Lectures on Hegel's Political Philosophy
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Dictatorship of the Proletariat’
Revolution and the ‘Dictatorship of the Proletariat’ Vanessa Walilko DePaul University March 2004 V.I. Lenin has been accused of being “power-crazed” and “a fanatic believer in a Communist utopia” (Getzler: 464).1 To others, Lenin is considered to be the “greatest thinker to have been produced by the revolutionary working class movement since Marx” (Lukacs: 10). By still others, he is considered a “cynical authoritarian” or a “revolutionary idealist”2 (Rereading: 19). It has also been proposed that Lenin “had a compulsive need to dominate” and that he “was indeed a revolutionary fanatic” (ibid: xvii). Yet Lenin identified one reason for his writings: to clear up those aspects of Marx’s and Engels’ theories which had been “ignored and distorted3 by the opportunists” (State and Revolution: 384, Rereading: 5).4 Despite the fact that Marx and Lenin agreed on many points regarding revolution and the role the proletariat would play after they had secured power for themselves, many of Lenin’s ideas are at the same time quite distinct from the theories that Marx put down in The Communist Manifesto and The Class Struggles in France 1848-1850. This paper will address their similarities and differences in views regarding the necessity of the revolution and the dictatorship of the proletariat. Marx understood that the material conditions of life, particularly the political economy determined human consciousness (Theory and Revolution: 34). Marx believed that history was driven by the class struggle.5 This class antagonism eventually evolved into an open fight which “either ended in a large revolutionary reconstitution of society at large, or in the common ruin of the contending classes” (Manifesto: 1).6 The revolution,7 therefore, was the catalyst for radical social change. -
How Philosophers Rise and Empires Fall in the Work of Leo Strauss
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2019 Ungodly Freedom: How Philosophers Rise and Empires Fall in the Work of Leo Strauss Eli Karetny The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2819 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] UNGODLY FREEDOM: HOW PHILOSOPHERS RISE AND EMPIRES FALL IN THE WORK OF LEO STRAUSS by Eli Karetny A dissertation submitted to the Graduate Faculty in Political Science in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2019 © 2018 Eli Karetny All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Political Science in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. PROFESSOR COREY ROBIN _________________ ____________________________________ Date Committee Chair _______________ PROFESSOR ALYSON COLE Date ____________________________________ Executive Officer Supervisory Committee: Corey Robin Alyson Cole Carol Gould THE CITY UNIVERSITY OF NEW YORK iii Abstract UNGODLY FREEDOM: HOW PHILOSOPHERS RISE AND EMPIRES FALL IN THE WORK OF LEO STRAUSS by Eli Karetny Advisor: Professor Corey Robin This dissertation argues that to fully understand the work of Leo Strauss, scholars must look beyond the Platonic and Machiavellian elements in Strauss and explore how Nietzsche’s ideas about nihilism, the will to power, the eternal return, and the ubermensch influence Strauss’s critique of modernity, his understanding of the relationship between philosophy and politics, and his redefinition of the philosopher as a prophetic lawgiver. -
Download Course Outline in PDF Format
POLS 3040.6 Modern Political Thought 2010/11 Course Website: http://moodle10.yorku.ca You will need your Passport York to sign in, then you will be directed to POLS 3040.6 course website. Class Time: Wednesday 11:30-14:30 Class Location: TEL 1005 Professor: Shannon Bell Office Location: S 634 Ross E-mail: [email protected] Website: www.arts.yorku.ca/politics/shanbell/index.html Telephone Office: 416 2100 ext. 22552 Office Hours: Tues 15:00-17:00 Mobile: 416 822 6831 Wed 15:00-17:00 Course Description POLS 3040.6 Modern Political Thought meshes political theory with digital imagery. The course operationalizes Gilles Deleuze claim that philosophical concepts are like sounds, images and colors. This will be accomplished through digital image/sound production of theoretical concepts. Film images, which I have videoed will accompany each lecture. Course requirements include two short film productions relating to a theoretical concept; the films accompany the two essays. I have scheduled extra office hours to assist with the film aspect of the course which is 15% of the grade. It is assumed that people do not have any film experience. The idea is to transpose Martin Heidegger’s claim regarding technology, ‘that you can’t think technology technologically,’ to the techne of political thought. The argument is that you can’t think political theory simply with language, that is, inside the sayable in which it is produced. Heidegger contended that the site from which to think technology is art. POLS 3040 uses visual images to supplement and enhance philosophical concepts. -
Hegel's Introduction to Aesthetics
Hegel’s Introduction to Aesthetics 1 Karsten Harries Hegel's Introduction to Aesthetics Fall Semester 2009 Yale University Copyright Karsten Harries Hegel’s Introduction to Aesthetics 2 Contents 1. Introduction: Hegel on the Death of Art 3 2. Danto on the End of Art 15 3. Art and Nature 37 4. Art and Theory 50 5. Towards a Science of Art 60 6. The Work of Art as an Artifact 78 7. The Sensuousness of Art 85 8. Art and Imitation 96 9. Why Art in a Needy Age? 104 10. Hegel and his Predecessors 119 11. Irony 128 12. The Division of the Arts 137 13. Conclusion: The History and End of Art 148 Hegel’s Introduction to Aesthetics 3 1. Introduction: Hegel on the Death of Art 1 In the Spring semester of 2008 I taught, for the last time, a seminar on Heidegger's The Origin of the Work of Art. A reworked version of my class notes has just been published as a book by Springer.1 In my mind that seminar and this seminar on Hegel, while they do not depend on each other, belong together. What joins them is most fundamentally the question of the place of art in the modern world. Both seminars are part of an attempt to work out in more detail the concluding chapter of my The Ethical Function of Architecture,2 which confronts Hegel with Heidegger. What is at issue in this confrontation is hinted at by some remarks Heidegger makes in the Epilogue to The Origin of the Work of Art. -
Spring/Summer 2012
Volume 39 Issue 2 Spring/Summer 2012 109 Thomas Meyer More Early Writings by Leo Strauss Michael Zank from the Jüdische Wochenzeitung für Cassel, Hessen und Waldeck (1925–1928) 139 Jung In Kang Reexamining Political Participation in Rousseau’s Political Thought: Does Citizens’ Political Partici- pation Include Public Discussions and Debates? Book Reviews: 165 Catherine M. A. McCauliff A History of Trust in Ancient Greece by Steven Johnstone 169 Charles T. Rubin Plato and the Talmud by Jacob Howland 177 L. Joseph Hebert Young Thomas More and the Arts of Liberty by Gerard B. Wegemer 187 René M. Paddags Rousseau’s Platonic Enlightenment by David Lay Williams Rousseau on Philosophy, Morality, and Religion, edited by Christopher Kelly 195 Jeffrey Bernstein The German Stranger: Leo Strauss and National Socialism by William H. F. Altman 213 Andrew Bramsen The Nationalization of American Political Parties, 1880–1896 by Daniel Klinghard 217 Lawrence M. Mead Governing through Institution Building: Institutional Theory and Recent European Experiments in Democratic Organization by Johan P. Olsen 223 David Levy Reply to Leibowitz ©2012 Interpretation, Inc. All rights reserved. No part of the contents may be reproduced in any form without written permission of the publisher. ISSN 0020-9635 Editor-in-Chief Hilail Gildin, Dept. of Philosophy, Queens College Associate Editor Nicholas Starr General Editors Charles E. Butterworth • Hilail Gildin General Editors (Late) Howard B. White (d. 1974) • Robert Horwitz (d. 1987) Seth G. Benardete (d. 2001) • Leonard Grey (d. 2009) Consulting Editors Christopher Bruell • Joseph Cropsey • Harry V. Jaffa • David Lowenthal • Harvey C. Mansfield • Ellis Sandoz • Kenneth W. -
Nomination Form
International Memory of the World Register Manifest der Kommunistischen Partei, draft manuscript page, and Das Kapital. Erster Band, Karl Marx’s personal annotated copy (The Netherlands and Germany) 2012-21 1.0 Summary (max 200 words) The Manifest der Kommunistischen Partei (Communist Manifesto, 1848) and Das Kapital. Erster Band (Capital. Volume 1, 1867) are two of the most important publications of the 19th century, hugely influential to the present day. Both were written by Karl Marx, in cooperation with Friedrich Engels. Both were translated in practically every language, and published world-wide. These writings had a tremendous impact on the development of socialist, communist and other revolutionary movements throughout the 19th and 20st century. In recent years, Marx is recognized for his deep insights into the mechanisms of economic crises. The Manifest and the first volume of Das Kapital are textbook examples of the vulnerability of documentary heritage. The original manuscripts for both publications were lost. One remaining page of a draft version of the Manifest and Marx’s personal annotated copy of Das Kapital are the nearest equivalents. Marx’s and Engels’ remaining papers made a difficult and dangerous journey before arriving in safe storage with good conditions for access. They are being studied intensively to the present day in order to discover how these extraordinarily important publications developed, and to establish the exact words behind the many interpretations. 2.0 Nominator 2.1 Name of nominator (person or organization) a) Internationaal Instituut voor Sociale Geschiedenis (International Institute of Social History, IISH), Amsterdam b) The German Commission for UNESCO 2.2 Relationship to the nominated documentary heritage a) Custodian of the nominated items b) Initiator of this nomination idea 2.3 Contact person(s) (to provide information on nomination) a) Prof. -
Book Summer 2006.Qxd
Memoir by Stanley Rosen Leo Strauss in Chicago Downloaded from http://direct.mit.edu/daed/article-pdf/135/3/104/1829109/daed.2006.135.3.104.pdf by guest on 01 October 2021 I ½rst met Leo Strauss when I was nine- the graduate of a Swiss private lycée teen years old and a student in the Col- accomplished this some years after my lege of the University of Chicago. It was departure. In 1949, though, the record the spring of 1949–this was during the was one year, which was matched by epoch of the presidency of Robert May- eighteen members of my class, including nard Hutchins, when the University was myself and my classmate and friend Seth at the height of its glory. At that time, Benardete. the College was famous for the eccen- Another peculiarity of the College was tricity and precociousness of many of that one could enter it at any age, and its students, and also for its highly un- among my classmates were a number of usual custom of allowing entering stu- virtual children. I still remember a par- dents to take examinations on the basis ty given by some of the older students. of which they were assigned course re- There, I entered into conversation with quirements. The intention of this pro- a man who seemed to be in his mid-thir- gram was to extend the time we spent ties, a guess that his thick glasses and ad- in graduate school, provided that we al- vanced baldness only strengthened. He ready possessed the necessary founda- informed me that he had broken with tion. -
Mao : a Great Leader of the International Proletariat and Of
Encyclopedia of Anti-Revisionism On-Line Anti-revisionism in Italy Giovanni Scuderi Mao: a great leader of the international proletariat and of oppressed nations and peoples Published: First present 22nd June 1993. This essay was presented to the International Seminar on Mao's Thought that took place in Gelsenkirchen (Germany) on the 6th and 7th November 1993 to celebrate the centenary of Mao's birthday. Transcription, Editing and Markup: Paul Saba Copyright: This work is in the Public Domain under the Creative Commons Common Deed. You can freely copy, distribute and display this work; as well as make derivative and commercial works. Please credit the Encyclopedia of Anti-Revisionism On-Line as your source, include the url to this work, and note any of the transcribers, editors & proofreaders above. The internationalist proletarian initiative on the part of the Center for Social Studies, directed by comrade Jose Maria Sison, is very important, providing a platform for representatives of Parties, Organizations and Marxist-Leninist Groups from different countries, on the occasion of the centenary of Mao Zedong's birth. It is a useful and militant way of paying our collective respects to a great leader of the revolution, and at the same time of reflecting on how his universal teachings may be applied to the realities of the respective countries. The exchange of opinions is a Marxist-Leninist approach; it is not simply a question of intellectual or structural information, but of learning from one another, checking the validity of one's own opinions, and correcting them if they turn out to be wrong. -
Double Issue
Volume 41 Issue 2 Volume 41 Issue 3 Double Issue 63 Note to Readers Fall 2014 65 Sophie Bourgault The Unbridled Tongue: Plato, Parrhesia, and Philosophy 91 Richard Burrow Fulfillment in As You Like It 123 Alexandru Racu Strauss’s Machiavelli and Dostoyevsky’s Grand Inquisitor Book Reviews: 163 Steven H. Frankel Leo Strauss and the Crisis of Rationalism: Another Reason, Another Enlightenment by Corine Pelluchon 171 Michael Harding Political Philosophy Cross-Examined: Perennial Challenges to the Philosophic Life by Thomas L. Pangle and J. Harvey Lomax 181 Will Morrisey Locke, Science, and Politics by Steven Forde Spring 2015 201 Jonathan Culp Happy City, Happy Citizens? The Common Good and the Private Good in Plato’s Republic 227 Aryeh Tepper The Problematic Power of Musical Instruments in the Bible 247 Julien Carriere & Ancients and Moderns under the Empire of Circe: 279 Steven Berg Machiavelli’s The Ass, Translation and Commentary 313 Erik S. Root Liberal Education Imperiled: Toward a Resurrection of Reason and Revelation in Higher Education Book Reviews: 349 Fred Baumann Leo Strauss on Moses Mendelssohn, translated and edited by Martin D. Yaffe 359 Gregory A. McBrayer On the God of the Christians (and on one or two others) by Rémi Brague 367 Rafael Major Shakespeare’s Political Wisdom by Timothy W. Burns ©2015 Interpretation, Inc. All rights reserved. No part of the contents may be reproduced in any form without written permission of the publisher. ISSN 0020-9635 Editor-in-Chief Hilail Gildin, Dept. of Philosophy, Queens College Associate Editor-in-Chief Timothy W. Burns, Baylor University Associate Editors Daniel Ian Mark • Geoffrey Sigalet General Editors Charles E. -
Dynamism, Creativeness, and Evolutionary Progress in the Work of Alexander Archipenko DISSERTATION Presented in Partial Fulfillm
Dynamism, Creativeness, and Evolutionary Progress in the work of Alexander Archipenko DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Robert D. Calhoun Graduate Program in History of Art The Ohio State University 2016 Dissertation Committee: Kris Paulsen, Advisor Myroslava Mudrak, Co-Advisor Lisa Florman Copyrighted by Robert D. Calhoun 2016 Abstract Guy Habasque, writing for L’Oeil in 1961, recognized Alexander Archipenko (1887-1964) as the leading revolutionary and guide for sculptors of the twentieth-century. At the same time, he acknowledges that history has failed to do the artist justice, forgetting and neglecting him even before his death in 1964. What Habasque wrote fifty- five years ago is doubly true today when the holdings of Archipenko’s work in public museums have been largely relegated to storage, along with many other significant works of the twentieth century, under the increasing pressure to create gallery space for contemporary works of art. To find space in permanent displays, modernist works must compete for significance, the power of which has apparently been lost in the few discussions that exist surrounding Archipenko’s work. This project draws attention to the neglected importance of Archipenko’s work. What is significant about this work is that it forms part of a counter history of early-twentieth century art as an alternative to the materialist-formalist history, which has held the dominant, discursive position. Archipenko’s biocentric, philosophical position presents an aesthetic that represents science and technology as organic, evolutionary extensions of a universal dynamism. -
Leo Strauss and the Problem of Sein: the Search for a "Universal Structure Common to All Historical Worlds"
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1-1-2010 Leo Strauss and the Problem of Sein: The Search for a "Universal Structure Common to All Historical Worlds" Jennifer Renee Stanford Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Stanford, Jennifer Renee, "Leo Strauss and the Problem of Sein: The Search for a "Universal Structure Common to All Historical Worlds"" (2010). Dissertations and Theses. Paper 91. https://doi.org/10.15760/etd.91 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Leo Strauss and the Problem of Sein : The Search for a “Universal Structure Common to All Historical Worlds” by Jennifer R. Stanford A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History Thesis Committee: David A. Johnson, Chair Richard H. Beyler Douglas Morgan Michael Reardon Portland State University © 2010 ABSTRACT Leo Strauss resurrected a life-approach of the ancient Greeks and reformulated it as an alternative to the existentialism of his age that grew out of a radicalized historicism. He attempted to resuscitate the tenability of a universal grounded in nature (nature understood in a comprehensive experiential sense not delimited to the physical, sensibly- perceived world alone) that was historically malleable. Through reengagement with Plato and Socrates and by addressing the basic premises built into the thought of Friedrich Nietzsche and Martin Heidegger, Strauss resurrected poetry (art, or the mythos) that Enlightenment thinkers had discarded, and displayed its reasonableness on a par with the modern scientific approach as an animating informer of life. -
Furbish'd Remnants
UNIVERSITY OF CALIFORNIA Los Angeles “Furbish’d Remnants”: Theatrical Adaptation and the Orient, 1660-1815 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Angelina Marie Del Balzo 2019 Ó Copyright by Angelina Marie Del Balzo 2019 ABSTRACT OF THE DISSERTATION “Furbish’d Remnants”: Theatrical Adaptation and the Orient, 1660-1815 by Angelina Marie Del Balzo Doctor of Philosophy in English University of California, Los Angeles, 2019 Professor Felicity A. Nussbaum, Chair Furbish’d Remnants argues that eighteenth-century theatrical adaptations set in the Orient destabilize categories of difference, introducing Oriental characters as subjects of sympathy while at the same time defamiliarizing the people and space of London. Applying contemporary theories of emotion, I contend that in eighteenth-century theater, the actor and the character become distinct subjects for the affective transfer of sympathy, increasing the emotional potential of performance beyond the narrative onstage. Adaptation as a form heightens this alienation effect, by drawing attention to narrative’s properties as an artistic construction. A paradox at the heart of eighteenth-century theater is that while the term “adaptation” did not have a specific literary or theatrical definition until near the end of the period, in practice adaptations and translations proliferated on the English stage. Anticipating Linda Hutcheon’s postmodernist theory of adaptation, eighteenth-century playwrights and performers conceptualized adaptation as both process and product. Adaptation created a narrative mode that emphasized the process and labor of performance for audiences in order to create a higher level of engagement with ii audiences.