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U knjizi Hitlerovi dragovoljni dželati Danijel Goldhagen razotkriva nekoliko »konvencionalnih objašnjenja« za motive koji leže u pozadini delovanja onih koje on zove »pešadincima« Holokausta. Goldhagen piše kako »shvatanja da su izvršioci doprineli genocidu zato što su bili primorani, zato što su bili nepromišljeni, poslušni izvršioci državnih naređenja, zbog sociopsihološkog pritiska, zbog izgleda za lično napredovanje, ili zato što nisu shvatali ili se nisu osećali odgovornim za ono što čine«, »nisu održiva«. Njegova opsežna analiza pojedinaca uključenih u ubijanje Jevreja, u policijskim bataljonima, u radnim logorima i marševima smrti, izdvaja virulentan, rasni antisemitizam kao nužan i dovoljan uslov za dragovoljno i oduševljeno učestvovanje tih »običnih Nemaca« u genocidnom projektu nacista.
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Mančić takes the translation of a fragment of La vérité en peinture by Jacques Derrida, as translated by Julio Cortázar in his short story “A Diary on A Short Story”, and examines its effects. In this sense, she tests the possibility or impossibility of drawing a general distinction between “original” and “translation” when the translated text becomes a part of a new original. May a fact that the original asks to be annuled as original and to find itself on the place of a translation be called suicide? Or a translating process is the one commiting suicide by obtaining such a result? Could it, even, be called a suicide, or what we are dealing with here is an other survival?
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What Relations are possible to the galaxy of events and coincidence of meeting? There are a different approach from the artist, like Duchamp, novelist Joyce, to the philosopher Derrida. Each of them had a different solutions, but not as a final or universal, but rather as a game in a different context.
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This paper deals with Derrida’s introduction of Levinas’s concept of trace into the thinking of différance. Since his earliest reading of that concept – in Violence and Metaphysics – was highly negative and exclusive, there obviously happened some change of perspective. In order to explain it, the author reached for Derrida’s idea of writing as grafting, considering his earlier refusal of Levinas as the “silent” entry of graft “Levinas” in his writing.
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With a synergy between UN agencies, governments and global civil society sector that managed to build a number of international institutions of criminal justice in the 1990s and the challenges to this commitment in the 2000s, in this paper we ask about sustainability and viable mechanisms to support the work of international courts. Do we in present conditions have a general responsibility to support these institutions even as by-standers to distant conflicts, as opposed to specific responsibilities to our political communities that are protagonists in conflict? We address this question through an examination of Jacques Derrida’s texts that discuss transitional justice issues including the concepts of forgiveness, responsibility, cosmopolitanism and its relation to international institutions. The effort to create a new language of solidarity of global publics in support of international justice, as a sole mechanism securing sustainability of its institutions, following Derrida, will have to seek a significant role for the exercise of philosophy in this project.
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In this paper, I propose to examine the postmodern challenge to hermeneutics exercised by historians of religions by using the hermeneutical method of Mircea Eliade as an example of an approach that has been used in Religious Studies scholarship. This hermeneutical method is compared to the postmodern approach of Gilles Deleuze and special attention will be focused on the importance of difference among postmodernists. We will witness that Eliade’s approach to the study of religion is shaped by fundamentals of Enlightenment philosophy and its representational mode of thinking that is evident in his use of the phenomenological method, intentionality, intuition, morphological classification, and his stress upon order over chaos instead of the simulacra discussed by numerous postmodern thinkers. It is possible, of course, to also find romantic thinking and the influence of Eastern Orthodox religiosity on Eliade’s thinking, but such considerations can be suspended for another paper. The phenomenological aspects of Eliade’s method presuppose a metaphysical stance and a coherence theory of truth, which are diametrically opposed to the overall postmodern position of Gilles Deleuze and his emphasis on difference. Moreover, this paper is narrowly focused on Eliade’s morphological classification expressed by the metaphor of a tree, which is compared to Deleuze’s rhizomatic method and its reliance on the metaphor of the root. This essay also compares the two thinkers on the problem of time and history because of their relationship to the hermeneutics of the two thinkers. Moreover, this paper examines the presuppositions of both positions and the advantages and disadvantages of these approaches for the future study of religion.
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Schopenhauer’s concept of the will-to-life was transformed by one of his main disciples, Philipp Mainländer, in his Philosophy of Redemption (1876) into the will-to-death, preceding Freud’s investigations regarding the death drive in Beyond the Pleasure Principle (1920). The post-Schopenhauerian conception that non-being is preferable to being anticipates Cioran’s discussion of suicide from A Short History of Decay (1949) and his vision of the “catastrophe” of birth from The Trouble with Being Born (1973). If, from a Nietzschean perspective, Cioran’s obsession with death is a symptom of passive nihilism, from an extreme-contemporary perspective, his pessimistic thanatophilia may resonate with our anxious crepuscular mentality, prefiguring contemporary Antinatalism.
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In this chapter I will discuss the role that Mircea Eliade had, as an exponent of the generation, in the interwar Romanian culture in general and the humanist thinking in particular, under two challenges, the historical and the political. Between the two tendencies crystallized in the Romanian interwar period, philosophical universalism and autochthonism, Mircea Eliade intuits that, after the achievement of the national unity on December 1, 1918, the Romanian culture must assume a new direction. Between the first tendency, which understood that the specificity of modernity lies in the universality of truth beyond the national specificity, and the second interested in deciphering the "Romanian vein" in the cultural and philosophical capitalization of ethnicity, Eliade projects the destiny of national culture in the universal dimension, considering that Romania's destiny must be a cultural one, and our cultural modernity should by represented by the "universal man". Eliade's project, perhaps, was doomed to failure or had a partial and unfinished character, and modernity understood as cultural universalization was only the awareness of a trend that, under the "terror of history", did not materialize. But he became a personal project that Mircea Eliade assumed through the hermeneutics of the world's religions and the understanding of homo religiosus and "total man".
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After 1990, the Romanian political philosophy freed from the compulsory official Marxist dogma had to choose between a range of inadequate options from the viewpoint of current reality: reconnecting with the interwar tradition but in a different historical context; replaying the cold war ideological clash this time from the anti-Marxist perspective, that seemed redundant given the political and economic failure of Marxism or embracing the western post modern discourse, that didn’t reflect in any way the current Romanian political and social realities. Faced with these alternatives it was necessary to regain a philosophical experience of the transition from modernity to post-modernity that will enable the adequate approach to the realities of the transition from communism to post-modern capitalism. Given this context, from a certain philosophical perspective, the study of Rawls from A theory of Justice to Political Liberalism provided a unique opportunity to escape tradition without canceling it, to overcome the socialist-capitalist dichotomy and to connect to contemporary philosophical debates without losing the local perspective.
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In an attempt to capture the beginnings of modernity in Mircea Florian's philosophy (and, implicitly, in Romanian philosophy in the twentieth century) we start from the philosophy of recessiveness developed by the Romanian thinker and discuss, for a start, the relationship between philosophy and nation, on the one hand , and the relationship between Romanian philosophy and universal philosophy, on the other hand. In both cases, the recessive ratio indicates a duality. Philosophy means infinity, generality, totality, and the nation expresses the essence, the real, the individual. The dominant term is philosophy, and the nation is recessive. Mircea Florian accentuated the state of Romanian philosophy through a series of rules of philosophical conduct, thus affirming its autonomy from other fields of spirit and recognizing its existence in a national context.
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Since his work of youth (On the Inner Dialogue) Mihai Şora proposes the act of dialogue as an essential, self-producing state of the human being. Dialogue involves equality in dignity and alterity and the discovery of alterity as a revelation of the world as a structure of potentialities or openings of the me-you type, characterized by reciprocity. The me-you dialogue and the inner dialogue, the communion or the generalized dialogue, are at the same time an ethical commitment of the partners practicing openness and reciprocity, the foundations for freedom and for the awareness of our position in relation to the world. Dialogue produces the occupation of the inner space of the being as voice of the being and at the same time assuming of the outer space as discursiveness, as permanence of acts of being and acting together. Communion as an emotion thus edifies not only the subject participating in the dialogue but also a new entity, the communion itself, an affective perhaps agapic composition. Starting from here, we aim to explore the philosophy of dialogue of Mihai Şora as a theoretical background for a structuring the methodology of a dialogical counselling or philosophical practice aimed at elucidating and relating the subject to the outside world as an autonomous act of the self that is exercised in communion as co-author and giver of meaning.
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