Search results for "Benjamin Hartmann"
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Scribes of Rome
In a society in which only a fraction of the population was literate and numerate, being one of the few specialists in reading, writing and reckoning meant the possession of an invaluable asset. The fact that the Roman state heavily relied on these professional scribes in financial and legal administration led to their holding a unique position and status. By gathering and analysing the available source material on the Roman scribae, Benjamin Hartmann traces the history of Rome's public scribes from the early Republic to the Later Roman Empire. He tells the story of men of low social origin, who, by means of their specialised knowledge, found themselves at the heart of the Roman polity, in close proximity to the powerful and responsible for the written arcana of the state – a story of knowledge and power, corruption and contested social mobility.
R 1,755.29
Scribes of Rome
In a society in which only a fraction of the population was literate and numerate, being one of the few specialists in reading, writing and reckoning meant the possession of an invaluable asset. The fact that the Roman state heavily relied on these professional scribes in financial and legal administration led to their holding a unique position and status. By gathering and analysing the available source material on the Roman scribae, Benjamin Hartmann traces the history of Rome's public scribes from the early Republic to the Later Roman Empire. He tells the story of men of low social origin, who, by means of their specialised knowledge, found themselves at the heart of the Roman polity, in close proximity to the powerful and responsible for the written arcana of the state – a story of knowledge and power, corruption and contested social mobility.
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Operation Barbarossa
The war between Nazi Germany and Stalin's Soviet Union that raged between 1941 and 1945 was the ultimate confrontation between the two great totalitarian ideologies of the twentieth century. Unprecedented in the scale of the destruction that it wrought and the deep historical scars that it left behind, it was a gargantuan conflict in every sense of the term: in the vast territories over which it ranged, its intensity and duration, the huge numbers of people involved— and last but by no means least, the millions of victims that it claimed. The invasion of the Soviet Union was the conflict that Hitler had always ultimately planned for: a pitiless war of conquest and destruction in which the Fuehrer dreamed of creating his 'Thousand Year Reich', destroying his ideological opponents, and enslaving or 'eliminating' whole peoples in the process. It was right from the start a struggle for survival, conducted with great bitterness and savagery by opponents who knew that defeat meant the destruction of everything they stood for. The outcome of this bitter struggle was quite as momentous as the struggle which had preceded it. By 1945 a huge swathe of Europe between Berlin and Moscow had been reduced to a devastated wasteland in which whole societies had been erased from the face of the earth. Over 26 million Soviets and between four and five million Germans lay dead. The victory of the Red Army transformed the Soviet Union into one of the world's two superpowers. It also saw the complete destruction of Hitler'smegalomaniac vision for the East, the division of the German Reich, and the Soviet domination of Eastern Europe for a generation. In Operation Barbarossa, German military historian Christian Hartmann draws upon the latest research, enriched by a wealth of eye-witness testimony from both the Soviet and the German sides, to paint a masterly overview of these momentous four years and their human consequences - one that is both gripping, and at times deeply moving.
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Aesthetics
The book is the first English translation of Nicolai Hartmann's final book, published in 1953. It will be of value to graduate students in philosophy, scholars concerned with 20th century Continental philosophy, students of aesthetics and art history and criticism, and persons in and out of academic philosophy who wish to develop their aesthetic understanding and responsiveness to art and music. Aesthetics, Hartmann believes, centers on the phenomenon of beauty, and art “objectivates” beauty, but beauty exists only for a prepared observer. Part One explores the act of aesthetic appreciation and its relation to the aesthetic object. It discovers phenomenologically determinable levels of apprehension. Beauty appears when an observer peers through the physical foreground of the work into the strata upon which form has been bestowed by an artist in the process of expressing some theme. The theory of the stratification of aesthetic objects is perhaps Hartmann's most original and fundamental contribution to aesthetics. He makes useful and perceptive distinctions between the levels in which beauty is given to perception by nature, in the performing and the plastic arts, and in literature of all kinds. Part Two develops the phenomenology of beauty in each of the fine arts. Then Hartmann explores some traditional categories of European aesthetics, most centrally those of unity of value and of truth in art. Part Three discusses the forms of aesthetic values. Hartmann contrasts aesthetic values with moral values, and this exploration culminates in an extensive phenomenological exhibition of three specific aesthetic values, the sublime, the charming, and the comic. A brief appendix, never completed by the author, contains some reflections upon the ontological implications of aesthetics. Engaged in constant dialogue with thinkers of the past, especially with Aristotle, Kant and Hegel, Hartmann corrects and develops their insights by reference to familiar phenomena of art, especially with Shakespeare, Rembrandt and Greek sculpture and architecture. In the course of his analysis, he considers truth in art (the true-to-life and the essential truth), the value of art, and the relation of art and morality. The work stands with other great 20th century contributors to art theory and philosophical aesthetics: Heidegger, Sartre, Croce, Adorno, Ingarden, and Benjamin, among others.
R 6,559.25
Aesthetics
The book is the first English translation of Nicolai Hartmann's final book, published in 1953. It will be of value to graduate students in philosophy, scholars concerned with 20th century Continental philosophy, students of aesthetics and art history and criticism, and persons in and out of academic philosophy who wish to develop their aesthetic understanding and responsiveness to art and music. Aesthetics, Hartmann believes, centers on the phenomenon of beauty, and art “objectivates” beauty, but beauty exists only for a prepared observer. Part One explores the act of aesthetic appreciation and its relation to the aesthetic object. It discovers phenomenologically determinable levels of apprehension.Beauty appears when an observer peers through the physical foreground of the work into the strata upon which form has been bestowed by an artist in the process of expressing some theme. The theory of the stratification of aesthetic objects is perhaps Hartmann's most original and fundamental contribution to aesthetics. He makes useful and perceptive distinctions between the levels in which beauty is given to perception by nature, in the performing and the plastic arts, and in literature of all kinds. Part Two develops the phenomenology of beauty in each of the fine arts. Then Hartmann explores some traditional categories of European aesthetics, most centrally those of unity of value and of truth in art. Part Three discusses the forms of aesthetic values. Hartmann contrasts aesthetic values with moral values, and this exploration culminates in an extensive phenomenological exhibition of three specific aesthetic values, the sublime, the charming, and the comic. A brief appendix, never completed by the author, contains some reflections upon the ontological implications of aesthetics. Engaged in constant dialogue with thinkers of the past, especially with Aristotle, Kant and Hegel, Hartmann corrects and develops their insights by reference to familiar phenomena of art, especially with Shakespeare, Rembrandt and Greek sculpture and architecture. In the course of his analysis, he considers truth in art (the true-to-life and the essential truth), the value of art, and the relation of art and morality. The workstands with other great 20th century contributors to art theory and philosophical aesthetics: Heidegger, Sartre, Croce, Adorno, Ingarden, and Benjamin, among others.
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Studien zur Neuen Ontologie und Anthropologie
This textbook includes important texts by Hartmann, some of them virtually inaccessible before, with a concise introduction to the central themes in Hartmann’s thought. There has been a recent renaissance of interest in his “new ontology”both as systematic theory and in philosophical anthropology. This text serves as an ideal introduction to Hartmann and as a supplement in courses on metaphysics, anthropology, and 20th century philosophy.
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Ontology: Laying the Foundations
It is no exaggeration to say that of the early 20th century German philosophers who claimed to establish a new ontology, former neo-Kantian turned realist Nicolai Hartmann is the only one to have actually followed through. "Ontology: Laying the Foundations" deals with "what is insofar as it is," and its four parts tackle traditional ontological assumptions and prejudices and traditional categories such as substance, thing, individual, whole, object, and phenomenon; a novel redefinition of existence and essence in terms of the ontological factors Dasein and Sosein and their interrelations; an analysis of modes of "givenness" and the ontological embeddedness of cognition in affective transcendent acts; and a discussion of the status of ideal being, including mathematical being, phenomenological essences, logical laws, values, and the interconnections between the ideal and real spheres. Hartmann’s work offers rich resources for those interested in overcoming the human-centeredness of much 20th century philosophy. Hartmann’s work offers rich resources for those interested in overcoming the human-centeredness of much 20th century philosophy.
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