Parallax, or the change in the position of an object viewed along two different lines of sight and more precisely, the assumption that this adjustment is not only due to a change of focus, but a change in that object's ontological status has been a key philosophical concept throughout history. Building upon Slavoj Zizek's The Parallax View, this volume shows how parallax is used as a figure of thought that proves how the incompatibility between the physical and the theoretical touches not only upon the ontological, but also politics and aesthetics. With articles written by internationally renowned philosophers such as Frank Ruda, Graham Harman, Paul Livingston and Zizek himself, this book shows how modes of parallax remain in numerous modern theoretical disciplines, such as the Marxian parallax in the critique of political economy and politics; and the Hegelian parallax in the concept of the work of art, while also being important to debates surrounding speculative realism and dialectical materialism. Spanning philosophy, parallax is then a rich and fruitful concept that can illuminate the studies of those working in epistemology, ontology, German Idealism, political philosophy and critical theory.

Christoph Menke is a third-generation Frankfurt School theorist, and widely acknowledged as one of the most interesting philosophers in Germany today. His lead essay focuses on the fundamental question for legal and political philosophy: the relationship between law and violence. The first part of the essay shows why and in what precise sense the law is irreducibly violent; the second part establishes the possibility of the law becoming self-reflectively aware of its own violence. The volume contains responses by Maria del Rosario Acosta Lopez, Daniel Loick, Alessandro Ferrara, Ben Morgan, Andreas Fischer-Lescano and Alexander Garcia Duttmann. It concludes with Menke's reply to his critics. -- .

Christoph Menke is a third-generation Frankfurt School theorist, and widely acknowledged as one of the most interesting philosophers in Germany today. His lead essay focuses on the fundamental question for legal and political philosophy: the relationship between law and violence. The first part of the essay shows why and in what precise sense the law is irreducibly violent; the second part establishes the possibility of the law becoming self-reflectively aware of its own violence. The volume contains responses by Maria del Rosario Acosta Lopez, Daniel Loick, Alessandro Ferrara, Ben Morgan, Andreas Fischer-Lescano and Alexander Garcia Duttmann. It concludes with Menke's reply to his critics. -- .

This book brings a new perspective - mainly out of German intellectual discussions rooted in Hegel - to bear on the problems of equality as discussed in Anglo-American conceptions of liberalism. Menke argues that the idea of equality is at the heart of political modernity. At the same time, political modernity is characterized by an attitude of critical reflection on the notion of equality in view of its consequences for the lives of individuals. This book explores the sources and legitimacy as well as the limitations and problems of this attitude toward equality in the work of such thinkers as Adorno, Habermas, Derrida, Hegel, Luhmann, Nietzsche, Rawls, and Schmitt. Looking at key texts in modern political philosophy, the author develops the claim that there is a basic and irreconcilable conflict in justice: between general demands of equality and attention to the individual. In a debate with contemporary Anglo-American liberal philosophy's concepts of rights, the political process is thereby understood as an interminable strife and negotation between equality and individuality.

The book aims at a new exposition of the basic idea of modern aesthetics by way of a reconstruction of its genesis in the 18th century, between Baumgarten's Aesthetics and Kant's Critique of Judgment. The claim is that the historical invention of aesthetics was not about expanding the range of legitimate objects of philosophical inquiry-these objects all existed before aesthetics. Rather, aesthetics, by introducing the category of the "aesthetic," fundamentally redefined these objects. But most importantly, the reconstruction of the historical genesis of aesthetics shows that the introduction of the category of the "aesthetic" required nothing less than a transformation of the fundamental terms of philosophy. What begins in-or as-aesthetics is modern philosophy. More precisely, Force shows that in-or as-aesthetics modern philosophy began twice, in two different, even opposite forms. On the one hand, Baumgarten's Aesthetics is organized around the new concept of the "subject": the concept of the subject as the totality of faculties, as the agent defined by his capabilities; of the subject as one who is able. By conceiving sensible cognition and (re)presentation as the exercise of subjective faculties acquired in practice, Baumgarten has framed the modern conception of human practices (and of philosophy as the inquiry into the conditions that enable the success of these practices). That is why aesthetics, the reflection upon the aesthetic, is a central pillar of modern philosophy: in aesthetics, the philosophy of the subject or of the subject's faculties assures itself of its own possibility. Yet here, in the aesthetic and the reflection on it, the aesthetics "in the Baumgartian manner" (Herder), as the theory of the sensible faculties of the subject, at once faces a different aesthetics: the aesthetics of force, which conceives the aesthetic not as sensible cognition but instead as a play of expression-propelled by a force that, rather than being exercised, like a faculty, in practices, realizes itself; a force that does not recognize or represent anything because it is "obscure" and unconscious; a force not of the subject but of man as distinct from the same man as subject. The aesthetics of force is a science of the nature of man: of his aesthetic nature as distinct from the culture, acquired by practice, of his practices. That is the hypothesis the six chapters of Force intend to unfold. The first chapter, analyzing the rationalist concept of the sensible, recollects the point of departure of aesthetics: the sensible is that which is without determinable definition or measure. The second chapter reconstructs Baumgarten's aesthetics of sensible cognition as a theory of the subject and its faculties. The third and fourth chapters draw on writings by Herder, Sulzer, and Mendelssohn to develop the basic motifs of a counter-model, an aesthetics of force: the aesthetic, as the operation of an "obscure" force, is a performance without generality, divorced from all norm, law, and purpose-a play. And the aesthetic, as the pleasure of self-reflection, is a process of the transformation of the subject, of its faculties and practices-a process of aestheticization. The aesthetics of force founds an anthropology of difference: between force and faculty, between man and subject. The two concluding chapters explore the consequences: for the idea of philosophical aesthetics; and for ethics as the theory of the good. The fifth chapter engages Kant to show that an aesthetics conceived as an aesthetics of force is the scene of an irresolvable contention: aesthetics unfolds within philosophy the contention between philosophy and aesthetic experience. The sixth chapter draws on Nietzsche to demonstrate the ethical import of aesthetic experience as the experience of the play of force: it teaches us to distinguish between action and life; it teaches the other good of life. - "The last word of aesthetics is human freedom."

This book brings a new perspective - mainly out of German intellectual discussions rooted in Hegel - to bear on the problems of equality as discussed in Anglo-American conceptions of liberalism. Menke argues that the idea of equality is at the heart of political modernity. At the same time, political modernity is characterized by an attitude of critical reflection on the notion of equality in view of its consequences for the lives of individuals. This book explores the sources and legitimacy as well as the limitations and problems of this attitude toward equality in the work of such thinkers as Adorno, Habermas, Derrida, Hegel, Luhmann, Nietzsche, Rawls, and Schmitt. Looking at key texts in modern political philosophy, the author develops the claim that there is a basic and irreconcilable conflict in justice: between general demands of equality and attention to the individual. In a debate with contemporary Anglo-American liberal philosophy's concepts of rights, the political process is thereby understood as an interminable strife and negotation between equality and individuality.

"Tragic Play" explores the deep philosophical significance of classic and modern tragedies in order to cast light on the tragic dimensions of contemporary experience. Romanticism, it has often been claimed, brought tragedy to an end, making modernity the age "after" tragedy. Christoph Menke opposes this modernist prejudice by arguing that tragedy remains alive in the present in the distinctively new form of the playful, ironic, and self-consciously performative. Through close readings of plays by William Shakespeare, Samuel Beckett, Heiner M?ller, and Botho Strauss, Menke shows how tragedy re-emerges in modernity as "tragedy of play." In "Hamlet," "Endgame," "Philoktet," and "Ithaka," Menke integrates philosophical theory with critical readings to investigate shifting terms of judgment, curse, reversal, misfortune, and violence.

Die Digitalisierung ist ein manifestiertes, globales Phanomen, das die Wertschoepfung von Messeveranstaltern nachhaltig beeinflusst. Im Rahmen einer holistischen Betrachtung stellt Christoph Menke die unmittelbaren Auswirkungen der Digitalisierung detailliert dar und leitet daraus konkrete Management-Implikationen ab. Gleichermassen wird die Wertschoepfungssystematik von Messeveranstaltern aktuell und umfassend dargelegt sowie das Phanomen Digitalisierung in greifbaren Modulen strukturiert und definiert.

In einem Brief nennt Adorno die "Negative Dialektik" kurz nach ihrem Erscheinen unter seinen Schriften "das philosophische Hauptwerk, wenn ich so sagen darf." Dieser herausgehobenen Bedeutung, die das Werk fur Adorno hatte, entspricht nicht nur die lange Zeit, die er mit der Abfassung des Buchs beschaftigt war, sondern auch die lange Geschichte, die ihre zentralen Motive in seinem Denken haben. Philosophische Begriffsklarung, die Arbeit an "Begriff und Kategorien" einer negativen Dialektik, versteht Adorno dabei als dialektischen Ubergang in inhaltliches Denken und so betreibt er sie auch hier. Das hat Konsequenzen fur die Form des kooperativen Kommentars, der in diesem Band versucht wird. Adornos "Negative Dialektik" zu kommentieren, kann nur in dem Bewusstsein der unuberbruckbaren Kluft gelingen, die den Kommentar von diesem Text trennt."

Fragen wir nach den Pflichten und Rechten, die wir einander gegenuber haben, so ist die erste Antwort der Moderne, dass es Pflichten und Rechte der Gleichheit sind: Gleichheit ist die vorrangig nromative Idee der Moderne. Das gilt im Moralischen ebenso wie im Politischen. Gleichheit ist die Grundidee der modernen Moralphilosophie und der modernen Verfassungsstaaten. Die moderne Begrundung und Durchsetzung der Gleichheitsidee begleitet jedoch wie ein Schatten eine andere Einstellung: eine Haltung der 'Befragung' der Gleichheit. Diese andere Einstellung betrachtet die Gleichheitsidee von aussen, in ihren Folgen fur das Leben der Individuen; sie betrachtet die Gleichheit in ihren Brechungen und Spiegelungen in deren Leben. Das ist die Methode der Befragung der Gleichheit: Sie ist eine 'Reflexion' der Gleichheit im Verhaltnis zur Individualitat. Die Idee der Gleichheit kann fur die Individuen Einschrankungen, gar Verzerrungen und Verletzungen bedeuten; was fur alle gerecht ist, ist nicht fur jeden gut. Das ist der Inhalt der Befragung der Gleichheit: Sie ist eine 'Kritik' der Gleichheit am Massstab der Individualitat. Christoph Menke geht es in seinem Buch um dieses Unternehmen einer Befragung der Gleichheit. Dazu bezieht er sich auf wichtige Stationen ihrer Geschichte: die romantische Revolutionskritik (Burke, Schiller), Nietzsches Genealogie der Moral, Schmitts Theorie der Souveranitat, Adornos negative Dialektik der Gleichheit. Zugleich betrachtet er die gegenwartigen philosophischen Debatten um die Idee der Gleichheit: die Debatte um den Begriff der Gerechtigkeit (Derrida); um den Wohlfahrtsstaat (Luhmann, Taylor, Foucault); zwischen Liberalismus und Kommunitarismus (Rawls)."

Parallax, or the change in the position of an object viewed along two different lines of sight and more precisely, the assumption that this adjustment is not only due to a change of focus, but a change in that object's ontological status has been a key philosophical concept throughout history. Building upon Slavoj Zizek's The Parallax View, this volume shows how parallax is used as a figure of thought that proves how the incompatibility between the physical and the theoretical touches not only upon the ontological, but also politics and aesthetics. With articles written by internationally renowned philosophers such as Frank Ruda, Graham Harman, Paul Livingston and Zizek himself, this book shows how modes of parallax remain in numerous modern theoretical disciplines, such as the Marxian parallax in the critique of political economy and politics; and the Hegelian parallax in the concept of the work of art, while also being important to debates surrounding speculative realism and dialectical materialism. Spanning philosophy, parallax is then a rich and fruitful concept that can illuminate the studies of those working in epistemology, ontology, German Idealism, political philosophy and critical theory.

The book aims at a new exposition of the basic idea of modern aesthetics by way of a reconstruction of its genesis in the 18th century, between Baumgarten's Aesthetics and Kant's Critique of Judgment. The claim is that the historical invention of aesthetics was not about expanding the range of legitimate objects of philosophical inquiry-these objects all existed before aesthetics. Rather, aesthetics, by introducing the category of the "aesthetic," fundamentally redefined these objects. But most importantly, the reconstruction of the historical genesis of aesthetics shows that the introduction of the category of the "aesthetic" required nothing less than a transformation of the fundamental terms of philosophy. What begins in-or as-aesthetics is modern philosophy. More precisely, Force shows that in-or as-aesthetics modern philosophy began twice, in two different, even opposite forms. On the one hand, Baumgarten's Aesthetics is organized around the new concept of the "subject": the concept of the subject as the totality of faculties, as the agent defined by his capabilities; of the subject as one who is able. By conceiving sensible cognition and (re)presentation as the exercise of subjective faculties acquired in practice, Baumgarten has framed the modern conception of human practices (and of philosophy as the inquiry into the conditions that enable the success of these practices). That is why aesthetics, the reflection upon the aesthetic, is a central pillar of modern philosophy: in aesthetics, the philosophy of the subject or of the subject's faculties assures itself of its own possibility. Yet here, in the aesthetic and the reflection on it, the aesthetics "in the Baumgartian manner" (Herder), as the theory of the sensible faculties of the subject, at once faces a different aesthetics: the aesthetics of force, which conceives the aesthetic not as sensible cognition but instead as a play of expression-propelled by a force that, rather than being exercised, like a faculty, in practices, realizes itself; a force that does not recognize or represent anything because it is "obscure" and unconscious; a force not of the subject but of man as distinct from the same man as subject. The aesthetics of force is a science of the nature of man: of his aesthetic nature as distinct from the culture, acquired by practice, of his practices. That is the hypothesis the six chapters of Force intend to unfold. The first chapter, analyzing the rationalist concept of the sensible, recollects the point of departure of aesthetics: the sensible is that which is without determinable definition or measure. The second chapter reconstructs Baumgarten's aesthetics of sensible cognition as a theory of the subject and its faculties. The third and fourth chapters draw on writings by Herder, Sulzer, and Mendelssohn to develop the basic motifs of a counter-model, an aesthetics of force: the aesthetic, as the operation of an "obscure" force, is a performance without generality, divorced from all norm, law, and purpose-a play. And the aesthetic, as the pleasure of self-reflection, is a process of the transformation of the subject, of its faculties and practices-a process of aestheticization. The aesthetics of force founds an anthropology of difference: between force and faculty, between man and subject. The two concluding chapters explore the consequences: for the idea of philosophical aesthetics; and for ethics as the theory of the good. The fifth chapter engages Kant to show that an aesthetics conceived as an aesthetics of force is the scene of an irresolvable contention: aesthetics unfolds within philosophy the contention between philosophy and aesthetic experience. The sixth chapter draws on Nietzsche to demonstrate the ethical import of aesthetic experience as the experience of the play of force: it teaches us to distinguish between action and life; it teaches the other good of life. - "The last word of aesthetics is human freedom."

Bachelorarbeit aus dem Jahr 2009 im Fachbereich Padagogik - Berufserziehung, Berufsbildung, Weiterbildung, Note: 1,5, Fachhochschule Munster (Institut fur Berufliche Lehrerbildung (IBL)), Sprache: Deutsch, Anmerkungen: mit Auszeichnung der FH Munster im Jahre 2010, Abstract: Wirft der aufmerksame Zuschauer einen Blick in die heutigen Nachrichten, so erhalt er einen unmittelbaren Eindruck von der rasanten Entwicklung der Gesellschaft. Der demographische Wandel vollzieht schleichend seinen Lauf, die Informations- und Kommunikationstechnologien gewinnen zunehmend an Bedeutung und die Halbwertszeit des Wissens verandert sich kontinuierlich. All diese Ereignisse haben Einfluss auf den technologischen Wandel der Arbeitswelt. Die Unternehmen stehen vor neuen Anforderungen und benotigen zur Bewaltigung hoch qualifiziertes Personal. Doch wie kann ein Unternehmen diese wertvollen Mitarbeiter sicherstellen, wenn in naher Zukunft nicht ausreichend junge Fachkrafte nachrucken werden? Einen moglichen Losungsansatz liefert dazu das sog. lebenslange Lernen." Die gegenwartigen Mitarbeiter eines Betriebes werden dabei aufgefordert, sich fortlaufend fur ihren Beruf weiterzubilden, um auch im fortgeschrittenen Alter alle Aufgaben adaquat bewaltigen zu konnen. In diesem Zusammenhang wird in der vorliegenden Ausarbeitung exemplarisch die Fortbildung von Erwachsenen in der Meisterschule Elektrotechnik beim Handelskammer Bildungszentrum Munster (HBZ)anhand des projektartigen Lernens untersucht. Die Projektmethode wurde den Lernenden einen grossen Spielraum hinsichtlich der Themenfindung gewahren. Da in der Meisterschule bestimmte Themenbereiche des Rahmenlehrplans bearbeitet werden mussen, werden in dieser Arbeit uberwiegend die Lern- und Arbeitsaufgaben, die auf der Projektmethode basieren, vorgestellt und angewendet. Lern- und Arbeitsaufgaben bieten die Moglichkeit, in der betrieblichen Aus- und Weiterbildung sowohl die Praxis als auch die Theorie miteinander zu verknupfen. Allg

The Value of Critique casts its gaze on the two dominant modes of passing judgment in art--critique and value (or evaluation). The act of critique has long held sway in the world of art theory but has recently been increasingly abandoned in favor of evaluation, which advocates alternate modes of judgment aimed at finding the intrinsic "value" of a given work rather than picking apart its intentions and relative success. This book's contributors explore the relationship between these two practices, finding that one cannot exist with the other. As soon as a critic decides an object is worthy enough of their interest and time to critique it, they have imbued that object with a certain value. Similarly, theories of value are typically marked by a critical impetus: as much as critique takes part in the construction of evaluations, bestowing something with value can then trigger critiques. Assembling essays from an international array of authors, this book is the first to put value, critique, and artistic labor in conversation with one another, making clear just how closely all three are related.