Inhaltsverzeichnis/Table of Contents: Rudolf HALLER: Zwei Vorworte in einem. Evelyn DÖLLING: Alexius Meinong: "Der blinde Seher Theiresias". Jaakko HINTIKKA: Meinong in a Long Perspective. Richard SYLVAN: Re-Exploring Item-Theory. Francesca MODENATO: Meinong's Theory of Objects: An Attempt at Overcoming Psychologism. Jan WOLE??N??SKI: Ways of Dealing with Non-existence. Karel LAMBERT: Substitution and the Expansion of the World. Terence PARSONS: Meinongian Semantics Generalized. Reinhardt GROSSMANN: Thoughts, Objectives and States of Affairs. Peter SIMONS: Meinong's Theory of Sense and Reference. Barry SMITH: More (...) Things in Heaven and Earth. Michele LENOCI: Meinongs unvollständige Gegenstände und das Universalienproblem. Maria E. REICHER: Gibt es unvollständige Gegenstände? Dale JACQUETTE: Meinong's Concept of Implexive Being and Nonbeing. Herbert HOCHBERG:s, Functions, Existence and Relations in the Russell-Meinong Dispute, the Bradley Paradox and the Realism-Nominalism Controversy. Jacek PA_NICZEK: Are Contradictions Still Lurking in Meinongian Theories of Objects? Marie-Luise SCHUBERT KALSI: Apriorische Elemente im Denken. Liliana ALBERTAZZI: Forms of Completion. Johann Ch. MAREK: Zwei Gegenstände und ein Inhalt. Zur Intentionalität bei Meinong. Wolfgang KÜNNE: Some Varieties of Thinking. Reflections on Meinong and Fodor. Alberto VOLTOLINI: Is Meaning Without Actually Existing Reference Naturalizable? Markus S. STEPANIANS: Russells Kritik an Meinongs Begriff des Annahmeschlusses. Nenad MIŠ_EVI_: Imagination and Necessity. R.D. ROLLINGER: Meinong on Perception: Two Questions Concerning Propositional Seeing. Wolfgang G. STOCK: Die Genese der Theorie der Vorstellungsproduktion der Grazer Schule. Rudolf HALLER: Über Meinongs Wissenschaftstheorie. Alfred SCHRAMM: Meinongs Wahrscheinlichkeit. Karl SCHUHMANN: Der Wertbegriff beim frühen Meinong. Wilhelm BAUMGARTNER: Wertpräsentation. Ursula ZEGLÉN: Meinong's Analysis of Lying. Seppo SAJAMA: Hitting Reality: France Veber's Concept of Zadevanje. Matja_ POTR_: Sensation According to Meinong and Veber. Róbert SOMOS: Zwei Schüler Brentanos: Ákos von Pauler und Meinong. J.C. NYÍRI: Palágyis Kritik an der Gegenstandstheorie. David M. ARMSTRONG: Reaction to Meinong. (shrink)

Philosophers have ever declared that their problems lie at a different level from the problems of the empirical sciences. Perhaps one may agree with this assertion; the question is, however, where should one seek this level. The metaphysicians wish to seek their object behind the objects of empirical science; they wish to enquire after the essence, the ultimate cause of things. But the logical analysis of the pretended propositions of metaphysics has shown that they are not propositions at all, but (...) empty word arrays, which on account of notional and emotional connections arouse the false appearance of being propositions. This conception that the “propositions” of metaphysics, including those of ethics, have no theoretical content, is to be sure still disputed. We shall not, however, enter here on its demonstration, but, under its guidance, will limit ourselves to non-metaphysical and non-ethical philosophical problems. (shrink)

Dieser Buchtitel ist Teil des Digitalisierungsprojekts Springer Book Archives mit Publikationen, die seit den Anfängen des Verlags von 1842 erschienen sind. Der Verlag stellt mit diesem Archiv Quellen für die historische wie auch die disziplingeschichtliche Forschung zur Verfügung, die jeweils im historischen Kontext betrachtet werden müssen. Dieser Titel erschien in der Zeit vor 1945 und wird daher in seiner zeittypischen politisch-ideologischen Ausrichtung vom Verlag nicht beworben.

Das Betreiben von Wissenschaft ist eine spezifische Form von Erkenntnistätigkeit, die bezüglich ihrer methodischen Vorgangsweise von konkreten heuristischen Zielsetzungen und korrespondierenden Maßstäben geleitet ist. Die Wissenschaftstheorie verfolgt das Ziel einer Analyse der wissenschaftlichen Erkenntnistätigkeit vor dem Hintergrund der Erkenntnistheorie. Das Kernproblem der traditionellen philosophischen Erkenntnistheorie, und mit ihr der gängigen Wissenschaftstheorie, so meine These, besteht in dem heuristischen Kurzschluss des Inhalts mit dem Gegenstand der Erkenntnis. Dieser manifestiert sich auf direkte Weise in ihrem Fokus auf den heuristischen Maßstab der Gewissheit (...) unseres Wissens, gestützt auf die metaphysische Annahme der Bestimmtheit der Dinge an sich (der die Annahme von Deskription als Paradigma von Erkenntnis im allgemeinen korrepondiert). Die Hauptthese dieser Abhandlung wird sein, dass dieser Kurzschluss zu einer Ausblendung der Rolle der Heuristik als grundlegender Erkenntnisfaktor führt, und in seiner Konsequenz zum deskriptiven Missverständnis der dekonstruktiven mathematischen Heuristik der Physik (mit ihrem Fokus auf die dynamnischen Phänomene) im Sinne von bloßer Dekomposition. Die Folgen dieses Missverständnisses sind, der Rolle der Physik als Grundlagenwissenschaft geschuldet, weitreichend. Insbesondere für das wissenschaftliche Selbstverständnis der Biologie, im Sinne des Ziels, biologische Entitäten analytisch in physikalische zu zerlegen und biologische Phänomene auf physikalische Gesetze zu reduzieren. Dieses Ziel widerspricht klar der dekonstruktiven methodischen Vorgangsweise der Physik, deren einziger Maßstab in der Angemessenheit der Rekonstruktion der betreffenden Phänomene besteht. (shrink)

The major part of this paper is devoted to the task of showing that Husserl's account of knowledge and truth in terms of a synthesis of fulfilment falls prey neither to a form of “metaphysics of presence” nor to a “myth of interiority” or mentalism. Husserl's presentation of the desire to know, his awareness of irreducible forms of absence at the heart of the intuitive presence of the object of knowledge and his formulation of general rules concerning the possible accomplishment (...) of a synthesis of fulfilment are therefore carefully examined. Special attention is also given to the fact that the determination of knowledge and truth provided by the Sixth Logical Investigation rests on an account of an original interweaving between the thing, consciousness, and language. Unlike in Husserl's earlier and later works, no attempt is thereby made to subordinate any of these three elements involved in all knowledge to one of the others. (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)

Into the central theme of necessity, chance, and providence, Steiner introduces a fascinating description of the nature spirits, particularly the gnomes.

When a theorist of my persuasion looks at photography he is more concerned with the character traits of the medium as such than with the particular work of particular artists. He wishes to know what human needs are fulfilled by this kind of imagery, and what properties enable the medium to fulfill them. For his purpose, the theorist takes the medium at its best behavior. The promise of its potentialities captures him more thoroughly than the record of its actual achievements, (...) and this makes him optimistic and tolerant, as one is with a child, who has a right to demand credit for his future. Analyzing media in this way requires a very different temperament than analyzing the use people make of them. Studies of this latter kind, given the deplorable state of our civilization, often make a depressing reading. Among Rudolf Arnheim's latest publications are Toward a Psychology of Art, Visual Thinking, and Entropy and Art. A new version of Art and Visual Perception: A Psychology of the Creative Eye, will appear this fall. He is professor of the psychology of art, emeritus, at the Carpenter Center for the Visual Arts, Harvard University. Other contributions to Critical Inquiry are "A Stricture on Space and Time" and "THE LANGUAGE OF IMAGES: A Plea for Visual Thinking". (shrink)

This essay is an attempt to reconcile the disturbing contradiction between the striving for order in nature and in man and the principle of entropy implicit in the second law of thermodynamics - between the tendency toward greater organization and the general trend of the material universe toward death and disorder.

The immediate source of Grotius’s etiamsi-claim (natural law would be valid even if there were no God or human affairs were no concern for him) has never been convincingly identified. This paper argues that Grotius’s formulation of the claim derives from a very similar sentence of Bartolomé de Medina (1527–1580), a Spanish scholastic and eminent member of the School of Salamanca, whose work Grotius quotes in De iure belli ac pacis. Medina ascribes the sentence to Seneca, but there is apparently (...) no such proposition in Seneca’s extant works. Nevertheless, related propositions were attributed to Seneca in the medieval period, not least in sermons and pastoral writings, even in vernacular languages. This shows that, even outside academic debates, counterfactual reasoning involving God’s non-existence or indifference to human affairs was not considered illicit or dangerous in the Middle Ages. (shrink)