The article describes the multilingualism of the austrian writer V. Vertlib as the source of his literary creativity.
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This contribution to a volume on the“ultimate why-question” discusses ambiguities in Leibniz’s formulation of the question, “[. . . ] pourquoi il y a plus tôt quelque chose que rien”. This formulation poses two problems: Leibniz does not explain how to understand the concepts of “something” and “nothing”. And it is not clear, whether “something” and “nothing” are contradictory opposites, so that there is either nothing or something, or whether both concepts denote principles which are effective in the world at the same time. My analysis rests on the hypothesis that the relevant context for Leibniz’s question is the theology of creation.
Hence, the paper compares eight different approaches to “creation from nothing” (Thomists, Scotists, Taurellus, Lubinus, Timpler, Keckermann, Kircher, Knorr von Rosenroth, van Helmont). Candidates for the nihil the world was created from include absolute non-being, thoughts in God’s mind, unformed matter, imaginary space, or a self-contraction of the Divine spirit. These different approaches can be translated into different versions of the “ultimate why-question”. The paper concludes that Leibniz’s formulation contains a comparison between two Divine acts of creation, because not only “something”, but “nothing” as well owes its subsistence to the Divine will. This rises substantial questions: either God created first an imperfect entity in order to create the world as a whole, or Leibniz subscribes to an emanative understanding of creation that either levels the difference between creation and (natural) generation or is based on misunderstanding God as a material entity.
Herausgegeben von Daniel Schubbe, Jens Lemanski und Rico Hauswald. Die Frage "Warum ist überhaupt etwas und nicht vielmehr nichts?" gehört zu den ebenso traditionsreichen wie umstrittenen Problemen der Philosophie. Der vorliegende Band nimmt sich der "Grundfrage" in einer ideengeschichtlichen Perspektive an. Dabei stellt sich heraus, dass sie in ihrer Geschichte von der Antike bis zur gegenwärtigen analytischen Philosophie nicht nur jeweils unterschiedliche Antworten provoziert hat, sondern vor allem auch ganz verschieden gestellt worden ist. Der Band wird durch einen Überblick über die vielschichtige Diskussion der "letzten Warum-Frage" in der Tradition der Analytischen Philosophie sowie einen Antwortversuch aus Sicht der aktuellen Physik und Kosmologie abgerundet.
In the first part of the paper, I examine cases of acceleration of perception and
cognition and provide my explanation of the mechanism of the e®ect. The explanation
rests on the conception of neuronal temporal frames, or windows of simultaneity. Frames
have di®erent standard durations and yield to stretching and compressing. I suggest it
to be the cause of the e®ect, as well as the ground for di®erences in perceptive time
scales of living beings. In the second part, I apply the conception of temporal frames
to model observation in the extended time scales that reach far beyond the temporal
perceptive niche of individual living beings. Duration of a frame is taken as the basic
parameter setting a particular time scale. By substituting a di®erent frame duration, we
set a hypothetical time scale and emulate observing reality in a wider or a narrower angle
of embracing events in time. I discuss the status of observer in its relation to objective
reality, and examine how reality does change its appearance when observed in di®erent
The book describes theinterdependent relations between the multilingualism and literary creativity.
In this work the problem of learning and development of creativity with a view to the position of reflexive psychology, akmeology and pedagogics in the context of the human capital analysis in the conditions of modern society globalization is raised. The theme is urgent from the practical point of view in demand of a creative personality under conditions of the economic crisis and at the same time it is actual, because it interprets creativity in a new way according to interdisciplinary approach. The author emphasizes that a reflexively-creative potential is considered to be the backbone factor of professional and innovative activity in modern social space. On basis of philosophical foundations' analysis of psychology of creativity we theoretically build the conceptual model of reflexive creativity and we also examine the precedents of its psychology-pedagogical development in the secondary and high education (in case of reflexive-psycological support).
The article considers the Views of L. N. Tolstoy not only as a representative, but also as a accomplisher of the Enlightenment. A comparison of his philosophy with the ideas of Spinoza and Diderot made it possible to clarify some aspects of the transition to the unique Tolstoy’s religious and philosophical doctrine. The comparison of General and specific features of the three philosophers was subjected to a special analysis. Special attention is paid to the way of thinking, the relation to science and the specifics of the worldview by Tolstoy and Diderot. An important aspect is researched the contradiction between the way of thinking and the way of life of the three philosophers.
Tolstoy's transition from rational perception of life to its religious and existential bases is shown. Tolstoy gradually moves away from the idea of a natural man to the idea of a man, who living the commandments of Christ. Starting from the educational worldview, Tolstoy ended by creation of religious and philosophical doctrine, which were relevant for the 20th century.
This important new book offers the first full-length interpretation of the thought of Martin Heidegger with respect to irony. In a radical reading of Heidegger's major works (from Being and Time through the ‘Rector's Address' and the ‘Letter on Humanism' to ‘The Origin of the Work of Art' and the Spiegel interview), Andrew Haas does not claim that Heidegger is simply being ironic. Rather he argues that Heidegger's writings make such an interpretation possible - perhaps even necessary.
Heidegger begins Being and Time with a quote from Plato, a thinker famous for his insistence upon Socratic irony. The Irony of Heidegger takes seriously the apparently curious decision to introduce the threat of irony even as philosophy begins in earnest to raise the question of the meaning of being. Through a detailed and thorough reading of Heidegger's major texts and the fundamental questions they raise, Haas reveals that one of the most important philosophers of the 20th century can be read with as much irony as earnestness. The Irony of Heidegger attempts to show that the essence of this irony lies in uncertainty, and that the entire project of onto-heno-chrono-phenomenology, therefore needs to be called into question.
The article is concerned with the notions of technology in essays of Ernst and Friedrich Georg Jünger. The special problem of the connection between technology and freedom is discussed in the broader context of the criticism of culture and technocracy discussion in the German intellectual history of the first half of the 20th century.