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There is No Hop(p)e neboli Blaise Pascal a ambivalence kosmické hrůzy

100%
Zika R., Váša O.
Filosofický časopis (Philosophical Journal)
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2024
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vol. 72
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issue Mimoradne_cislo_3
86-104
EN
The essay focuses on the survival of Pascal’s metaphors concerning the cosmic wasteland. It analyzes step-by-step the ways in which authors such as Immanuel Kant, George Milbrey Gould, Herbert George Wells, Thomas Henry Huxley, Howard Phillips Lovecraft, Vladimír Hoppe, Jacques Monod, and Eugene Thacker appropriated Pascal’s images of despair from the “eternal silence of infinite spaces”, which they have then used to develop their own arguments in favor of defending (or disparaging) the relevance of a human presence in the universe. The focus of the study lies in an analysis of these connections in the work of the Czech philosopher Vladimír Hoppe.
CS
Esej se zaměřuje na přežívání Pascalových metafor týkajících se kosmické pustiny. Postupně jsou v něm analyzovány způsoby, jakými si autoři jako Immanuel Kant, George Milbrey Gould, Herbert George Wells, Thomas Henry Huxley, Howard Phillips Lovecraft, Vladimír Hoppe, Jacques Monod a Eugene Thacker přivlastnili Pascalovy obrazy zoufalství z „věčného mlčení nekonečných prostorů“, které pak následně využili k rozvinutí vlastních argumentů ve prospěch obhajoby (či znevažování) náležitosti lidské přítomnosti ve vesmíru. Těžiště studie spočívá v analýze těchto souvislostí v díle českého filosofa Vladimíra Hoppeho.
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The spiritual essence of man and the world in the philosophy of Vladimír Hoppe

89%
Badurová T.
Filosofický časopis (Philosophical Journal)
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2021
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vol. 69
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issue Special_Issue_1
81-91
EN
Hoppe identifies his era as a period of profound spiritual crisis that stems from Comte’s positivism, materialism and technical worldview. Man thus understands himself purely as an object, fully renouncing any spiritual dimension. Hoppe argues that science offers nothing but an illusion of knowledge, since true knowledge is of metaphysical nature – to know truly means first of all to know one’s spiritual essence. Hoppe’s philosophical ideas fuse with his religious concepts and, towards the end of his philosophical endeavours, he turns more and more towards Søren Kierkegaard. Hoppe attempts to overcome the unbridgeable abyss between religion and science, object and subject, the knowable and unknowable using Kierkegaard’s leap of faith. Hoppe’s thematisation of man’s abilities and fate results in a turn to Christianity, much inspired by Kierkegaard, with a specific formulation of the utmost goal – godmanhood.
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