G. F. Meiers rhetorisierte Logik und die freien Künste

2018 ◽  
Vol 36 (2) ◽  
pp. 160-178
Author(s):  
Riccardo Pozzo

A peculiar feature of the philosophy of Georg Friedrich Meier (1718–1777) lies in its being based on rhetorical principles. We are in front of an important construct that claims for attention in the context of the growing literature on eighteenth-century rhetoric. The syntagm ‘rhetoricised logic’ indicates a specific function of rhetoric as the basis for rethinking philosophical discourse. The paper shows that Meier's philosophical programme is consistently based on the trivium. On top of this, the paper compares Meier and Immanuel Kant on the ancient topos of the artes liberales, thus making it clear that the position of Meier can be assessed as a model for a rhetorically founded theory of knowledge, which was transformed and overcome by Kant.

Author(s):  
Huaping Lu-Adler

This chapter discusses certain exegetical challenges posed by Kant’s logic corpus, which comprises the Logic compiled by Jäsche, Kant’s notes on logic, transcripts of his logic lectures, and remarks about logic in his own publications. It argues for a “history of philosophical problems” method by which to reconstruct a Kantian theory of logic that is maximally coherent, philosophically interesting, and historically significant. To ensure a principled application of this method, the chapter considers Kant’s conception of history against the background of the controversy between eclecticism and systematic philosophy that shaped the German philosophical discourse during the early eighteenth century. It thereby looks for an angle to make educated decisions about how to select materials from each of the periods considered in the book and builds a historical narrative that can best inform our understanding of Kant’s theory of logic.


Author(s):  
Vincenzo Ferrone

This chapter examines the change in science's image and the revelation of the philosophers of science's so-called epistemologia imaginabilis in the context of eighteenth-century science and philosophy. Many eminent scholars, from Thomas Hobbes to Denis Diderot, have engaged in the epistemological debate over extending the methods of the natural sciences to the study of human experience. The idea of the unity of knowledge across all disciplines on the basis of scientific methodology reached its peak with Immanuel Kant. Among the great historians, Marc Bloch was the one who best understood the role that a radically new conception of science could play in redefining and reviving the legitimacy of historical knowledge. The chapter considers the intense intellectual debate between historians of science and philosophers of science on the foundations of knowledge and how modern science acquired definitive legitimacy as a new form of knowledge over the course of the eighteenth century.


2013 ◽  
Vol 10 (2) ◽  
pp. 277-286 ◽  
Author(s):  
TOMAS MCAULEY

ABSTRACT1770s Berlin saw the birth of a new theory of rhythm, first stated in Johann Georg Sulzer'sAllgemeine Theorie der schönen Künste(1771–1774), and later labelled theAkzenttheorie(theory of accents). Whereas previous eighteenth-century theories had seen rhythm as built up from the combination of distinct units, theAkzenttheoriesaw it as formed from the breaking down of a continual flow, achieved through the placing of accents on particular notes. In hisPhilosophie der Kunst(1802–1803) the philosopher Friedrich Schelling used Sulzer's definition of rhythm to suggest, astonishingly, that music can facilitate knowledge of the absolute, a philosophical concept denoting the ultimate ground of all reality. In this article I show how Schelling could come to interpret theAkzenttheoriein such extravagant terms by examining three theories of time and their relationships to rhythm: that of Sulzer and his predecessor Isaac Newton, that of Immanuel Kant and that of Schelling. I conclude by arguing that in Schelling's case – an important one, since his is the earliest systematic presentation of a view of music that came to predominate in the decades after 1800 – his view of music was driven neither by developments in contemporary music nor by changes in the philosophy of art as a discrete intellectual enterprise, but by revolutions in philosophy by and large unconcerned even with art in general.


2009 ◽  
Vol 6 (1) ◽  
pp. 121-146 ◽  
Author(s):  
MICHAEL SONENSCHER

The first issue of theDécade philosophiqueappeared on 29 April 1794. In all, fifty-four volumes of the journal were published between that date and 1807, when, on Napoleon's orders, it was forced to merge with theMercure français. TheDécadewas published three times a month (taking its name from its appearance on the tenth day of each month of the French republican calendar) and the periodical soon became one of the intellectual powerhouses of the French republic after Robespierre. But quite what, in this particular setting, an intellectual powerhouse might have been is still an open question. Alongside Immanuel Kant or Jeremy Bentham, and their vast and varied intellectual legacies, the significance of the dozens of writers, including Pierre-Jean-Georges Cabanis, Pierre-Samuel Dupont de Nemours and Jean-Baptiste Say, who contributed to theDécade, is now more difficult to specify. There have, of course, been several fine studies of theDécadeand its contributors, notably by Joanna Kitchen and Marc Régaldo, and more broadly by Sergio Moravia, Martin Staum and Cheryl Welch. But it is still somewhat easier to associate the periodical with a number of keywords, such asidéologieandscience sociale, than with anything comparable to those more comprehensively articulated bodies of thought that came to be labelled “idealism” or “utilitarianism”. “Ideologism” never seems to have existed, and certainly never caught on. But this very indeterminacy may still be an advantage. It may help to open up, both historically and analytically, rather more of the intellectual space once covered by the broad range of subjects and arguments that first helped to shape—and then came to be buried by—idealism and utilitarianism.


2019 ◽  
pp. 10-21
Author(s):  
KLARA STEIN

The paper deals with V. Brusov’s research on meta poetry. The author considers the influence of philosophy of Baruch Spinoza, Immanuel Kant, and Gottfried Leibniz’s theory of knowledge on meta poetry concept by V. Brusov. V. Brusov’s research on avant-garde art, pri-marily, on futurism, is also considered in the paper. The author con-cludes that V. Brusov is even-handed: he slams futurism, nevertheless, he does not impose his mindset and recognizes the resulting entitle-ment to its progress.


2007 ◽  
Vol 4 (1) ◽  
pp. 71-106 ◽  
Author(s):  
NANCY NOVEMBER

AbstractFrom the nineteenth century onwards the stereotype of Haydn as cheerful and jesting has dominated the reception of his music. This study contributes to the recent scholarship that broadens this view, with a new approach: I set works by Haydn in the context of eighteenth-century ideas about melancholy, those of Edmund Burke, Francisco Goya, Henry Home (Lord Kames), Immanuel Kant and Johann Georg Zimmermann. Their conceptions of melancholy were dialectical, involving the interplay of such elements as pleasure and pain, freedom and fettering, and self-reflection and absorption. I consider the relevance of these dialectics to Haydn’s English songs, his dramatic cantata Arianna a Naxos and two late chamber works. Musical melancholy arises, I argue, when the protagonist of a work – be it the vocal character in a song or the ‘composer’s voice’ in an instrumental work – exhibits an ironic distance from his or her own pain. The musical dialectics in these works prompt listeners, for their part, to take a step back to contemplate the borders and limits of emotional experience and communication.


Author(s):  
Vincenzo Ferrone

This chapter examines how Michel Foucault reformulated the philosophical issue of the Enlightenment by moving from a deliberate rereading of the Hegelian Centaur to an advocacy of the “death of man”—the extinction of a rational platform of knowledge along the lines developed by Immanuel Kant and the Enlightenment at the end of the eighteenth century. It considers Foucault's genealogical historiography, a new and original tool for the analysis of history, and his arguments against the idea of a necessary and defining connection between knowledge and virtue, which had been the core identity of the Enlightenment, the link between power and knowledge, and the rise of disciplinary violence in the history of the Western world. Finally, it explores Foucault's view that “critique is the movement by which the subject gives himself the right to question truth on its exercise of power, and to question power on its discourses of truth.”


Author(s):  
Alison Laywine

Swedenborg was an eighteenth-century Swedish dignitary of considerable learning who believed that he had the power to communicate with spirits and angels and that these beings would help him fulfil the task allotted to him by God, namely to reveal the hidden meaning of Scripture and to usher in the new Church. His thought attracted the critical attention of no less a figure than Immanuel Kant.


Author(s):  
Ryan P. Hanley

This chapter examines the ways in which three of the most prominent thinkers of the eighteenth century—Jean-Jacques Rousseau, Adam Smith, and Immanuel Kant—understood the process by which we come to appreciate, embrace and practice one of the crucial virtues for human flourishing: justice. It begins with an analysis of Rousseau’s specifically relational conception of justice. It then turns to Rousseau’s contemporary Smith and his definition of justice as a virtue of nonmalfeasance. The chapter concludes with an examination of Kant, whose anthropological understanding of the person and conception of our duties to others offer a nuanced understanding of our duty to become just which also synthesizes elements of both Rousseau’s and Smith’s positions.


Author(s):  
Otto Dann

In the second half of the eighteenth century, a qualified kind of ethnogenesis can be observed among the educated classes of the Western world. In the course of their social emancipation a new political identity emerged, one orientated towards the fatherland, the state, and its population. This new ethnic consciousness bridged older identities such as estate, profession or religion. It originated in connection with the great eighteenth-century social movement of patriotism, which became more and more politicised. The philosophical discourse about the nature of language, which had existed since antiquity, intensified immensely during the eighteenth century. John Locke and George Berkeley in Britain and Étienne Bonnot de Condillac in France provided important stimuli in this respect. Johann Gottfried Herder was the first to take vernacular languages and popular poetry seriously as expressions of the culture of illiterate peoples. This chapter examines how national languages were invented and looks at the divergent situations in which the first national languages were used in Europe.


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