Schelling, Friedrich Wilhelm Josef von / Polarität.

This is identical with the first edition (see 21: 2716) except for the addition of a Supplement containing 5 previously published articles and the bringing of the bibliography (now 73 items) up to date. The 5 added articles present clarifications or modifications of views expressed in the first edition. (PsycINFO Database Record (c) 2009 APA, all rights reserved).

Dieses Buch stellt eine neue, von CARNAP entwickelte Theorie der Induktion und Wahrscheinlichkeit dar, die durch die folgenden grund legenden Auffassungen charakterisiert ist. 1. Jedes induktive Schließen, im weiten Sinne des nichtdeduktiven oder nichtdemonstrativen Schlu߭ folgerns, ist ein Schließen auf Grund von Wahrscheinlichkeit. 2. Daher ist die induktive Logik als Theorie von den Prinzipien des induktiven Schließens dasselbe wie Wahrscheinlichkeitslogik. 3. Der Begriff der Wahrscheinlichkeit, der als Grundbegriff der induktiven Logik dienen soll, ist eine logische Relation zwischen zwei Aussagen oder (...) Sätzen, näm lich der Grad der Bestätigung einer Hypothese auf der Grundlage gegebe ner Prämissen. 4. Der sogenannte Häufigkeitsbegriff der Wahrschein lichkeit, wie er in statistischen Untersuchungen verwendet wird, ist zwar an und für sich ein wichtiger wissenschaftlicher Begriff, als Grundbegriff der induktiven Logik jedoch unbrauchbar. 5. Alle Prinzipien und Lehr sätze der induktiven Logik sind analytisch. 6. Daher hängt die Gültig keit des induktiven Schließens nicht von irgendwelchen synthetischen Voraussetzungen ab, wie etwa dem vielumstrittenen Prinzip der Gleich förmigkeit der Welt. Die erste Aufgabe dieses Buches ist die Erörterung der allgemeinen philosophischen Probleme betreffend die Natur der Wahrscheinlichkeit und des induktiven Schließens, die uns zu den eben erwähnten Auffassun gen führen wird. Das zweite Ziel ist der tatsächliche Aufbau eines Systems der induktiven Logik, einer Theorie, die auf den angeführten Prinzipien beruht. Ein besonderes Augenmerk wurde in diesem Buch darauf gelegt, die intuitive philosophische Grundlegung klar von dem technischen Aufbau des Systems der induktiven Logik zu trennen. (shrink)

Cette édition numérique a été réalisée à partir d'un support physique, parfois ancien, conservé au sein du dépôt légal de la Bibliothèque nationale de France, conformément à la loi n° 2012-287 du 1er mars 2012 relative à l'exploitation des Livres indisponibles du XXe siècle. Pages de début Avant-propos La réduction phénoménologique et la double vie du sujet I - Intentionnalité et intersubjectivité 1. Intentionnalité et transcendance (Husserl et Heidegger) 2. Le concept de noème (Husserl) 3. Le monde (Husserl) II - (...) Perception 1. Finitude et téléologie de la perception (Husserl) 2. Perception et herméneutique (Husserl, Cassirer et Heidegger) 3. Perception et vie naturelle (Husserl et Merleau-Ponty) III - Temporalité, historicité, langage 1. Origine du temps et temps originaire (Husserl et Heidegger) 2. La présence du passé (Husserl) 3. L'encadrement du souvenir (Husserl, Proust et Barthes) 4. La voix de son maître (Husserl et Derrida) Conclusion Pages de fin. (shrink)

[1.] Husserl-Studien -- 2. Bd. Studien zur Phänomenologie der Epoché.

Husserl's phenomenology of the body constantly faces issues of demarcation: between phenomenology and ontology, soul and spirit, consciousness and brain, conditionality and causality. It also shows that Husserl was eager to cross the borders of transcendental phenomenology when the phenomena under investigation made it necessary. Considering the details of his description of bodily sensations and bodily behaviour from a Merleau-Pontian perspective allows one also to realise how Husserl (unlike Heidegger) fruitfully explores a phenomenological field located between a science of pure (...) consciousness and the natural sciences. A phenomenological discussion of naturalism thus cannot limit itself to the task of discrimination, it must attempt to integrate what an eidetic analysis has separated: inside and outside, here and there, first-person and third-person perspective, motivation and causality. Husserl's phenomenology of the body thus shows that dualism is at best a methodological but never an ontological option for the mind-body problem. (shrink)

Excerpt from Philosophen-Lexikon: Leben, Werke und Lehren der Denker Die Verteilung des gewaltigen Stoffes auf einen einzigen, wenn auch stattlichen Band, bot nicht geringe Schwierigkeiten, und so wird man gewiß Nachsicht üben, wenn hier und da ein Artikel im Verhältnis etwas zu kurz oder zu lang ausgefallen ist, oder wenn sonst nochetwas vermißt wird. Es möge ferner beachtet werden, daß der Verfasser im Nachtrag am Schluß des Werkes noch eine Reihe Autoren, Schriften, Daten usw. Anführt, die aus diesem oder jenem (...) Grunde noch nicht im Texte enthalten sind. Eine absolute Vollständigkeit der Daten war freilich nicht zu erzielen. Der Ver fasser darf wohl hoffen, daß man über die Mängel, von denen ein solches Werk bei seinem ersten Inslebentreten kaum ganz frei sein kann, nicht die Menge des Gebotenen und das Ausmaß des selb ständig Erarbeiteten übersehen wird. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

In der Reihe werden herausragende monographische Untersuchungen und Sammelbände zu allen Aspekten der Philosophie Kants veröffentlicht, ebenso zum systematischen Verhältnis seiner Philosophie zu anderen philosophischen Ansätzen in Geschichte und Gegenwart. Veröffentlicht werden Studien, die einen innovativen Charakter haben und ausdrückliche Desiderate der Forschung erfüllen. Die Publikationen repräsentieren damit den aktuellsten Stand der Forschung.

German: Unter den nichtlogischen Konstanten der Wissenschaftssprache werden zwei Arten unterschieden, die Beobachtungsterme (z. B. « blau ») und die theoretischen Terme (z. B. « elektrisches Feld »). Die letzteren werden nicht durch Definitionen eingeführt, sondern durch Postulate zweier Arten, nämlich theoretische Postulate, zum Beispiel Grundgesetze der Physik, und Korrespondenzpostulate, die die theoretischen Terme mit Beobachtungstermen verbinden. Wie schon Hilbert gezeigt hat, können in dieser Weise sowohl die Mathematik als auch die theoretische Physik als ungedeutete Kalküle aufgestellt werden. Es wird (...) hier kurz erklärt, dass durch diesen Aufbau auch den mathematischen Termen eine Bedeutung (in einem weiteren Sinne) beigelegt wird. Die theoretischen Terme erhalten durch die Korrespondenzpostulate wenigstens eine unvollständige Deutung. Es wird gezeigt, wie die Unterscheidung von analytischen und synthetischen Sätzen auch für die theoretische Sprache definiert werden kann. -/- English: Among the non‐logical constants of the language of science two kinds are distinguished, the observation terms (e.g., « blue ») and the theoretical terms (e.g., « electric field »). The latter terms are introduced, not by definitions, but by postulates of two kinds, theoretical postulates, e.g., basic laws of physics, and correspondence postulates which connect the theoretical terms with observation terms. As Hilbert has explained, both mathematics and theoretical physics can in this way be constructed in the form of uninterpreted calculi. It is here briefly indicated that by this method of construction also the mathematical terms have meanings (in a wider sense) assigned to them. The theoretical terms obtain at least an incomplete interpretation by means of the correspondence postulates. It is shown how the distinction between analytic and synthetic sentences can be defined also for the theoretical language. (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)

Both Kant and Dilthey distinguish between cognition and knowledge, but they do so differently in accordance with their respective theoretical interests. Kant’s primary cognitive interest is in the natural sciences, and from this perspective the status of psychology is questioned because its phenomena are not mathematically measurable. Dilthey, by contrast, reconceives psychology as a human science.For Kant, knowledge is conceptual cognition that has attained certainty by being part of a rational system. Dilthey also links knowledge with certainty; however, he derives (...) the latter from life-experience rather than from reason. Dilthey’s psychology begins with the self-certainty of lived experience and life-knowledge, but this turns out to fall short of cognitive understanding. In the final analysis, both Kant and Dilthey move beyond psychology to arrive at self-understanding. Because of his doubts about introspection, Kant replaces psychology with a pragmatic anthropology to provide a communal framework for self-understanding. Dilthey supplements psychology with other human sciences as part of a project of anthropological reflection.Author Keywords: Anthropology; Cognition; Dilthey; Kant; Knowledge; Psychology. (shrink)

Qu'est-ce qui, chez l'homme, retient ou empeche la fuite en avant d'une pulsion specifique? Une autre pulsion complementaire ou antagoniste? L'instance subjective d'un moi se pliant aux commandements du surmoi? L'ordre du corps vivant, de la raison ou du signifiant? Ou est-il pensable qu'une pulsion humaine se gouverne elle-meme en canalisant son energie excessive et en veillant a sa transformation ou a sa sublimation plutot que de se livrer a l'ivresse d'une repetition sterile?Ce livre aborde ces questions en envisageant les (...) pulsions humaines, en amont, depuis leur ancrage dans les forces de la nature ou les instincts animaux et, en aval, en vue de leur prolongement en desirs symboliquement structures. Dans une telle perspective, le questionnement psychanalytique de Freud et de Lacan rencontre tout naturellement les interrogations d'une philosophie de la nature, de la vie et de la culture. Inversement, une rehabilitation de l'energetique psychanalytique favorise la redecouverte d'une pensee philosophique, pour laquelle la dynamique des forces virtuelles prime sur la presence de substances statiques, et pour laquelle aucun acte effectif n'efface sa dette vis-a-vis d'un pouvoir-etre retenu ou d'un manque d'etre. De cette metaphysique dont le livre suit le cheminement d'Aristote a Husserl en passant par Leibniz et Schopenhauer, Nietzsche et la psychanalyse marquent aussi les limites, en projetant sur elle l'ombre du nihilisme des pulsions de mort. Au croisement des deux approches de la pulsion se dresse, a nouveau mais autrement, la question de la subjectivite. (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)

Es ist unbestritten, dass Kant dem Verhaltnis von Wissen und Glauben besondere philosophische Aufmerksamkeit gewidmet hat und seine Verhaltnisbestimmung von Glauben und Wissen einen Meilenstein in der neuzeitlichen Religionsphilosophie markiert. Seine differenzierte philosophische Grundlegung des Glaubens erweist sich nach wie vor als sehr aktuell und hochst lehrreich, auch wenn seine Glaubens-Analysen in gegenwartigen religionsphilosophischen Bemuhungen weithin vernachlassigt - oder lediglich philosophie-historisch verortet - werden. Doch nur auf den ersten Blick sind Kants mannigfaltige Ausserungen zum Thema Glauben, den er bekanntlich als (...) Vernunftglauben bestimmte, in der Sache deckungsgleich; bei genauerem Hinsehen zeigen sich vielmehr denkwurdige sachliche Verschiebungen und Nuancierungen. Ausgehend von einer bemerkenswerten fruhen Reflexion Kants, die die Selbsterhaltung der Vernunft als Fundament des Vernunftglaubens charakterisiert, spricht offenbar vieles dafur, dass dieses Programm der Selbsterhaltung der Vernunft sich selbst erst in verschiedenen - teleologisch interpretierbaren - Gestalten dieses Vernunftglaubens auf dem Weg von der Kritik zur eigentlichen, d. h. praktischdogmatischen Metaphysik und dem darin vollzogenen Uberschritt zum Ubersinnlichen entfaltet und realisiert. (shrink)

The place of Wilhelm Dilthey (1833–1911)in the history of hermeneutics has been subject to considerable misinterpretation. He is rightly regarded as having expanded the scope of hermeneutics by adding human actions to the kinds of texts that can be interpreted, but is wrongly dismissed as having overlooked the full significance of this move. His distinction between understanding and explanation has been stereotyped as a mere methodological distinction relevant for his theory of the human sciences. His reflections on interpretation have been (...) relegated to the domain of traditional philological hermeneutics and excluded from philosophical hermeneutics. Heidegger's ontical‐ontological distinction has been used to drive a wedge between the two and place Dilthey on the ontical side of a divide that cannot be fully justified. On the basis of newly available writings, a more adequate account dealing with the philosophical content of Dilthey's hermeneutic contributions can now be given. (shrink)

My purpose is to examine Kant's views on interpreting nature and history and to attempt to see them as coherent by relating them to his theory of reflective judgment. With this reconstruction of a kantian conception of interpretation it is possible to shed new light on kant's approach to political history. I propose that reflective judgments as defined in the "critique of judgment" be conceived primarily as interpretive and only derivatively as either aesthetic or teleological. This approach to reflective judgments (...) creates a spectrum of them ranging from the noncognitive to the cognitive and from the aesthetic to the practical. (shrink)