scholarly journals The Myth of Disenchantment: Magic, Modernity, and the Birth of the Human Sciences by Jason A. Josephson-Storm

2021 ◽  
Vol 35 (1) ◽  
pp. 141-154
Author(s):  
Dmitri Cerboncini Fernandes ◽  
Alexander Moreira-Almeida

We live in a contradictory world. Self-proclaimed “skeptics”, as the original meaning itself suggests, should first of all strive for proper scientific rationality, for reflective and objective distancing in the apprehension of reality, for methodological caution and for the extended ability to theoretical and philosophical understanding of intricate problems, in practice, too often have entrenched themselves in dogmatic groups. Inquisitors often endowed with the appearance of religious fanaticism, in the worst sense of the term, invest their energies in a crusade of attacks to everyone to whom they attribute mistakes, naivety or even bad intentions. In practice, the universe of those who do not fit in their often restricted, idealized and naïve views of scientific practice. With them, there is hardly any possibility of frank dialogue or opening to research fields that escape their conceptions of what science and philosophy can approach and how they should operate. Charlatans, backward, believers, superstitious; these are some disqualifications generally granted to researchers who dare to go beyond the limits they established for science and rationality. To substantiate their certainties, such self-proclaimed skeptics often claim to base their approach to science on the examples given by highly regarded scientists and philosophers of the past. We speak here of scholars of the stature of Giordano Bruno, Francis Bacon, René Descartes, Isaac Newton, the Encyclopedists, Immanuel Kant, Arthur Schopenhauer, Sigmund Freud, James Frazer, the Vienna Circle, Max Weber, etc. Despite their different approaches, we are talking about many of the very founders of modern Western knowledge. The self-proclaimed contemporary “skeptics” claim their inscriptions in the tradition inaugurated by these illustrious intellectual ancestors. They claim to defend with determination such a rationalist tradition against “pseudoscientists” and “mystic-religious" philosophers who, according to their opinions, wish to corrupt it through insidious insertions in a field that would not rightfully belong to them. This would be their main mission.

2019 ◽  
Vol 17 (2) ◽  
pp. 125-139
Author(s):  
Christopher A. Shrock

Thomas Reid often seems distant from other Scottish Enlightenment figures. While Hume, Hutcheson, Kames, and Smith wrestled with the nature of social progress, Reid was busy with natural philosophy and epistemology, stubbornly loyal to traditional religion and ethics, and out of touch with the heart of his own intellectual world. Or was he? I contend that Reid not only engaged the Scottish Enlightenment's concern for improvement, but, as a leading interpreter of Isaac Newton and Francis Bacon, he also developed a scheme to explain the progress of human knowledge. Pulling thoughts from across Reid's corpus, I identify four key features that Reid uses to distinguish mature sciences from prescientific arts and inquiries. Then, I compare and contrast this scheme with that of Thomas Kuhn in order to highlight the plausibility and originality of Reid's work.


2005 ◽  
Vol 9 (2) ◽  
pp. 17
Author(s):  
Alzira Lobo de Arruda Campos

As ciências humanas discutiram a questão da interdisciplinaridade ao longo do século XX. Mas, já no século anterior, figuras notáveis, como Wilhelm Dilthey e Karl Marx, questionavam-se sobre os paradigmas monistas da explicação e da compreensão. Interrogação reproduzida, entre muitos, por Sigmund Freud, Max Weber, Claude Lévi-Strauss, Fernand Braudel, Michel Serres. Em Educação, o grupo de Doutorado em Ciências da Educação, de Paris VIII, há 30 anos adotou a multirreferencialidade como metodologia hegemônica.


Author(s):  
Erin Webster

The Curious Eye explores early modern debates over two related questions: what are the limits of human vision, and to what extent can these limits be overcome by technological enhancement? Today, in our everyday lives we rely on optical technology to provide us with information about visually remote spaces even as we question the efficacy and ethics of such pursuits. But the debates surrounding the subject of technologically mediated vision have their roots in a much older literary tradition in which the ability to see beyond the limits of natural human vision is associated with philosophical and spiritual insight as well as social and political control. The Curious Eye provides insight into the subject of optically mediated vision by returning to the literature of the seventeenth century, the historical moment in which human visual capacity in the West was first extended through the application of optical technologies to the eye. Bringing imaginative literary works by Francis Bacon, John Milton, Margaret Cavendish, and Aphra Behn together with optical and philosophical treatises by Johannes Kepler, René Descartes, Robert Hooke, Robert Boyle, and Isaac Newton, The Curious Eye explores the social and intellectual impact of the new optical technologies of the seventeenth century on its literature. At the same time, it demonstrates that social, political, and literary concerns are not peripheral to the optical science of the period but rather an integral part of it, the legacy of which we continue to experience.


Author(s):  
Stephan Atzert

This chapter explores the gradual emergence of the notion of the unconscious as it pertains to the tradition that runs from Arthur Schopenhauer via Eduard von Hartmann and Philipp Mainländer to Sabina Spielrein, C. G. Jung, and Sigmund Freud. A particular focus is put on the popularization of the term “unconscious” by von Hartmann and on the history of the death drive, which has Schopenhauer’s essay “Transcendent Speculation on the Apparent Deliberateness in the Fate of the Individual” as one of its precursors. In this essay, Schopenhauer develops speculatively the notion of a universal, intelligent, supraindividual unconscious—an unconscious with a purpose related to death. But the death drive also owes its origins to Schopenhauer’s “relative nothingness,” which Mainländer adopts into his philosophy as “absolute nothingness” resulting from the “will to death.” His philosophy emphasizes death as the goal of the world and its inhabitants. This central idea had a distinctive influence on the formation of the idea of the death drive, which features in Freud’s Beyond the Pleasure Principle.


Ius Inkarri ◽  
2018 ◽  
pp. 277-282
Author(s):  
Thomas Sheehan

En la época moderna se prioriza uno de nuestros dos «lados», el «lado» analítico, a expensas de nuestro «lado» más sintético e intuitivo. Las nefastas consecuencias del énfasis en la razón instrumental que empezó en la época de Francis Bacon han sido descritas elocuentemente por varios pensadores importantes, incluyendo Max Weber, Martin Heidegger y Jürgen Habermas. El descuido de nuestras capacidades imaginativas puede empobrecer nuestras producciones artísticas y científicas y puede dificultar el acceso a la experiencia religiosa. La solución pasa por fomentar las habilidades que están siendo marginadas progresivamente en el sistema educativo actual en un intento de conseguir un sano equilibrio o armonía entre las distintas habilidades cognitivas del ser humano.


2018 ◽  
Vol 29 (3) ◽  
pp. 336-344
Author(s):  
Silvia Rosa da Silva Zanolla ◽  
Márcia Ferreira Torres Pereira ◽  
Rômulo Fabriciano Gonzaga Pinto

Resumo Com base na teoria crítica da sociedade do filósofo Theodor Adorno, este trabalho propõe refletir sobre elementos objetivos do âmbito da estrutura institucional e social que fundam ideias referentes à racionalidade e à dominação, considerando fatores subjetivos correlatos às ideias do sociólogo Max Weber. Nesse sentido, corrobora-se ideias acerca da formação complexa da identidade do sujeito diante das exigências de conservação humana, apresentadas à luz da psicanálise de Sigmund Freud; uma discussão controversa, porém fundamental para a teoria crítica, posto que considera contribuições da psicologia perpassadas por elementos que se ampliam para além de comportamentos determinados, conscientes ou alienados. Ou seja, almeja fatores culturais, históricos e sociológicos como bases primordiais para a análise da ideologia como fator racional o qual transcorre o período moderno.


2004 ◽  
Vol 47 (2) ◽  
pp. 331-354 ◽  
Author(s):  
RUTH HARRIS

In nineteenth-century France, science and religion have often been portrayed as irredeemably opposed to one another. This article seeks to revise this interpretation by showing how these apparently dissonant views intermingled in the study of hysteria. Through a survey of attitudes towards Catholicism and in their treatment of Catholic patients, the article shows how French psychiatrists and neurologists were deeply indebted to religious iconography and experience, despite their vehement anti-clericalism. Because of their hatred of the church, they focused on the treatment of female hysterics who manifested ‘religious’ symptoms – demonopathy, mystical states, and stigmata – in order to amass conclusive evidence of Catholic ‘superstition’. Their preoccupation with such patients meant, however, that they paradoxically re-embedded Catholicism into their scientific practice by incorporating religious motifs, bodily poses, and iconography into their diagnosis of hysteria. At the same time, their disdain for the Catholic religious imagination meant that they refused to explore the fantasies of their subjects. For physicians like Jean-Martin Charcot and the more subtle Pierre Janet – a contemporary and competitor of Sigmund Freud – fantasies of bodily suffering, unearthly physical perfection, and an array of Catholic maternal fantasies associated with images of Mary and Christ were all nothing more than delusions, not the stuff from which an appreciation or understanding of the ‘unconscious’ could emerge. The result was that French physicians offered no psychodynamic transformation or symbolic reinterpretation of their words or physical symptoms, a resistance that was one reason among many for their hostility to psychoanalysis.


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.


2021 ◽  
Vol 12 (2) ◽  
pp. 99
Author(s):  
Mauricio Winck Esteves ◽  
Luis Artur Costa

O artigo parte da problematização da noção de sujeito no exercício da escrita para fazer uma crítica ao sujeito da modernidade. Reflete sobre a emergência desse sujeito moderno nas filosofias de René Descartes, Immanuel Kant e na psicanálise de Sigmund Freud, em suas articulações com os mecanismos disciplinares e biopolíticos, demonstrando a emergência de um triplo enlace entre autoria, culpa e propriedade. Ressalta a articulação na modernidade de duas tecnologias de produção do sujeito: a culpa e o alterocídio, duas faces do ressentimento as quais são apresentadas por Friedrich Nietzsche e Achille Mbembe. Por fim, desde a perspectiva dos modos de subjetivação, busca-se traçar algumas linhas de uma autoria no avesso do ressentimento moderno-colonial: uma autoinvenção coletiva.


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