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National Repository of Grey Literature 2 records found  Search took 0.01 seconds. 
The gendered Human Being. Gender Difference from the Perspective of Helmuth Plessner's Philosophical Anthropology
 Reinhardt, Charlotte ; Serban, Claudia (advisor) ; Sepp, Hans Rainer (referee)
In The gendered Human Being. Gender Difference from the Perspective of Helmuth Plessner's Philosophical Anthropology, gender difference in the two-gender model is examined from the perspective of philosophical anthropology. For this purpose, three social constructivist theories of gender difference are brought into conversation with each other under the prism of lived body-body-person. In this way, the work aims to catch a glimpse of the gendered human being in all the spheres that open up their world. Key words: Helmuth Plessner, Philosophical Anthropology, anthropology, gender difference, gender studies, philosophy of the twentieth century, phenomenology, social philosophy, Judith Butler, Doing Gender, theory of interaction, constructivism
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Second Nature: A Contribution to the Social Philosophy of Art
 Stejskal, Jakub ; Zuska, Vlastimil (advisor) ; Hauser, Michael (referee) ; Hrubec, Marek (referee)
- Doctoral Thesis Second Nature: A Contribution to the Social Philosophy of Art (Jakub Stejskal) In what sense can one speak of art as a source of insight into the social? In my thesis I focus on criticizing a position that explains art's social-cognitive potential in terms of its purported intrinsic adherence to a normative view of society as a reconciled second nature: Art either offers insight into the nature of social reality as such a second nature or it makes us feel its unreconciled condition and becomes a promise of reconciliation. I identify two traditions of art interpretation holding this position, which both have their intellectual roots in early German Idealism: the Frankfurt Critical Theory and analytic Kantian Revisionism. In the writings of their adherents art is - implicitly or explicitly - understood essentially as a means of enchantment and affirmation that can at most suppress its affirmative character in the name of future reconciliation. Against this conception I develop an understanding of artistic modernism as belonging to an aesthetics of disenchantment, which takes art to be a way of establishing a specific cognitive distance from the social second nature without evoking reconciliation.
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