnten des 20. Jahrhunderts nachhaltig gestaltet und geprägt haben. 1963 von Ulrich Conrads, dem damaligen Chefredakteur der Bauwelt, zusammengestellt und kommentiert, bietet diese Sammlung von Programmen, Grundsätzen und Manifesten zur Architektur der Moderne auch heute noch eine Grundlage für das Verständnis und die Auseinandersetzung mit der Praxis und der Theorie des Bauens im vergangenen Jahrhundert. Mit Texten von van de Velde, Loos, Wright, van der Rohe, Le Corbusier, Gropius, Buckminster Fuller, Hollein, Friedman, u.a. sind die Protagonisten des architektonischen Schaffens im 20. Jahrhundert vertreten.50 Jahre nach Erscheinen ist mit dieser Sammlung von Quellentexten auch ein historisches Dokument der (Selbst-)Reflexion der Architektur wieder lieferbar.

Architecture, Modern