An enquiry into Nicolai Hartmann's appreciation of Nietzsche's axiology

In a world and a time when man is confronted with but one ultimate choice: either a return to self-responsibility or the annihilation of life, in which, because of his now proverbial technical ascendancy and its train of spiritual impoverishment, he can indeed neglect to relearn the ability of exercising a wilful choice only at the risk of sacrificing his being as such - in such a world it is a fatal omission to neglect any thinker whose object it is to reconstruct for us our sense of responsibility. In the field of philosophy no contemporary thinker has done more in this respect than Nicolai Hartmann who considers Friedrich Nietzsche to have been his immediate predecessor. Yet Hartmann is not well known in the English-speaking world. The following study represents an attempt to explain Hartmann's position in epistemology, ontology and ethics, stressing the inter-dependence of these disciplines for the philosopher; in the light of Hartmann's appreciation of Nietzsche, to review Nietzsche's critique of "Christo-European morals" or the spiritual decadence of the West; and to show why Hartmann made so much of Nietzsche's supra-moral philosophy of Becoming the philosophy "beyond good and evil"

Recent Hegel Literature: The Jena Period and the Phenomenology of Spirit

This is an offprint version of the article published in Telos (1981). The version made available in Digital Common was supplied by the author and is made available with permission of the publisher, Telos Press.Publisher's Versiontru

Some aspects of the concept of unconscious purpose in modern philosophy

Thesis (Ph.D.)--Boston University, 194

Colonialism in the fictional works of Joseph Conrad

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1981

Jules Laforgue: a legacy of paradox

The two volumes of poetry, "L'Imitation de Notre-Dame la Lune"(1885) and "Des Fleurs de Bonne Volont6"(1886) by Jules Laforgue are the subject of this commentary. The study involves an examination of background, content, themes and structure. Part One, Background, covers Laforgue's life from January 1885 to June 1866. The artistic context of his work is discussed with reference to the practices of the Parnassian poets and "decadents", Impressionism, the philosophy of the Unconscious based on the treatise by Eduard von Hartmann and the newly founded science of psychology. From these influences Laforgue is shown to establish an artistic theory of paradox, ephemerality, and the commonplace. Part Two, Content, explains Laforgue's imagery: sun and moon symbolism; the original Imagery surrounding schoolgirls, Sundays and urban life; the figures of Pierrot and Hamlet. The discussion presents each symbol as an illustration of paradox. Part Three, Themes, analyses thematic elements: the philosophy of the Unconscious, women, love and sexuality and psychology. The paradoxes evident in Laforgue's presentation of each theme are explored: optimism and pessimism, misogyny and feminism and the conflict between appearance and reality in human psychology. Part Four, Structure, describes Laforgue's versification as the final step in the use of conventional forms before the exploitation of free verse. The clash between the obvious importance of the formal patterns, alongside an apparent lack of concern for form, is interpreted as a further reinforcement of Laforgue's vision of paradox

William Anthony Kraatz v. HERITAGE IMPORTS, a Utah corporation dba HERITAGE HONDA, 0. BRYAN WILKINSON, and JEFFREY J. WILKINSON : Reply Brief

APPEAL FROM JUDGMENT OF THE THIRD JUDICIAL DISTRICT COURT HONORABLE J. DENNIS FREDERIC

Alumni Quarterly, Volume 16 Number 4, November 1927

The Alumni Quarterly of Illinois State Normal University.https://ir.library.illinoisstate.edu/aq/1060/thumbnail.jp

The faculty of perception in the early narratives of Hartmann von Aue : with special reference to secular morality and penitential practice

This thesis was conceived in response to the recent controversy in Hartmann scholarship concerning the existence of a psychological progression in Hartmann's characters. Whilst the majority of scholars argue that a progression does exist in these works, three scholars in particular, Rudolf Voβ, Hubertus Fischer, and Otfrid Ehrismann, claim that Hartmann remains unconcerned with the inner world of his characters. Instead, they suggest that he depicts perfect protagonists who are affected by a visitation of objective sin (Voβ), or who react primarily to the demands of secular honour (Fischer) or courtliness (Ehrismann). The present study attempts to re-examine the issue of ethical progression in Hartmann's three earliest narratives. This is achieved principally by considering the ability of the characters to perceive and to make ethical judgements on the basis of their mental deliberations. This evidence is considered in the light of the objections of the scholars mentioned above. In particular, their work has reminded scholarship that Hartmann's narratives cannot be interpreted in terms of modern individual morality. Similarly, their arguments lead one to surmise that an ethical dimension in these works would be likely to reflect Hartmann's status as a clerically-educated secular poet and the concerns of his secular audience, rather than specific theological developments relating to self-awareness. A moral dimension in these works would therefore be likely to be informed by lay ethical notions and a general awareness of theological concepts concerning perceptiveness, such as would be broadcast through the penitential system. The present study attempts therefore to set the evidence pertaining to perceptiveness and ethical behaviour in Hartmann's works within the context of the lay morality shared by this poet and his audience