Natur-Wissenschaft und Gotteserkenntnis: Das jüdische Modell

The thesis proposed here is that in Judaism creation is seen as a unique act of God at a specific point in time. In medieval philosophy the act of creation is interpreted as natural science, which concerns itself only with products of divine creation. This is contrasted with theology, which is concerned not with creation but with God. Francis Bacon takes this model from Moses Maimonides for his work Nova Atlantis. Natural science replaces theological studies for Bacon.     

Wisse die Wege! Hildegard von Bingen zum 900. Geburtstag

Hildegard is regarded as one of the most important women of the Middle Ages. Her contemporaries from all over the world wrote letters to her searching for help and prayer. Universally working she wrote works about medicine, natural history, compositions of chants for the honour of God and his creation and more than three hundred letters to people all over the world including the popes and the emperor. Hildegard's work and the way she understood herself were strongly marked by vision and prophecy. Her works were of divine origin by vision and audition. Her aim was the religious interpretation of the whole universe and a Christian life in the sense of the bible. Heaven and earth, faith and natural science, medicine and religion, the human existence in all its facts and potentials, everything was a mirror of divine love to her. In her first work Scivias ("Know the Ways") she is considering on the history of creation and salvation, from the origin of the world and of man over Christ's salvation to the fulfillment at the end of times. In the centre is standing the human being as microcosm reflecting the whole world in all conditions and laws. Man is the main work of god, reflecting in his doing and thinking God's love. Man has to know the ways that means to live the life of love in all consequences including reproduction by creating a new human being for the praise of God.     

Erschöpfte Literatur. Über das Neue bei Samuel Beckett

Exhausted Literature. The Emergence of the New in Samuel Beckett's Novels and Plays. The article investigates literary subjectivity in some texts by Samuel Beckett. The article proceeds by relating the ways of how narration and speech acts constitute literary subjectivity to the problems of subjectivity that scientific investigations deal with. While successful self‐regulation of the organism nourishes the roots of subjectivity, i. e. the habits, subjectivity decomposes in states of exhaustion, when self‐regulation breaks down. As soon as a certain threshold is transgressed, fatigue sets in, alters the personality and eventually leads to exhaustion – a state, which psychiatrists compare to mental illness. Notwithstanding the different explanations given, scientists agreed about the effects of exhaustion. According to their investigations, the decomposition of personality by exhaustion generally does not involve apathy, withdrawal from activity or termination of movements, but rather mere action. Similarly, in Beckett's novels and plays exhaustion is much more than tiredness, as French philosopher Gilles Deleuze observed. For Beckett, exhaustion is rather the model for both literary innovation and a new concept of subjectivity, which he explores on the basis of a detailed knowledge of physiology, psychology, and psychiatry, but using his own literary means. The exhausted subject is beyond any calculus of activity. It will perform an activity even if he or she makes mistakes or loses control, and will thus act in an unpredictable way. This unpredictable action is not an exception in the continuation of the habits, but rather points to the moment when a new subjectivity emerges. Such new subjectivity surfaces in Beckett's novels and plays in forms of literary innovation.     

Die Rezeption der humanistischen Gedächtnislehre bei Luther: Natur,Kunst und Konfessionen

Iconoclasm is one of the central characteristic of the reformation movement. In several books it was argued that there was a connection between iconoclasm and the interpretation of nature as a language and as a text since about 1600. This article discusses the artist as a creator in Renaissance culture. It shows the reaction of Luther to this concept and to iconoclasm, focussing on the connection between the Lutheran control of pictures and images and his conception of the mind and of memory on the one hand and of creatures as images and natural history on the other. In Lutheran context the book of nature was a book made of images as signs of the word of God.