Christel Johanna Fricke

The series, founded in 1970, publishes works which either combine studies in the history of philosophy with a systematic approach or bring together systematic studies with reconstructions from the history of philosophy. Monographs are published in English as well as in German. The founding editors are Erhard Scheibe (editor until 1991), Günther Patzig (until 1999) and Wolfgang Wieland (until 2003). From 1990 to 2007, the series had been co-edited by Jürgen Mittelstraß, and from 2005 to 2020 by Jens Halfwassen.

We read Adam Smith's Theory of Moral Sentiments as a critical response to David Hume's moral theory. While both share a commitment to moral sentimentalism, they propose different ways of meeting its main challenge, that is, explaining how judgments informed by sentiments can nevertheless have a justified claim to general authority. This difference is particularly manifest in their respective accounts of ‘moral optics’, or the way they rely on the analogy between perceptual and moral judgments. According to Hume, making perceptual and moral judgments requires focusing on frequently co-occurring impressions for tracking an existing object with its perceptual properties or an agent's character traits. Smith uses visual perception for the purpose of illustrating one source of the partiality of the sentiments people feel in response to actions. Before making a moral judgment, people have to disregard this partiality and accept that they are all equally important. Smith and Hume's different ways of relying on the same analogy reveals the still-overlooked and yet profound differences between their moral theories.

This collection examines the instrumental role of intersubjectivity in Husserl's philosophy and explores the potential for developing novel ways of addressing and resolving contemporary philosophical issues on that basis. This is the first time Iso Kern offers an extensive overview of this rich field of inquiry for an English-speaking audience. Guided by his overview, the remaining articles present new approaches to a range of topics and problems that go to the heart of its core theme of intersubjectivity and methodology. Specific topics covered include intersubjectivity and empathy, intersubjectivity in meaning and communication, intersubjectivity pertaining to collective forms of intentionality and extended forms of embodiment, intersubjectivity as constitutive of normality, and, finally, the central role of intersubjectivity in the sciences. The authors' perspectives are strongly influenced by Husserl's own methodological concerns and problem awareness and are formed with a view to applicability in current debates - be it within general epistemology, analytic philosophy of language, philosophy of mind, meta-ethics or philosophy of science. With contributions written by leading Husserl scholars from across the Analytic and Continental traditions, Husserl's Phenomenology of Intersubjectivity is a clear and accessible resource for scholars and advanced students interested in Husserl's phenomenology and the relevance of intersubjectivity to philosophy, sociology, and psychology.

Forgiveness typically becomes an issue where an offender has wronged a victim. What the offender and his victim are concerned with when engaging in a process of asking for and granting forgiveness includes the social relations that previously existed between them. It is against the background of these relations that the question arises whether there can be a duty for a victim to forgive and a right for an offender to be forgiven. I suggest distinguishing between personal and moral relations between people; the latter bind every rational agent to the community of all moral agents, whereas the former are a personal matter. Accordingly, I distinguish between personal and moral forgiveness. And I argue that the offender has a right to be morally forgiven, either by the victim herself or by another member of the community of moral agents; but the victim does not have a duty to forgive the offender personally.

This chapter presents a short biography of Immanuel Kant. It then reviews his particular thoughts on musical philosophy. Kant was born on April 22, 1724 in Königsberg. He never married and died in his house on February 12, 1804. He placed the theory of cognition at the beginning of his critical transcendental philosophy, in Critique of Pure Reason. His theory of art was pointed toward identifying the place that the judgment of beautiful objects in nature and art occupies in his system of transcendental philosophy. Kant accorded to music the status of a fine art, whose works engage the cognitive powers in a state of free play. Critique of Judgment occupied a unique position in regard to the reception of Kantian transcendental philosophy. The basis for an understanding of the semiotic character of absolute music was provided by Kant's transcendental philosophy and his cognitivist aesthetics.