“The human being embodies a tension between a nature which has since been lost and an unreachable Divine Creator,” writes Rudolf Borchardt in his book The Passionate Gardener. And he continues: “The garden stands at precisely the center of this tension and displaces itself, in accord with its fluctuations in the epoch and the individual, toward one or the other: toward nature or creativity. This is the deepest reason for which the human being dreams that our origins lie in (...) a garden, and that the garden is the place in which we achieve enlightenment; this is why we hope to find redemption in a garden, and why we look for solace there.”2What Borchardt articulates so well is that a garden is not just an enactment of a.. (shrink)

From the contents: Philosophie, Politik und Wissenschaftliche Weltauffassung: zur Frage der Philosophie in Osterreich und Deutschland (B. Smith). - Facts, truths and the ontology of logical realism (H. Hochberg). - Franz Brentano und die Wiederentdeckung der Intentionalitat Richtigstellung herkommlicher Missverstandnisse und Missdeutungen (M. Antonelli). - Erneuerung der Philosophia Perennis: uber die ersten vier Habilitationsthesen Brentanos (W. Sauer). - Confessions of a Meinongian logician (D. Jacquette). - Lewis and Sylvan on noneism (A. Witherall). - What is it to compose a (...) musical work (M.E. Reicher).". (shrink)

In the ideal case archives are the official places or institutions where all the biographical, bibliographical, published and unpublished material of one or several authors are collected and presented as well as their correspondencies, material belonging to them or their families, secondary literature etc. As there is hardly any ideal archive to be found some archives - more or less related to Austrian Philosophy - and their work are sketched and a rough scheme for the order of the literary estate (...) of some author is suggested. By the example of the Meinong-Gesamtausgabe a fruitful combination of archival and editorial work is presented and finally some problems concerning present philosophical editions (Franz Brentano and Ludwig Wittgenstein) are discussed. (shrink)

This volume, originating from the centennial Second International Conference Graz 1977-2017 on Franz Brentano's philosophy, collects eighteen essays written by nineteen distinguished specialists covering the main areas of Brentano's philosophy: his epistemology, ontology, ethics, and logic, and his contributions to psychology and philosophy of mind. Its goal is to explore the significance and impact of Brentano's thought, to promote a deepening of the ongoing renaissance of interest in Brentano, and to advance the project of understanding Brentano's actual philosophical positions (...) and correcting entrenched misunderstandings. (shrink)

This volume, originating from the centennial Second International Conference Graz 1977-2017 on Franz Brentano's philosophy, collects eighteen essays written by nineteen distinguished specialists covering the main areas of Brentano's philosophy: his epistemology, ontology, ethics, and logic, and his contributions to psychology and philosophy of mind. Its goal is to explore the significance and impact of Brentano's thought, to promote a deepening of the ongoing renaissance of interest in Brentano, and to advance the project of understanding Brentano's actual philosophical positions (...) and correcting entrenched misunderstandings. (shrink)

Name der Zeitschrift: Naharaim Jahrgang: 10 Heft: 2 Seiten: 303-319.

Rudolf Carnap hat nur im Vorwort zum „Logischen Aufbau der Welt“ Bemerkungen zum Verhältnis seiner wissenschaftlichen Arbeit zur Kunst und Architektur seiner Zeit veröffentlicht. Aber sein emphatisches Bekenntnis zur Moderne der 20er-Jahre hat bisher nur selten Aufmerksamkeit in der philosophiegeschichtlichen Sekundärliteratur gefunden. In meinem Beitrag versuche ich in den ersten beiden Abschnitten, seinen kulturellen Hintergrund seit seiner Schul- und Studentenzeit zu skizzieren und dann seine persönlichen Kontakte und Austauschbeziehungen mit Vorkämpfern der Moderne wie Franz Roh und Siegfried Giedion (...) zu beschreiben. Nach diesen Vorbereitungen wird die Frage gestellt, ob und in wieweit Carnaps Philosophie selbst als ein Teil der Bewegung der Neuen Sachlichkeit verstanden werden kann oder sogar muss. Zur Beantwortung werden eine Reihe von Charakteristika dieses Zeitgeist-Phänomens aus den – gleichzeitig mit Carnaps „Aufbau“ erschienenen Werken der Genannten – herauspräpariert und dann untersucht, ob diese Kriterien sich auch im Werk Carnaps finden. Das Ergebnis ist, dass man ihn mit Fug und Recht als „Philosoph der Neuen Sachlichkeit“ bezeichnen kann. (shrink)

Rudolf Carnap’s formative years as a philosopher were his time in Jena where he studied mathematics, physics, and philosophy, among others, with Gottlob Frege, the neo-Kantian Bruno Bauch, and Herman Nohl, a pupil of Wilhelm Dilthey.2 Whereas both the influence of Frege and of the neo-Kantians is quite well known,3 the importance of the Dilthey school for Carnap’s intellectual development was recently highlighted by scholars, such as Gottfried Gabriel and Hans-Joachim Dahms.4 Although Carnap himself was interested mainly in the (...) problems of logic and the philosophy of the natural sciences, the community in which he worked until he went to Vienna in 1926 was neither a community of neo-Kantian philosophers nor of logicians or philosophers of the natural sciences but a community of members of the Dilthey school that were interested in history of philosophy,5 pedagogic,6 aesthetics,7 and sociology.8 Carnap and his friends were all members of the so-called Seracircle, a group of young people that met frequently in Jena and, between 1919 and 1926, also in Carnap’s home in Buchenbach near Freiburg.9 The first version of the Aufbau was written in close connection with this group of young people that were interested in a reform of the whole society, including arts, politics, sciences, and everyday life. In Carnap’s Werkstatt in Buchenbach, the Aufbau and at least two more manifestos of a more or less philosophical nature were written: Franz Roh’s “Nach-Expressionismus” and Wilhelm Flitner’s “Laienbildung.”10 Given these historical facts, we must conclude that the Aufbau is the product of an intellectual enterprise that developed in close connection with the Dilthey school, but in which Frege and the neo-Kantians seem to have played only a small role. (shrink)

This book is a survey of the most important developments in Austrian philosophy in its classical period from the 1870s to the Anschluss in 1938. Thus it is intended as a contribution to the history of philosophy. But I hope that it will be seen also as a contribution to philosophy in its own right as an attempt to philosophize in the spirit of those, above all Roderick Chisholm, Rudolf Haller, Kevin Mulligan and Peter Simons, who have done so (...) much to demonstrate the continued fertility of the ideas and methods of the Austrian philosophers in our own day. For some time now, historians of philosophy have been gradually coming to terms with the idea that post-Kantian philosophy in the German-speaking world ought properly to be divided into two distinct traditions which we might refer to as the German and Austrian traditions, respectively. The main line of the first consists in a list of personages beginning with Kant, Fichte, Hegel and Schelling and ending with Heidegger, Adorno and Bloch. The main line of the second may be picked out similarly by means of a list beginning with Bolzano, Mach and Meinong, and ending with Wittgenstein, Neurath and Popper. As should be clear, it is the Austrian tradition that has contributed most to the contemporary mainstream of philosophical thinking in the Anglo-Saxon world. For while there are of course German thinkers who have made crucial contributions to the development of exact or analytic philosophy, such thinkers were outsiders when seen from the perspective of native German philosophical culture, and in fact a number of them found their philosophical home precisely in Vienna. When, in contrast, we examine the influence of the Austrian line, we encounter a whole series of familiar and unfamiliar links to the characteristic concerns of more recent philosophy of the analytic sort. As Michael Dummett points out in his Origins of Analytic Philosophy, the newly fashionable habit of referring to analytic philosophy as "Anglo-American" is in this light a "grave historical distortion". If, he says, we take into account the historical context in which analytic philosophy developed, then such philosophy "could at least as well be called "Anglo-Austrian" (1988, p. 7). Much valuable scholarly work has been done on the thinking of Husserl and Wittgenstein, Mach and the Vienna Circle. The central axis of Austrian philosophy, however, which as I hope to show in what follows is constituted by the work of Brentano and his school, is still rather poorly understood. Work on Meinong or Twardowski by contemporary philosophers still standardly rests upon simplified and often confused renderings of a few favoured theses taken out of context. Little attention is paid to original sources, and little effort is devoted to establishing what the problems were by which the Austrian philosophers in general were exercised -- in spite of the fact that many of these same problems have once more become important as a result of the contemporary burgeoning of interest on the part of philosophers in problems in the field of cognitive science. (shrink)

Barry Smith has written a book about an important topic in philosophy and its recent history, concerning the legacy of Franz Brentano. “The Legacy of Franz Brentano” is also its subtitle, a subtitle much more revealing of its contents than its title: Austrian Philosophy. That title makes one expect either a general picture of philosophy in Austria, past and/or present, or an account of what Rudolf Haller has called Austrian Philosophy, a term that refers to its golden (...) age, to a tradition whose main characteristics are, according to Haller, empiricism, proximity to science, and a concern with language. Smith includes these properties in his characterization of the legacy of Brentano, and adds quite appropriately for that legacy “a concern with ontological structure” and “an overriding interest in the relation of macro-phenomena ... to ... micro-phenomena which underlie or are associated with them”. Smith is quite aware that this addition does not hold for the tradition of Austrian philosophy, since he opposes it to a German tradition, and delineates the former “by means of a list beginning with Bolzano, Mach and Meinong, and ending with Wittgenstein, Neurath, and Popper”. (shrink)

_The Philosophy of Brentano_ has as its goal to explore the significance and impact of Franz Brentano’s thought, to promote a deepening of the ongoing renaissance of interest in Brentano, and to advance the project of understanding Brentano’s actual philosophical positions and correcting entrenched misunderstandings.

This book contains the definitive statement of Franz Brentano's views on meta physics. It is made up of essays which were dictated by Brentano during the last ten years of his life, between 1907 and 1917. These dictations were assembled and edited by Alfred Kastil and first published by the Felix Meiner Verlag in 1933 under the title Kategorienlehre. Kastil added copious notes to Brentano's text. These notes have been included, with some slight omissions, in the present edition; the (...) bibliographical references have been brought up to date. Brentano's approach to philosophy is unfamiliar to many contemporay readers. I shall discuss below certain fundamental points which such readers are likely to find the most difficult. I believe that once these points are properly understood, then what Brentano has to say will be seen to be of first importance to philosophy. THE PRIMACY OF THE INTENTIONAL To understand Brentano's theory of being, one must realize that he appeals to what he calls inner perception for his paradigmatic uses of the word "is". For inner perception, according to Brentano, is the source of our knowledge of the nature of being, just as it is the source of our knowledge of the nature of truth and of the nature of good and evil. And what can be said about the being of things that are not apprehended in inner perception can be understood only by analogy with what we are able to say about ourselves as thinking subjects. (shrink)

This article, inspired by Rudolf Haller’s thesis of an independent, specific, and unitary Austrian tradition of scientific philosophy, develops the idea of a specific Austrian tradition of psychological research, as distinguished in its development from that in Germany. This tradition was shaped by two phenomenological trends, which were merged into unity in Prague by Carl Stumpf and Brentano’s students of the second generation. One trend traces back to Goethe and was continued in Prague by the physiologists Jan E. Purkinje (...) and Ewald Hering, culminating in the work of Ernst Mach. The other trend was initiated by Franz Brentano and spread through his school. Stumpf was the key integrator of these two traditions, which he then partially passed on to his Berlin students and founders of Gestalt psychology. Finally, Karl Bühler’s “reimport” of the Brentanian psychological legacy into the Vienna of the First Republic is briefly illustrated. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

The theory of ideas.--Outlines of practical philosophy.--The philosophy of Fries in its relation to theology. (De Wette, Tholuck).

In judgment aggregation, unlike preference aggregation, not much is known about domain restrictions that guarantee consistent majority outcomes. We introduce several conditions on individual judgments su¢ - cient for consistent majority judgments. Some are based on global orders of propositions or individuals, others on local orders, still others not on orders at all. Some generalize classic social-choice-theoretic domain conditions, others have no counterpart. Our most general condition gen- eralizes Sen’s triplewise value-restriction, itself the most general classic condition. We also prove (...) a new characterization theorem: for a large class of domains, if there exists any aggregation function satisfying some democratic conditions, then majority voting is the unique such function. Taken together, our results provide new support for the robustness of majority rule. (shrink)