Drive

Author(s):  
Owen Ware
Keyword(s):  

This chapter offers a close analysis of Fichte’s second foundational argument in the System of Ethics, his deduction of the moral law’s applicability in §§4–13. The discussion begins by clarifying the sense in which Fichte’s first deduction, from §§1–3, was ‘formal and empty’ and so did not yet establish the reality of the moral law. It is here that Fichte introduces his claim that what we call our lower and higher capacities of desire are but mere expressions of a single drive, what he calls our ‘original drive’ (Urtrieb), which becomes divided only in reflection. The aim of this chapter is to show how Fichte’s theory of drives culminates in his theory of our higher capacity of feeling, or what he calls our power of conscience, which completes the second main deduction of the System of Ethics.

Author(s):  
Owen Ware

Kant’s arguments for the reality of human freedom and the normativity of the moral law continue to inspire work in contemporary moral philosophy. Many prominent ethicists invoke Kant, directly or indirectly, in their efforts to derive the authority of moral requirements from a more basic conception of action, agency, or rationality. But many commentators have detected a deep rift between the Groundwork for the Metaphysics of Morals and the Critique of Practical Reason, leaving Kant’s project of justification exposed to conflicting assessments and interpretations. In this major re-reading of Kant, Owen Ware defends the controversial view that Kant’s mature writings on ethics share a unified commitment to the moral law’s primacy. Using both close analysis and historical contextualization, Owen Ware overturns a paradigmatic way of reading Kant’s arguments for morality and freedom, situating them within Kant’s critical methodology at large. The result is a novel understanding of Kant that challenges much of what goes under the banner of Kantian arguments for moral normativity today.


Author(s):  
Owen Ware

This chapter offers a close analysis of Fichte’s first foundational argument in the System of Ethics, his deduction of the moral law in §§1–3. The discussion begins with Kant’s doctrine of the fact of reason: the idea that our consciousness of the moral law warrants the belief that we are free. While many commentators assume that Fichte rejects this doctrine, there is evidence to show that he sides with Kant in making our consciousness of the moral law a necessary condition for cognizing our freedom. What is novel about Fichte’s argument in §§1–3 of the System of Ethics is that it treats freedom and morality not as two separate thoughts but as different aspects of one and the same thing, which he calls the principle of I-hood (Ichheit) as such.


1995 ◽  
Vol 40 (5) ◽  
pp. 424-425
Author(s):  
Laurence D. Smith
Keyword(s):  

2020 ◽  
Vol 47 (2) ◽  
pp. 236-253
Author(s):  
Wu Huiyi ◽  
Zheng Cheng

The Beitang Collection, heritage of a seventeenth- and eighteenth-century Jesuit library in Beijing now housed in the National Library of China, contains an incomplete copy of Pietro Andrea Mattioli’s commentary on an Italian edition of Pedanius Dioscorides's De materia medica (1568) bearing extensive annotations in Chinese. Two hundred odd plant and animal names in a northern Chinese patois were recorded alongside illustrations, creating a rare record of seventeenth-century Chinese folk knowledge and of Sino-Western interaction in the field of natural history. Based on close analysis of the annotations and other contemporary sources, we argue that the annotations were probably made in Beijing by one or more Chinese low-level literati and Jesuit missionaries during the first two decades of the seventeenth century. We also conclude that the annotations were most likely directed at a Chinese audience, to whom the Jesuits intended to illustrate European craftsmanship using Mattioli’s images. This document probably constitutes the earliest known evidence of Jesuits' attempts at transmitting the art of European natural history drawings to China.


CounterText ◽  
2020 ◽  
Vol 6 (2) ◽  
pp. 232-238
Author(s):  
Nicholas Birns

This piece explores the fiction of John Kinsella, describing how it both complements and differs from his poetry, and how it speaks to the various aspect of his literary and artistic identity, After delineating several characteristic traits of Kinsella's fictional oeuvre, and providing a close reading of one of Kinsella's Graphology poems to give a sense of his current lyrical praxis, the balance of the essay is devoted to a close analysis of Hotel Impossible, the Kinsella novella included in this issue of CounterText. In Hotel Impossible Kinsella examines the assets and liabilities of cosmopolitanism through the metaphor of the all-inclusive hotel that envelops humanity in its breadth but also constrains through its repressive, generalising conformity. Through the peregrinations of the anti-protagonist Pilgrim, as he works out his relationships with Sister and the Watchmaker, we see how relationships interact with contemporary institutions of power. In a style at once challenging and accessible, Kinsella presents a fractured mirror of our own reality.


This is the first book in English dedicated to the actress and director Tanaka Kinuyo. Praised as amongst the greatest actors in the history of Japanese cinema, Tanaka’s career spanned the industrial development of cinema - from silent to sound, monochrome to colour. Alongside featuring in films by Ozu, Mizoguchi, Naruse and Kurosawa, Tanaka was also the only Japanese woman filmmaker between 1953 and 1962, and her films tackled distinctly feminine topics such as prostitution and breast cancer. Because her career overlaps with a transformative period in Japan, especially for women, this close analysis of her fascinating life and work offers new perspectives into the Japanese history of women and classical era of national cinema. The first half of the book focuses on Tanaka as actress and analyses the elements and meanings associated with her star image, and her powerful embodiment of diverse, at times contradictory, ideological discourses. The second half is dedicated to Tanaka as director and explores her public image as filmmaker and her depiction of gender and sexuality against the national history in order to reflect on her role and style as author. With a special focus on the melodrama genre and on the sociopolitical and economic contexts of film production, the book offers a revision of theories of stardom, authorship, and women’s cinema. In examining Tanaka’s iconic reification of femininities in relation to politics, national identity, and memory, the chapters shed light on the cultural construction of female subjectivity and sexuality in Japanese popular culture.


Author(s):  
Jayne Thomas
Keyword(s):  

This book explores Tennyson’s poetic relationship with Wordsworth through a close analysis of Tennyson’s borrowing of the earlier poet’s words and phrases, an approach that positions Wordsworth in Tennyson’s poetry in a more centralised way than previously recognised. Focusing on some of the most emblematic poems of Tennyson’s career, including ‘The Lady of Shalott’, ‘Ulysses’, and In Memoriam, the study examines the echoes from Wordsworth that these poems contain and the transformative part they play in his poetry, moving beyond existing accounts of Wordsworthian influence in the selected texts to uncover new and revealing connections and interactions that shed a penetrating light on Tennyson’s poetic relationship with his Romantic predecessor.


2015 ◽  
Vol 12 (4) ◽  
pp. 556-571
Author(s):  
Jack Post

Although most title sequences of Ken Russell's films consist of superimpositions of a static text on film images, the elaborate title sequence to Altered States (1981) was specially designed by Richard Greenberg, who had already acquired a reputation for his innovative typography thanks to his work on Superman (1978) and Alien (1979). Greenberg continued these typographic experiments in Altered States. Although both the film and its title sequence were not personal projects for Russell, a close analysis of the title sequence reveals that it functions as a small narrative unit in its own right, facilitating the transition of the spectator from the outside world of the cinema to the inside world of filmic fiction and functioning as a prospective mise-en-abyme and matrix of all the subsequent narrative representations and sequences of the film to come. By focusing on this aspect of the film, the article indicates how the title sequence to Altered States is tightly interwoven with the aesthetic and thematic structure of the film, even though Russell himself may have had less control over its design than other parts of the film.


2020 ◽  
Vol 22 (2) ◽  
pp. 1-27
Author(s):  
João Carlos Brum Torres

O artigo tem por objeto o exame de três registros de gritantes e distintos paradoxos na Doutrina do Direito de Kant. Registros feitos em tempos e contextos históricos diferentes por Friedrich Bouterwek, Marcus Willaschek e Balthazar Barbosa Filho. Bouterwek atribuiu a Kant a mais paradoxal das proposições jamais enunciadas por qualquer autor, a de que a mera ideia de soberania deve obrigar-nos a obedecer como a nosso inquestionável senhor a quem quer que se haja estabelecido como tal, sem que caiba indagar quem lhe deu o direito de comandar-nos. Willaschek aponta a incompatibilidade de duas teses centrais da doutrina kantiana: a do caráter externo dos vínculos jurídicos e a da incondicionalidade obrigacional do direito positivo, pois não é possível entender como é possível termo-nos como obrigados por imperativos jurídicos e, ao mesmo, vermo-nos internamente isentados do dever de obedecê-los. O ponto crítico de Balthazar é alegar que não pode haver na filosofia kantiana uma crítica da razão político e jurídica, simplesmente porque o conceito de imputação, base da normatividade própria dessas esferas, pressupõe uma pluralidade de agentes livres que, justamente, só pode ser uma pressuposição, pois nosso acesso à normatividade prática só pode ter lugar em primeira pessoa. No exame a que o artigo submete essas alegações, o artigo argumenta, em objeção à tese de Balthazar, que o caráter universal e categórico da força que vincula o sujeito quando confrontado com a lei moral em primeira pessoa necessariamente se desvaneceria se, ao mesmo tempo, ele não fosse tomado pela evidência de que a realidade objetiva dos princípios morais é não só instanciável, mas assegurada pela múltipla instanciação. Com relação às dificuldades levantadas por Willaschek e Bouterwek, o artigo argumenta que o princípio exeundum e statu naturali, enquanto norma metapositiva, anterior à divisão do domínio prático entre doutrina do direito e doutrina da virtude, permite ao mesmo tempo compreender a exigência de obediência ao poder constituído e a restrição das obrigações jurídico-políticas exclusivamente ao foro externo.AbstractThe object of the article is to examine three claims about three distinct and allegedly blatant paradoxes in Kant's Doctrine of Right. These three critical points had been made in distinct times and contexts by Friedrich Bouterwek, Marcus Willaschek e Balthazar Barbosa Filho. Bouterwek attributed to Kant the most paradoxical of all paradoxical propositions, the statement that by the mere idea of sovereignty we are obliged to obey as our lord who has imposed himself upon us, without questioning from where he got such right. Willaschek points out the incompatibility of two main theses of Kantian doctrine of right: the claims that the legal bounds are of external character and that they are the source of unconditional obligations, since it seems impossible to understand how it would be possible to be obliged by juridical norms and decisions and at the same time to be exempted of the internal duty of compliance. The radical objection of Professor Balthazar is the claim that in the context of Kantian Philosophy it is impossible to admit a critique of the juridical and political reason because the concept of imputation, ground of the normativity in these domains, requires not only the presupposition of free agents, but a true and secure epistemic access to them, which is, according to him, impossible considering that the moral law and the other practical principles are accessible for us only in the first person. In the course of the appraisal of such claims, the article contest that objection arguing that the universal and categorical force of the normative bound experienced by the subject when confronted with the moral law in the first person would ineluctably vanish if, at the same time, he had not been taken by the evidence that the objective reality of the moral principles is secured by multiple instancing. Regarding the difficulties raised by Willaschek and Bouterwek, the article argues that the principle exeundum e statu naturali, as a norm of meta-positive character, prior to the division of practical domains between the doctrine of right and the doctrine of virtue, is the cue both to the understanding of the requirement of unquestioning obedience to the constituted power and to the restriction of the validity of this requirement only in foro externo.


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