Jos de Mul. Athens, or the Fate of Europe. Journal of Philosophical Research. Special supplement: Selected Papers from the XXIII World Congress of Philosophy. 2015: 221–227.

ABSTRACT: In his essay ‘The Idea of Europe’ George Steiner claims that European culture derives from “a primordial duality, the twofold inheritance of Athens and Jerusalem”. For Steiner, the relationship between Greek rationalism and Jewish religion, which is at once conflictual and syncretic, has engaged the entire history of European philosophy, morality, and politics. However, given this definition, at present the United States of America seem to be more European that ‘the old Europe’ itself. Against Steiner, it will be argued that in order to fathom the distinctive characteristic of European culture, we have to take a third European tradition into account, which is inextricably bound up with Athens: the tradition of Greek tragedy. If we may call Europe a tragic continent, it is not only because its history is characterised by an abundance of real political tragedies, but also because it embodies, as an idea and an ideal, a tragic awareness of the fragility of human life. Instead of reducing the ‘idea of Europe’ to a financial and economic issue, Europe should remain faithful to this idea and ideal.

First of all I like to thank the organizers for their invitation to join this symposium on Art and Cultures. As a tribute to the magnificent city of Athens and its inhabitants, I will talk about the relationship between European culture and the art form that is inextricably tied to the city of Athens: Greek tragedy. The thesis I will defend is that European culture distinguishes itself from other world cultures, and in particular from North-American culture, with which it shares both its Christian and its scientific worldview, by its deeply tragic character. This claim, I will argue, is neither a pessimistic nor an optimistic one, because tragedy is beyond this simple dichotomy. If I claim that Europe is a tragic continent, I refer both to its grandeur and pitfalls.

My talk consists of two parts. First, in a critical discussion with George Steiner, I will address the question of the identity of European culture. In the second part I will relate this identity to Greek tragedy.

Jos de Mul. Archeologie van de normatieve pedagogiek. In: Pedagogische Verhandelingen, Jrg. 10, nr.1 (1987), 27-36.

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ジョス・デ・ムル . 総合的チューリング・テスト ─日本的観点およびヨーロッパ的観点からロボティクスを考える─ [Jos de Mul, The Total Turing Test. Robotics from Japanese and European perspectives]. Ritsumeikan Studies in Language and Culture. Vol.31 (2020), Vol.32, no.2, 95-107. [English version]

国際言語文化研究所後援

2019 年 10 月 8 日開催 ジョス・デ・ムル氏 招待講演

「トータルチューリングテスト：日本と西欧におけるロボティクスの見解」総合的チューリング・テスト

─日本的観点およびヨーロッパ的観点からロボティクスを考える─

ジョス・デ・ムル

约斯·德·穆尔 里斯贝思·努尔德格拉芙 《主权债务危机还是苏菲的抉择：论欧洲的悲剧、罪恶与责任》《社会科学战线》2012年第4期 [Jos de Mul and Liesbeth Noordegraaf-Eelens. The sovereign debt crisis or Sophie’s choice. On European tragedies, guilt and responsibility, Social Science Front, no.4 2012, 1-5]

主权债务危机还是苏菲的抉择: 论欧洲的悲剧、罪恶与责任

[荷] 约斯·德·穆尔 1  摇里斯贝思·努尔德格拉芙 2

(1作者简介: 约斯·德·穆尔( Jos de Mul), 荷兰伊拉斯谟大学哲学系教授, 研究方向: 哲学人类学; 里斯贝思·努尔德格拉芙(Liesbeth Noordegraaf-Eelens), 伊拉斯谟大学经济系副教授, 研究方向: 哲学、经济学。郾伊拉斯谟大学哲学系, 荷兰鹿特丹3000 DR; 2郾伊拉斯谟大学经济学系, 荷兰鹿特丹3000 DR)

摇摇摘要: 2011 年, 针对金融危机, 欧洲峰会叠起, 但效果不佳。 我们应该开始在金融领域之外进行深入 思考。 文章将以希腊神话中俄狄浦斯的故事及《苏菲的选择》 为例, 阐释悲剧的意义, 从而透视欧洲危机 的深层问题。 解决欧洲危机的关键在于唤起人的责任感。 新自由主义弊端开始在欧洲显现, 当前, 迫切需 要将政治与经济联系起来, 在政治和文化的意义上定义欧洲, 而不是纠结于金融政策的改革。

关键词: 欧洲; 主权债务危机; 悲剧; 责任
中图分类号: G02摇文献标识码: A摇文章编号: 0257-0246 (2012) 04-0229-05

约斯·德·穆尔，里斯贝思·努尔德格拉芙 :《主权债务危机还是苏菲的抉择：论欧洲的悲剧、罪恶与责任》《新华文摘》2012年第13期全文转载 [Jos de Mul andLiesbeth Noordegraaf-Eelens, The sovereign debt crisis or Sophie’s choice. On European tragedies, guilt and responsibility),（originally published in Social Science Front no.4 2012), Xinhua Digest, no.14 2012]. 

(1作者简介: 约斯·德·穆尔( Jos de Mul), 荷兰伊拉斯谟大学哲学系教授, 研究方向: 哲学人类学; 里斯贝思·努尔德格拉芙(Liesbeth Noordegraaf-Eelens), 伊拉斯谟大学经济系副教授, 研究方向: 哲学、经济学。郾伊拉斯谟大学哲学系, 荷兰鹿特丹3000 DR; 2郾伊拉斯谟大学经济学系, 荷兰鹿特丹3000 DR)

摇摇摘要: 2011 年, 针对金融危机, 欧洲峰会叠起, 但效果不佳。 我们应该开始在金融领域之外进行深入 思考。 文章将以希腊神话中俄狄浦斯的故事及《苏菲的选择》 为例, 阐释悲剧的意义, 从而透视欧洲危机 的深层问题。 解决欧洲危机的关键在于唤起人的责任感。 新自由主义弊端开始在欧洲显现, 当前, 迫切需 要将政治与经济联系起来, 在政治和文化的意义上定义欧洲, 而不是纠结于金融政策的改革。

关键词: 欧洲; 主权债务危机; 悲剧; 责任
中图分类号: G02摇文献标识码: A摇文章编号: 0257-0246 (2012) 04-0229-05

Jos de Mul. [荷兰]约斯·德·穆尔：《数字化操控时代的艺术作品》，吕和应译，《学术研究》（广州），2008年第10期，第132－140页 (The work of art in the age of digital recombination", translated by Lü Heying, Academic Research Journal (Guang Zhou), 2008, No.10, p. 132-140.

约斯·德·穆尔 （荷兰 鹿特丹 伊拉斯谟大学，国际美学会主席）
吕和应 译 （复旦大学历史系 200433）

1. 导论

艺术家总是在利用媒体（media），不管是那些创作壁画的史前绘画者，还是那些依靠计算机技术工作的新媒体艺术家。在此处作广义使用的媒体，意即“传达信息的方式”[1]，它们决不是可有可无的手段而已。从康德的哥白尼革命起，我们知道了，经验是由感性的诸形式和人类知性的诸范畴组成和构造的，而在哲学界所谓“语言学和媒体转向”之后，人们普遍认为，媒体对塑造人类的心灵和经验起着关键作用。媒体是各种界面，不仅是我们与世界（命名）、还是我们与同伴（交流）以及我们与自身（自我理解）的中介。审美经验也不例外：艺术媒体也是不仅构造艺术家的想象力、也是构造艺术品和审美接受的界面。[2]

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Jos de Mul.  Uncle Sim Wants You! Playful Warfare. Into the Magic Circle. Vol. 1 (2024), no. 1. 

Abstract

According to Huizinga’s Homo Ludens (1938), all cultural phenomena should be understood as play, since they follow specific rules. In this sense, playful culture is opposed to the seriousness of life. This even applies to war. Although sometimes fought to the bitter end, the noble betting camp was avoiding unnecessary bloodshed. Huizinga criticizes modern, twentieth-century culture because seriousness and play have become completely intertwined. War games like America's Army, which are not only a tool for propaganda but also for recruitment and military training, illustrate this. Although Huizinga in Homo Ludens sharply criticizes Carl Schmitt's war rhetoric, both thinkers share their criticism of the blurring of seriousness and play in modern culture. The crucial difference between Huizinga and Schmitt lies in the fact that where Huizinga advocates play as a neutral and essentially apolitical core of human culture, Schmitt believes that human life acquires its dignity through the political sphere, which ultimately also includes the willingness to kill belongs to the enemy.

Keywords: Johan Huizinga, Homo ludens,  war, America’s Army, Carl Schmitt