Georg Simmel

Simmel's relativism aims to achieve the modern shift from substance to function without falling into pure sociological functionalism and generalized sceptical dissolution. This relativism would like to be at the same time a theory of objective forms of culture, a critique of modern forms of life and culture and a philosophical practice and attitude. That is why it is always both a philosophy of life and a philosophy of culture. Based on the pedagogy courses held by Simmel in Strasbourg in 1915/1916, this article outlines the consequences of this relativism in terms of pedagogy and philosophy of education. In particular, it considers ways to mitigate the "tragedy of culture", that is to promote the mobility and individuation of life without sacrificing the consistency of objective forms of culture.

Der Leser, der der Theorie des Romans von Georg Lukács von Anfang bis
Ende folgt, wird wie von selbst in das Schiller’sche Narrativ einer Entwicklung
eingebunden, welche die Seele von Arkadien über die Moderne bis
hin zu Elysium führt. Diese Geschichte wird jedoch durch das Argument
der Form, dem der Leser in der Mitte des Buchs begegnet, in Frage gestellt.
„[D]as Formschaffen“, schreibt Lukács im 4. Kapitel, „ist die tiefste Bestätigung
des Daseins der Dissonanz, die zu denken ist“ (TdR, S. 55). Und weiter:
„Jede Kunstform ist durch die metaphysische Lebensdissonanz definiert,
die sie als Grundlage einer in sich vollendeten Totalität bejaht und gestaltet“
(TdR, S. 55). Wenn Leben als solches tatsächlich durch „Dissonanz“ definiert
ist, wie kann dann ausgerechnet deren Erfahrung als bloßer Übergang von
ursprünglicher Naivität der Alten zu der Rückkehr einer Art Epos am Ende
fungieren? Und mehr noch: wenn „[j]ede Kunstform durch die metaphysische
Lebensdissonanz definiert [ist]“, dann fällt es doch überhaupt schwer,
von der Theorie des Romans als einer dreistufigen Geschichte auszugehen.

This essay wants to study the state of the question of the relations between Nietzsche and Weber, with special intensity in the reception of the first generation of readers of Nietzsche, especially the systematization of Georg Sim-mel. The purpose of the essay is not to resolve the issue of Nietzschean influences on Weber, but to contribute to a change of perspective in the way of addressing this issue. It would not be to what extent certain aspects of Nietzsche passed to We-ber (science, sense of history, resentment, genealogy of morals, ascetic ideals, cha-risma) but to show that Weber's thought should be considered as a general response to the philosophical positions of Nietzsche. Keywords: Marxism-Will to power-Suffering -Asceticism-Self-improvement RESUMEN: Este ensayo desea abordar el estado de la cuestión de las relaciones entre Nietzsche y Weber, con especial intensidad en la recepción de la primera generación de lectores de Nietzsche como Simmel. La finalidad del ensayo no reside en resolver la cuestión de las influencias nietzscheanas sobre Weber, sino contri-buir a un cambio de perspectiva a la hora de abordarlas. No se trataría de hasta qué punto determinados aspectos de Nietzs-che pasaron a Weber (ciencia, sentido de la historia, resentimiento, genealogía de la moral, ideales ascéticos, carisma) sino de mostrar que el pensamiento de Weber debe considerarse como una respuesta general a las posiciones filosóficas de Nietzs-che. Palabras clave: Marxismo-Voluntad de poder-sufrimiento-ascetismo-auto-superación.

Resumo: Os debates sobre a influência do pensamento de Georg Simmel para a teoria social e sociológica tentam articular os seus escritos com elementos apontados pelos já consolidados clássicos da Sociologia-Karl Marx, Émile Durkheim e Max Weber. Nesse caso, para empreender os elementos de contato entre esses autores, o que se pretende é debater do individualismo na cultura moderna, comparando as sociologias de Simmel e Durkheim. O esforço desse trabalho é levantar os aspectos das considerações dos autores em suas buscas de descrever e explicar, dado o advento da modernidade, a nova estruturação da vida social e as remodelações das relações interpessoais. Palavras-chave: Modernidade. Divisão do Trabalho. Individualismo. Introdução Georg Simmel e Émile Durkheim são autores considerados clássicos da sociologia, são contemporâneos e exprimem em seus trabalhos o objetivo de estabelecer a sociologia como ciência e traçar seus limites frente outras disciplinas como, por exemplo, a psicologia. Os dois viveram no mesmo contexto histórico e apesar das diferenças epistemológicas, apresentam similitudes em algumas obras, assim como exprimem um mesmo "diagnóstico" acerca da modernidade e das mudanças proporcionadas por ela na organização e sentidos sociais. Ambos apresentam uma teoria da modernidade e tentam compreender como os indivíduos conseguem viver juntos na nova estrutura social oriunda da transição das sociedades tradicionais para as sociedades modernas. As reflexões sobre os processos de mudança estrutural aos quais a sociedade moderna esteve submetida no período de análise de Durkheim e Simmel, na virada de uma sociedade tradicional para uma forma pós-tradicional, ou industrial, tem como elemento de importância a divisão do trabalho. A reorganização da sociedade e dos seus elementos de coesão está diretamente ligada com a mudança ocorrida na dinâmica das interações e interdependências, devido a um processo de intensificação deste último fator em paralelo com o aumento da

The concept of status is in the background of much research on celebrity but rarely made explicit, so in this collection of articles we seek to intervene by drawing attention to the usefulness of the concept in understanding the attribution of value in celebrity culture. We consider that celebrity status derives from an accumulation of social esteem or disparagement based on the countless evaluative judgements, positive or negative, that accumulate in media and wider public discourse. We conceptualize celebrity status as operating within and relating to the social fields that celebrities occupy and move between. Analysing status within the context of fields enables us to better account for how celebrity status is accrued and/or lost within particular social fields in accordance with field-specific criteria and in relation to wider shifting cultural, political and technological contexts. The articles in this special issue have in common an attentiveness to the evaluative criteria by which celebrities are judged as they move from field to field, and as their status undergoes a transformation-for better or worse-in the field they occupy. Ultimately, we argue that the status attributed to celebrities tells us much about how value is attributed, distributed and accumulated in contemporary society.

El tercer volumen de la trilogía sobre la ciudad de Richard Sennett, Building and Dwelling, con el subtítulo Ethics for the City, ha sido publicado tras años de expectación. Construyendo y Habitando, una traducción nuestra, porque todavía no se ha publicado en español, no defraudará a los lectores de los dos volúmenes anteriores, El artesano y Jun-tos. Se trata de un texto escrito con brillantez narrativa y con argumentos provocadores y que toma partido en los debates actuales entre la ciencia social , la política y la arquitectura sobre el presente y el futuro de la ciudad. Sennett es un buen escritor y un académico singular, siempre a caballo entre el ensayo y los libros académicos al uso. Sus "naivetées" siguiendo su costumbre de usar palabras francesas, encarna una feroz opinión disfrazada de sofisticación cultural. La totalidad del libro está atravesada por la dicotomía entre los conceptos de "ville" y "cité", siempre en francés en la lengua original. El primero está relacionado con los "urbanites" o los habitan-tes de la vida urbana, y el segundo con los "urbanistas", que planifican y diseñan. El juego de pa-labras y la polisemia es el hilo conductor del libro, para bien y para mal. En la introducción vemos que además aparecen tres categorizaciones urbanísti-cas, el plan "abierto" (open), "modesto" (modest) y "estropeado" o "corrupto"(crooked). El plan abierto es parte del modelo experimental; la modestia curiosamente desaparece del libro y resurge en la conclusión. En cambio, la categoría corrupto, ex-traída de un texto sobre las ciudades cosmopolitas de Kant, toma protagonismo filosófico a lo largo del libro. Sennett está en contra de la "cité" cerrada, ejemplo para él de clasismo y racismo. Así, la "ville" debería ayudar a abrir socialmente la "cité", que depende de la ética de la planificación. La primera parte del libro, Las dos ciudades, describe la fundación un tanto inestable del urba-nismo moderno a partir de tres gigantes, Cerdá, Hausmann y Olmstead. A Idelfons Cerdá le adjudica ser el padre de una "igualdad social" a través de la trama, a Hausmann de ser el responsable de una nueva movilidad basada en la invención de los porches de venta comercial en la vía pública, y a Olmstead de crear los parques públicos haciendo entrar la ville en la cité. Sennett admite que nin-guno presenta un proyecto de ciudad completo sino aspectos inmersos en un mar de contradicciones entre urbanitas y urbanistas. Su valiosa crítica podría haber ido más allá, y sus ejemplos, como también sucede en su anterior volumen Juntos (Together, véase reseña de Muntanyola-Saura, 2012) surgen de un conocimiento histórico a menudo in-suficiente. Ni Haussman se inventa los porches, ni Cerdá es el padre de una igualdad social.

Uno de los hilos conductores de la obra de Simmel es la disección crítica de la filosofía de Kant. En este sentido, suele considerarse como punto neurálgico de la recepción del idealismo trascendental en el proyecto intelectual del berlinés a su propuesta sobre las condiciones de posibilidad de lo social y los a priori de las formas de socialización en Soziologie. Sin embargo, poca atención han prestado los comentaristas de su teoría al influjo del criticismo en Philosophie des Geldes. Al respecto, voy a sostener en este artículo, en primer lugar, que el clásico de la sociología convierte a una de las categorías de la epistemología kantiana en eje de su planteo, i.e., la categoría de efecto recíproco que utiliza para delinear un enfoque relativista –ni materialista, ni idealista– y relacional de la economía. Sobre esta base, en segundo lugar, afirmaré que Philosophie des Geldes es, ante todo, un tratado de ética que busca discutir, desde una óptica empírica, problemas centrales de la filosofía moral kantiana, a saber: la cuestión de la libertad y la dignidad humana. En este marco, mostraré, asimismo, el carácter moral del valor económico.

This article shows how Jewish social strangeness is a key notion for a trajectory of theorizing from Moses Hess' socialist and nationalist thought in the middle of the nineteenth century to American pragmatist sociology early in the twentieth century. It situates "the Jewish stranger" on the transmission lines of trajectories of thought pertaining to Jewish exemplarity, and it explores how this Jewish exemplarity was transformed toward new future horizons for Jews but also for the generalized "stranger." It is argued that the Jewish exemplarity perspective itself represented a subtle redirection of strong Kantian and Hegelian anti-Jewish historical teleologies via an alternative "processual" historical logic. "Jewish strangers" both bear and are borne by the totality of social imagination in society, both agents of but also bound by history. In this way, the exemplarity of the European Jews illuminates the process of the becoming of "the stranger" as a historical and social role within boundaries set by a coinciding of history and teleology.

En este trabajo se propone la consideración de una filosofia del dinero en cuanto a su impacto en la vida del hombre. Se retoma y analiza el pensamiento de Georg Simmel, quien en 1900 publicó la Filosofia del dinero en donde plasma que el dinero revela la estructura de todo ser y lo coloca en el centro de la reflexión filosófica.

Thesis in Fine Arts, Painting (MA)

Landscape plays a crucial role in the field of visual arts, assuming different forms of being expressed and developing transversely in all artistic areas. Resisting different conventions and trivializations, the conception of the landscape, as a pictorial conception, presents itself as a source of enigmas and questions in the debate of Painting.
As a space for research in art, landscape offers a group of premises that allow the identification of a space - visual, real, symbolic – even at the limits of abstraction. At the level of reflecting on time, it portrays a testimony of timelessness, which enables the reflection on the human condition, art and representation. Landscape presents itself as a primordial context where disciplines of the order of aesthetics and phenomenology are explained. In this sense, landscape is proposed as a primordial space for the development of research, where we intend to understand the phenomena that involve the knowledge and recognition of the landscape as a territory of experiences and meanings that go beyond its visual appearance and provide an existential experience. Thus, this dissertation begins with the reading of relevant theoreticians, defining a chronology on the evolution of landscape as a genre of painting. It discusses empirical acts, explains the serendipity experience and the transcendental experience, through the perception of notions of space and time, referring to the sublime empirical act. A theoretical-practical framework is presented below, which focuses on artistic development around the theme of landscape, through the explanation of works by contemporary artists. Finally, we introduce a report on theoretical and practical research in painting, developed in the context of this dissertation, collaborating with the reflection as mentioned above.
Attached is a document illustrating the practical methodology carried out in the context of the atelier, working as a practical manual.
It is intended to present how the landscape, in certain circumstances, functions as a reference for the understanding of processes of existential construction, visible through the condition of its revisiting the practice of painting. Based on the visual and phenomenological memory proposed by the spacio-temporal relationship with the landscape, especially the high mountain, it is intended to highlight the patterns in which these phenomenon develop and how they have been present in the construction of references and reflections in the fields of Philosophy and Art, and in particular, Painting.

Doç. Dr. M. Ertan Kardeş
İstanbul Üniversitesi, Edebiyat Fakültesi, Felsefe Bölümü
Çağdaş Felsefe Sorunları I
Ders Metinleri
2019 GÜZ

https://drive.google.com/file/d/1a6A0qHLHbI21hEBT5rL_GnP9TvybqTcH/view?usp=sharing

https://drive.google.com/file/d/1a6A0qHLHbI21hEBT5rL_GnP9TvybqTcH/view?usp=sharing

Comment un smartphone peut interagir dans les dynamiques de notre vie sociale ? Et comment, conserve-t-il l’image de notre monde contemporain ? L’article ana- lyse cet objet dans une perspective phénoménologique en utilisant les catégories sim- meliennes afin de retracer les sentiers invisibles de la matière et de clarifier le rôle et la position de l’objet dans la socialité contemporaine.

Bireylerin cisimleşmiş birer toplumsal özne olarak çözümlenmesi, literatürde bedene ilişkin yürütülen araştırmaların çıkış noktasını oluşturmuştur. Bedeni toplumsal bir öğe olarak kavramak, bedende birleşen her tür kültürel anlamın denetlenmesini, düzenlenmesini ve/veya yeniden üretilmesini ele almayı ve irdelemeyi gerekli kılmaktadır. Bedenin ahlâken ve tecimsel yollarla toplumsal olarak üretildiği savunusu, moda felsefesinin sosyal bir anlam taşıyan dış-beden üzerindeki normatif etkisine dair malûmat toplanabilecek ve üzerinde çalışılabilecek bir rutinin varlığını haber vermektedir. Buradan hareketle, yürütülen çalışmada anılan bu rutinin terzilik rutiniyle kesiştiği noktada doğduğu varsayılan taklit mekanizmasının mahiyeti etnometodolojik bir yordamla irdelenmiştir. Sahada ulaşılan temalar, kapitalist ekonomik işleyiş içerisinde toplumsal tasarım araçlarından biri olan kültürel melezleşmenin her bireyi eşit şartlarda değerlendiren, buradan hareketle de soğurucu bir öze sahip olan yapısının bireyler ve beden üzerindeki izdüşümü gözetilerek anahtar kavramlar ekseninde tartışılmıştır. Sonuç olarak, taklit mekanizmasının bireylerin giyinmeye ilişkin tasarruflarındaki tercihleri açısından etki sahibi olduğu görülmüştür. Bu noktada, modanın ve onun taklit mekanizmasıyla izini süren bireylerin kurduğu kamusallıkların dış-bedende cisimleşmesinde terzilik rutininin önemi serimlenmiştir. Ortak bir düşünme ve eyleme biçimi olan ve o ortaklıklardan sıyrılmaya izin veren bir itki barındıran modanın, dış-bedenin sınıfsal olarak şekillendirilmesi bağlamındaki üretiminde, döngüsel bir fenomen olmasının ve bu yüzden öngörülemez bir manevra alanı içinde bulunmasının altı çizilmiştir.
Anahtar Kelimeler: Dış-beden, moda felsefesi, taklit mekanizması, terzilik rutini.

The analysis of individuals as embodied social subjects constitutes the starting point of the researches carried out on the body in the related literature. To grasp the body as a social element necessitates the consideration and examination of the control, regulation and/or reproduction of any cultural meaning that is united in the body. The advocacy that the body is socially produced through moral and commercial means informs the existence of a routine that can be collected and studied on the normative effect of fashion philosophy on the external-body with a social meaning. In this study, the nature of the mechanism of imitation that was supposed to be born at the point where this routine coincides with the tailoring routine, is examined by an ethnomethodological way. The themes reached in the field are discussed in the axis of key concepts by considering the projection of cultural hybridization, which is one of the social design tools in the capitalist eco- nomic process, on the individuals and body and evaluates each individual under equal conditions and thus has an absorbing essence. As a result, it is seen that mechanism of imitation has an effect on the individuals preferences of dressing. At this point, it has been shown that the embodiment on the external body of the publicness formed by the fashion and individuals who follow the fashion via mechanism of imitation have a certain importance in tailoring routine. It is underlined that fashion, which has a mutual form about thinking and action, and which contains a motivation that allows to be released from this mutualisation, is a cyclical phenomenon in the context of shaping mediated social class of the external-body and therefore is in an unpredictable room for manoeuvre.
Keywords: External-body, fashion philosophy, mechanism of imitation, tailoring routine.

Uno de los hilos conductores de la obra de Simmel es la disección crítica de la filosofía de Kant. En este sentido, suele
considerarse como punto neurálgico de la recepción del idealismo trascendental en el proyecto intelectual del berlinés a su
propuesta sobre las condiciones de posibilidad de lo social y los a priori de las formas de socialización en Soziologie. Sin
embargo, poca atención han prestado los comentaristas de su teoría al influjo del criticismo en Philosophie des Geldes. Al
respecto, voy a sostener en este artículo, en primer lugar, que el clásico de la sociología convierte a una de las categorías
de la epistemología kantiana en eje de su planteo, i.e., la categoría de efecto recíproco que utiliza para delinear un enfoque
relativista –ni materialista, ni idealista– y relacional de la economía. Sobre esta base, en segundo lugar, afirmaré que Philosophie des Geldes es, ante todo, un tratado de ética que busca discutir, desde una óptica empírica, problemas centrales de
la filosofía moral kantiana, a saber: la cuestión de la libertad y la dignidad humana. En este marco, mostraré, asimismo, el
carácter moral del valor económico