The Monist

Vols. 2 and 5 include appendices.

Charles S. Peirce (1839-1914), bekannt als Logiker, Philosoph, Mathematiker und Physiker, zählt zu den wichtigsten Denkern der modernen Wissenschaftsgeschichte. In der späten und wichtigsten Phase seines Schaffens (1891-1909) hat er programmatische Aufsätze sowie ausgewählte Vorlesungen explizit als eine Reihe für die Zeitschrift "The Monist" konzipiert, Beiträge, von denen bislang nur Ausschnitte und stark revidierte Fassungen veröffentlicht worden sind. Die erstmalige und vollständige Veröffentlichung der "Monist"-Texte in diesem Band beabsichtigt eine zeitgemäße Annäherung an das höchst heterogene Werk von Peirce. Sie ist der Versuch, Peirces Gedanken der internationalen wissenschaftlichen Öffentlichkeit originalgetreu zu präsentieren. Zentrales Ziel der "Monist"-Reihe bildet die Begründung einer Methode der Semiotik. Die Abhandlungen präsentieren Erklärungen zu Universalgesetzmäßigkeiten wie Gefühle, Wille und Kognition, zu Differenzen zwischen auf Erfahrung basiertem und imaginiertem Wissen, aber auch zur Definition der Aufmerksamkeit als einer symbolischen Tätigkeit. Neben ihrer wissenschaftlichen Relevanz in der philosophischen, bildwissenschaftlichen und kulturwissenschaftlichen Forschung, in der Kognitionswissenschaft und Logik besitzen die von Peirce diskutierten Themen auch eine hohe Aktualität für die zeitgenössischen Naturwissenschaften.

The first survey in the English language of the history of naturalistic monism in the works of Haeckel, Spinoza, and others. Contributors demonstrate that, to a greater extent than previously shown, monism provided an essential epistemological framework for numerous religious, political and cultural movements between the 1840s and 1940s.

This is a study of the relation between the fine arts and philosophy in France, from the aftermath of the 1789 revolution to the end of the nineteenth century, when a philosophy of being called “Monism” emerged and became increasingly popular among intellectuals, artists and scientists. Nina Athanassoglou-Kallmyer traces the evolution and impact of this monist thought and its various permutations as a transformative force on certain aspects of French art and culture – from Romanticism to Impressionism – and as a theoretical backdrop that paved the way to as yet unexplored aspects of a modernist aesthetic. Chapters concentrate on three major artists, Théodore Géricault (1791–1824), Eugène Delacroix (1798–1863) and Claude Monet (1840–1926), and their particular approach to and interpretation of this unitarian concept. The book will be of interest to scholars working in art history, philosophy and cultural history.

The "father of Russian Marxism", George Plekhanov (1857-1918) directed most of his writings against the Russian "populist" movement to which he once belonged. He insisted that although, in principle, in semi-feudal societies such as the Russian, the first revolution would of necessity have to be a "capitalist" one. However, he noted that bourgeoisie was too weak to bring it about and thus it fell upon the proletariat to conduct "both" revolutions. However, he condemned the methods of Lenin and the Bolsheviks soon after 1917. In books such as Socialism and the Political Struggle (1883), Our Differences (1884) and On the Development of the Monist View of History (1895), Plekhanov argued that a successful Marxist revolution could only take place after the development of capitalism. According to Plekhanov, it was the industrial proletariat who would bring about a socialist revolution. Plekhanov was strongly opposed to the political views of people who argued that it would be possible for a small group of dedicated revolutionaries to seize power from the Tsar. Plekhanov warned that if this happened, you would replace one authoritarian regime with another and that a "socialist caste" would take control who would impose a system of "patriarchal authoritarian communism.

Vols. 2 and 5 include appendices.