In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.2 (2000) 305-326 [Access article in PDF] Logos and Kratos: Gramsci and the Ancients on Hegemony Benedetto Fontana * The purpose of this paper is to locate Gramsci's concept of hegemony, and its related ideas of civil society, the national-popular and the people-nation, within the political thought of classical antiquity. 1 In so doing, the paper seeks to identify strands or elements (...) within aspects of ancient political thought which may usefully be seen as conceptual prefigurations or as political anticipations of Gramsci's hegemony. It will show that Gramsci shares with the ancients specific theoretical, linguistic, and intellectual topoi. Hegemony has hitherto been located within the context, both theoretical and historical, of debates and controversies arising out of the Marxist and later Leninist revolutionary tradition. It is rightly seen as a notion developed by Gramsci to explain revolutionary failure in Italy and in the West generally, and consequently its antecedents are traced to the problems attendant upon the collapse of the Second International and the rise of Bolshevism in Russia. 2 While such an approach has been useful in revealing the immediate (both political and tactical) constraints acting upon Gramsci's thinking, it has overlooked passages in his writings which reveal an interest in, and [End Page 305] familiarity with, philosophical and theoretical themes originally formulated and elaborated by classical political thought.I. In a note entitled "Passage from Knowing to Understanding and to Feeling and vice versa from Feeling to Understanding and to Knowing" Gramsci establishes a distinction between intellectuals who "know" and the "people-nation" that "feels." The former may know but do not always understand or feel, while the latter may feel but does not always know. The intellectual, in order to know something politically and socially, not merely abstractly or philosophically, must understand it with feeling and passion. As Gramsci writes: The intellectual's error consists in believing that one can know without understanding and even more without feeling and being impassioned (not only for knowledge in itself but also for the object of knowledge); in other words that the intellectual can be an intellectual (and not a pure pedant) if distinct and separate from the people-nation, that is, without feeling the elementary passions of the people, understanding them and therefore explaining and justifying them in the particular historical situation and connecting them dialectically to the laws of history and to a superior conception of the world, scientifically and coherently elaborated--i.e. knowledge. One cannot make politics-history without this passion, without this sentimental connection between intellectuals and people-nation. 3The merely abstract knowledge of the intellectual becomes life and politics when linked to the experiential and passionate feelings of the people. At the same time, the feeling-passion of the people acquires the character of knowledge. Of course such a formulation is reminiscent of Marx's comments in the Theses on Feuerbach. 4 The dyadic relation between intellectual and people-nation, and between knowledge and feeling-passion, both parallels and informs the relation between common sense and good sense. Common sense is opinion which is incoherent and ambiguous 5 but which may nevertheless contain elements of truth to the extent that they are proliferated throughout a people. Good sense, on the other hand, is the common sense of the people as their passion and experience are imbued with knowledge and reason--that is, as the people begin to "think" coherently by producing their own intellectuals, the organic intellectual, or the democratic philosopher. 6 [End Page 306]Gramsci recalls the problem originally posed by Plato and Aristotle and running through the entire history of Western political thought up to thinkers as diverse as Hegel, Nietzsche, Weber, and Croce: namely, the relation between knowledge and politics, philosophy and rhetoric, ruler and people, reason and desire/appetite. 7 This relation poses the question regarding the role and status of reason. It is the way reason (the logos as transcendent reason or as speech and language) is perceived that moves the theory in either an ossified (absolutist... (shrink)

Thanks to the exegesis, Iamblichus succeeds in forging a psycho-epistemological doctrine which can boast a remarkable degree of consistency, albeit not always without minor flaws. Notably, the exegesis of Plato’s Phaedrus plays a pivotal role in constructing this system, despite moving not from phrases of the dialogue, but simply from single words, like κυβερνήτης and ἡνίοχος. Iamblichus’ anathema against Plotinus’ psychology makes Socrates’ palinode the sacred text from which to elicit those formulae of orthodoxy bound to be devoutly recited (...) by posterior Platonists, like Hermias of Alexandria. Indeed, in this text the divine Plato has revealed the essence of the triad νοερόν, νοητόν, κριτήριον, whose each element is susceptible of being dichotomized: νοερόν in νοῦς and ἕν, νοητόν in νοητόν and ἀκρότατα νοητά, κριτήριον in καθαρμός/φιλοσοφία and ἐνθουσιασμός/θεουργία. The result of this complex and fascinating move is an outstanding proof of philology and philosophy, psychology and epistemology hermeneutics and mysticism. (shrink)

This article delves into two triadic structures associated with the doctrine περὶ ψυχῆς, initially formulated by Iamblichus and later embraced by two of his successors, Proclus and Hermias of Alexandria. The goal is to provide two distinct analytical perspectives. In the first section, the article presents a precise classification of human souls, categorizing them as first‑class souls, second‑class souls, and third‑class souls. This classification will be referred to as the “triad of souls”. Within this context, particular emphasis is placed on (...) the first‑class souls, which Iamblichus, in his work De anima, describes as “pure and perfect souls.” These souls possess a unique ontological status, making them a central focus throughout the text. In the second part, we outline what we call the “upper mereology” of the soul, focusing on the three “parts”, “aspects”, or “components” of the human soul, namely διάνοια, νοερόν, ἕν. This forms a triadic structure that we refer to as the “triad within the souls”. Finally, considering the discussions on the two Neoplatonic triads, the last part of the text introduces Plato’s “triad within the souls”, which comprises λογιστικόν, θυμοειδές, ἐπιθυμητικόν. This serves to demonstrate how Iamblichus and the later Neoplatonists approached and incorporated it, yielding original insights within their doctrine of the triad of souls. (shrink)

This chapter investigates the precise ways in which Antonio Gramsci engaged with ancient philosophy. A brief examination of the longest discussion in the Prison Notebooks of any ancient philosopher or text, Plato’s Republic (Q8, §22), raises many questions about Gramsci’s approach to ancient philosophy. These questions motivate an investigation into Gramsci’s surprisingly minimal discussion of ancient philosophy and philosophers, which is best explained in the light of his theoretical commitments to his distinctive species of historical materialism. Rather than responding (...) to specific critical insights advanced about politics or human nature by ancient philosophers, such as Plato and Aristotle, Gramsci is shown to appropriate ancient philosophy into a broad-spectrum project of the history of philosophy, which interrogates the specific conditions under which historical epochs and the philosophical ideas that characterise them emerge. Tracking the conditions and characteristic ideas is revealed to be the project of the ‘specialist philosopher’, who must grasp both general methodological principles and particular historical examples. Gramsci’s treatment of ancient philosophy reveals more about his universal theories of history, and his engagement with the ideas of his contemporaries (including Benedetto Croce), than a special concern with ancient philosophy itself. (shrink)

Art, Beauty and Imitation in Plato's Philosophy -- Art and Imitation in Aristotle -- Horace, Pseudo-Longinus and the Aesthetics of Literature in Hellenism -- Plotinus, Neo-Platonic and Christian Conception of Beauty -- The Middle Ages and Dante Alighieri -- The Heritage of Kantian Philosophy in Romanticism -- Moritz: Beyond the Concept of Imitation -- Theory of Poetry of Early German Romanticism -- Hegel: Art as a Form of the Absolute Spirit -- Schopenhauer: Art as Disinterestedness and Knowledge of Reality (...) -- Nietzsche: Knowledge and Art -- Symbolism and Aestheticism -- Benedetto Croce: Art and intuition -- Linguistics and Criticism -- Antonio Gramsci: The Role of Intellectuals in Culture -- Structuralism -- Martin Heidegger: The Work of Art and Truth -- Hans-Georg Gadamer: Poetry and Interpretation -- Critical Theory: A New Attitude towards Art and Society -- Perspectives of Post-Structuralism -- The Practice of Deconstruction -- Contemporary Schools and Traditions in Literary and Critical Theory -- Postmodern and the New Character of the Literary Work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 13-31 [Access article in PDF] A Philosophical Inquiry into the Nature of Computer Art Holle Humphries Before the computer is accepted unquestioningly as a legitimate artistic medium, some of the challenging aesthetic and philosophical issues raised by [computer art] must be solved. The most haunting questions concern the impact of the technology on the artist, the creative process, and the nature of (...) art. 1How might we lead students in an exploration of the philosophical issues regarding art created with a computer? The most important step is first to guide them in exploring ontological concepts and questions asked about the nature of art and computer art, before investigating related issues of epistemology, value, and criticism. Students need to understand the nature of their art tool and medium of choice. Therefore, it becomes a matter of concern to discover that when discussing and writing about computer art, students sometimes use such terms interchangeably as "computer art" and "computer-generated art," when they are not synonymous, and talk about "virtual reality" as though engaging in any activity that involves a computer constitutes experiencing one. It is clear that this problem arises because many have not paused to examine the nature of computer art within the context of the process and product of art, and the subtle nuances regarding what might distinguish each from other human enterprise. To help clarify their thinking, we might use the foundation of art theory and the strategy of philosophical inquiry, implemented by adopting questioning strategies, to guide students through an exploration of the ontological nature of computer art. This can begin by launching the question: "What is the nature of art — or computer art?" Philosophy of Art: "What is the Nature of Art?" Many philosophers have attempted to describe or define the nature of art formulated in a theory of art. A theory of art attempts to specify where the essence of art is thought to reside, or what exactly art's essence is. [End Page 13]The imitation theory, initiated in the 5th century B.C. by Plato, held that to be a work of art, an object must mirror reality. 2 As this theory placed the essence of art in the objective properties of the art work itself, we consider the imitation theory to be object-centered or objective in nature. Similarly, with his formalist theory of art, Clive Bell claimed that the essence of art lies in the object — within the structural design properties of a work of art. To qualify as a work of art, an object must exhibit significant form. Significant form consists of certain formal properties such as the art elements of lines and color combined in a particular way according to art principles, all used to create certain forms and relations of forms. 3The expression theories of art shifted attention to the artist and audience and thus are considered subject centered, or subjective, bound up in notions of the experience of creation by the artist and/or the response of the audience. Benedetto Croce asserted that a work of art resides in the mind of the artist. An artist must experience an intuition, and it is this mental process that constitutes art, not the object which the artist might create thereafter. 4 Robin Collingwood claimed that art is an exploration, clarification, and expression of an artist's emotion, made clear to an audience through a medium. 5 Leo Tolstoy believed that art should be a vehicle by which the emotion experienced by the artist at the time of creation is transmitted to an audience, so that the audience can experience that emotion as well. 6Morris Weitz asserted that none of these theories capture an essence of art because they are either too broad, too narrow, or else are circular. He claimed that the concept of art cannot be limited to one essence delimited in a definition. Weitz suggested that we must instead look at what theories of art have to say is important about art so that we know what to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:GOD AND THE STATUS OF FACTS JOHN PETERSON University of Rhode Island Kingston, Rhode Island I EVEN BEFORE mid-century, Platonism was in such retreat that Croce could call it "traditional philosophy." By " Platonism " is meant any philosophy which admits transcendent entities, be they individuals or universals. This philosophy, complains Croce,... has its eyes fixed on heaven, and expects supreme truth from that quarter. This division of heaven (...) and earth, this dualist conception of a reality which transcends reality, of metaphysics over physics, this contemplation of the concept without or outside judgment, for ever imprints the same character, whatever the denomination the transcendental reality may bear: God or Matter, Idea or Will; it makes no difference, while beneath or against each of them there is presumed to subsist some inferior or merely phenomenal reality.1 Though few recent philosophers would follow Croce in his identification of philosophy with history, most would applaud the Italian idealist's castigation of Platonism. Between their acts of mutual criticism, idealists, existentialists, logical empiricists, pragmatists, Marxists, philosophers of language, neo-Nietzschians, deconstructionists and most phenomenologists unite against the transcendent. The metaphysics of Plato and Kant are dead, they chant. No timeless Reality lurks behind appearences, eluding eye, ear, language and inner sense. Insisting on the reality of at least relational universals, the early Russell for a time resisted the tide. But his abandonment 1 Benedetto Croce, " History as the Story of Liberty " in Morton White, ed., The Age of Analysis (New York, 1964), pp. 50-51. 635 636 JOHN PETERSON of logical atomism weakened his case for Platonism and a turn to empiricism followed. Moreover, even as he defended universals in his early days, Russell shunned transcendent individuals. In this effort his most celebrated ploy was the Theory of Descriptions, according to which commitment to individuals such as the king of France and the golden mountain is eschewed. Less famous was his move to spike that metaphysical individual known as substance. This he did by attacking the traditional subject-predicate form of the proposition. If all simple propositions are of the subject-predicate form and if true propositions map facts and thirdly if there are no facts which cannot be mirrored by propositions, then, says Russell, either there is only one substance or there are many substances between which there are no relations.2 And under both alternatives-the one Spinozistic and the other Leibnizian-substance is a hidden, transcendent thing which accounts for all phenomena without itself being part of any phenomenon. But be it from Croce or James or Dewey or Sartre or the Marxists or Quine or whomever, is this anti-platonism really justified? Are these celebrated philosophers right or even consistent in eliminating the transcendent? To see that they are not, one need only consider the case of facts. If facts are timeless and not temporal, then there are transcendent entities after all and the anti-platonists are wrong. Take, for example, the fact that Napoleon was defeated by Wellington at Waterloo on June 18, 1815. Defenders of temporalism as regards facts must either count this as being a past fact or else hold that this fact is no different from the historical event, "fact" being just another name for "event". But both of these options fail. That facts are not events is shown by the difference in how the following questions are answered: (a) " Why did I not hold class this morning in Adams Hall "? and (b) "What is meant by saying that the statement ' I did·not hold class this morning in Adams Hall ' is true "? While (a) may be answered by citing some event which prevented my hold2 Bertrand Russell, The Problems of Philosophy (New York, 1975), pp. 9495. GOD AND THE STATUS OF FACTS 637 ing class in Adams Hall this morning (for example, a fire broke out in Adams Hall just before class), (b) is never answered this way. Though the event of the fire in Adams Hall (or some other event) may be what prevented my holding class this morning in Adams Hall, it is nonsense to cite either that fire or any other event as an answer to (b). Yet, a perfectly sensible answer... (shrink)

Pythagoras -- Confucius -- Heracleitus -- Parmenides -- Zeno of Elea -- Socrates -- Democritus -- Plato -- Aristotle -- Mencius -- Zhuangzi -- Pyrrhon of Elis -- Epicurus -- Zeno of Citium -- Philo Judaeus -- Marcus Aurelius -- Nagarjuna -- Plotinus -- Sextus Empiricus -- Saint Augustine -- Hypatia -- Anicius Manlius Severinus Boethius -- Śaṅkara -- Yaqūb ibn Ishāq aṣ-Ṣabāḥ al-Kindī -- Al-Fārābī -- Avicenna -- Rāmānuja -- Ibn Gabirol -- Saint Anselm of Canterbury -- al-Ghazālī (...) -- Peter Abelard -- Averroës -- Zhu Xi -- Moses Maimonides -- Ibn al-'Arabī -- Shinran -- Saint Thomas Aquinas -- John Duns Scotus -- William of Ockham -- Niccolò Machiavelli -- Wang Yangming -- Francis Bacon, Viscount Saint Alban (or Albans), Baron of Verulam -- Thomas Hobbes -- René Descartes -- John Locke -- Benedict de Spinoza -- Gottfried Wilhelm Leibniz -- Giambattista Vico -- George Berkeley -- Charles-Louis de Secondat, baron de La Brède et de Montesquieu -- David Hume -- Jean-Jacques Rousseau -- Immanuel Kant -- Moses Mendelssohn -- Marie-Jean-Antoine-Nicolas de Caritat, marquis de Condorcet -- Jeremy Bentham -- Georg Wilhelm Friedrich Hegel -- Arthur Schopenhauer -- Auguste Comte -- John Stuart Mill -- Søren Kierkegaard -- Karl Marx -- Herbert Spencer -- Wilhelm Dilthey -- William James -- Friedrich Nietzsche -- Friedrich Ludwig Gottlob Frege -- Edmund Husserl -- Henri Bergson -- John Dewey -- Alfred North Whitehead -- Benedetto Croce -- Nishida Kitarō -- Bertrand Russell -- G.E. Moore -- Martin Buber -- Ludwig Wittgenstein -- Martin Heidegger -- Rudolf Carnap -- Sir Karl Popper -- Theodor Wiesengrund Adorno -- Jean-Paul Sartre -- Hannah Arendt -- Simone de Beauvoir -- Willard Van Orman Quine -- Sir A.J. Ayer -- Wilfrid Sellars -- John Rawls -- Thomas S. Kuhn -- Michel Foucault -- Noam Chomsky -- Jürgeb Gabernas -- Sir Bernard Williams -- Jacques Derrida -- Richard Rorty -- Robert Nozick -- Saul Kripke -- David Kellogg Lewis -- Peter (Albert David) Singer. (shrink)

The book includes engaging discussions of all of the areas central to aesthetics: aesthetic experience, representation, expression, the definition and ontology of art, evaluation, interpretation, truth, and morality. As well as providing a solid grounding in the seminal theories of Plato, Immanuel Kant, and Benedetto Croce, it presents the ideas of contemporary analytic thinkers, such as Ludwig Wittgenstein and Nelson Goodman, and the iconoclastic views of continental theorists, such as Roland Barthes and Jacques Derrida. Concerned throughout with enhancing (...) the reader's response to art, Colin Lyas brings his theoretical discussions to life with a wealth of topical examples of human creativity that are familiar to young people: Bowie as well as Beethoven, Warhol as well as Whistler. With comprehensive, up-to-date guides to further reading, Aesthetics is an invaluable introduction for students taking philosophy of art courses and essential reading for anyone who wishes to be informed and inspired to think about and experience art in a new way. (shrink)

Offers a comprehensive historical overview of the field of aesthetics. Eighteen specially commissioned essays introduce and explore the contributions of those philosophers who have shaped the subject, from its origins in the work of the ancient Greeks to contemporary developments in the 21st Century. -/- The book reconstructs the history of aesthetics, clearly illustrating the most important attempts to address such crucial issues as the nature of aesthetic judgment, the status of art, and the place of the arts within society. (...) Ideal for undergraduate students, the book lays the necessary foundations for a complete and thorough understanding of this fascinating subject. -/- Table of Contents -/- Introduction \ 1. Plato, Robert Stecker \ 2. Aristotle, Angela Curran \ 3. Medieval Aesthetics, Gian Carlo Garfagnini \ 4. David Hume, Alan Goldman \ 5. Immanuel Kant, Elisabeth Schellekens \ 6. G.W.F. Hegel, Richard Eldridge \ 7. Arthur Schopenhauer and Friedrich Nietzsche, Scott Jenkins \ 8. Benedetto Croce and Robin Collingwood, Gary Kemp \ 9. Roger Fry and Clive Bell, Susan Feagin \ 10. John Dewey, Thomas Leddy \ 11. Martin Heidegger, Joseph Shieber \ 12. Walter Benjamin and T.W. Adorno, Gerhard Richter \ 13. Monroe Beardsley, Noël Carroll \14. Nelson Goodman, Alessandro Giovannelli \ 15. Richard A.Wollheim, Malcolm Budd \ 16. Arthur C. Danto, Sondra Bacharach \ 17. Kendall L. Walton, David Davies \ Some Contemporary Developments, Alessandro Giovannelli . (shrink)

Recent years have witnessed a revival of interest in the method of explication as a procedure for conceptual engineering in philosophy and in science. In the philosophical literature, there has been a lively debate about the different desiderata that a good explicatum has to satisfy. In comparison, the goal of explicating the concept of explication itself has not been central to the philosophical debate. The main aim of this work is to suggest a way of filling this gap by explicating (...) ‘explication’ by means of conceptual spaces theory. Specifically, I show how different, strictly-conceptual readings of explication desiderata can be made precise as geometrical or topological constraints over the conceptual spaces related to the explicandum and the explicatum. Moreover, I show also how the richness of the geometrical representation of concepts in conceptual spaces theory allows us to achieve more fine-grained readings of explication desiderata, thereby overcoming some alleged limitations of explication as a procedure of conceptual engineering. (shrink)

A sequent calculus is given in which the management of weakening and contraction is organized as in natural deduction. The latter has no explicit weakening or contraction, but vacuous and multiple discharges in rules that discharge assumptions. A comparison to natural deduction is given through translation of derivations between the two systems. It is proved that if a cut formula is never principal in a derivation leading to the right premiss of cut, it is a subformula of the conclusion. Therefore (...) it is sufficient to eliminate those cuts that correspond to detour and permutation conversions in natural deduction. (shrink)

TRANSLATED FROM THE ITALIAN OF BENEDETTO CROCE BY DOUGLAS AINSLIE B.A. (OXON.).

In recent years two different axiomatic characterizations of the intuitive concept of effective calculability have been proposed, one by Sieg and the other by Dershowitz and Gurevich. Analyzing them from the perspective of Carnapian explication, I argue that these two characterizations explicate the intuitive notion of effective calculability in two different ways. I will trace back these two ways to Turing’s and Kolmogorov’s informal analyses of the intuitive notion of calculability and to their respective outputs: the notion of computorability and (...) the notion of algorithmability. I will then argue that, in order to adequately capture the conceptual differences between these two notions, the classical two-step picture of explication is not enough. I will present a more fine-grained three-step version of Carnapian explication, showing how with its help the difference between these two notions can be better understood and explained. (shrink)

Originally published in English in 1950 this is one of the most revealing works by one of Italy's foremost philosophers of the 20th century, who was also a courageous and effective opponent of Fascism. Following the Allied landing at Salerno, Croce was called upon by kings, princes, generals and politicians and asked to decide question of vital importance to Italy. This book records the notes Croce made on political matters in 1943 and 1944 and includes some of the many documents (...) Croce possessed which referred to the attempt in Naples to form a Corps of Italian volunteers. (shrink)

Plato the teacher: - Being selections from the Apology, Euthydemus and Protagoras is an unchanged, high-quality reprint of the original edition of 1897. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to (...) the preservation of literature which has become rare and historical knowledge for the future. (shrink)

The earliest -- c.1446-7 --complete translation of an authentic dialogue of Plato into a Western vernacular language.

This paper develops a novel approach to the question of the normativity of logic, which we reinterpret as a clash between two intuitions: the direct normativity intuition and the unfeasibility intuition. The standard response has been to dismiss the direct normativity intuition, bridging logic and reasoning via principles that relativize the normative import of logic to pragmatic and feasibility considerations. We argue that the standard response is misguided. Building upon theories of bounded rationality, our approach conceptualizes reasoning as constrained by (...) multiple, independent normative factors, logical and non-logical ones. These different factors can conflict with one another, to the effect that logically sound inferences might not coincide with what is feasible for an agent to infer. From this perspective, we will argue that logic gives us only prima facie, i.e. contributive and defeasible, obligations on what to believe, but that such obligations do not always coincide with what an agent ought to believe all things considered. These distinctions will dissolve the alleged clash between the direct normativity and the unfeasibility intuition. (shrink)

This is a commentary on selected texts of Plato concerned with poetry: the Ion and relevant sections of the Republic. It is the first commentary to present these texts together in one volume, and the first in English on Republic 2 and 3 and Ion for nearly 100 years. The introduction sets Plato's views in their Greek context and outlines their influence on later aesthetic thought. An important feature of the commentary is its exploration of the ambivalence of (...) Plato's pronouncements through an analysis of his own skill as a writer. (shrink)

The Italian philosopher Benedetto Croce (1866-1952) spent most of his life as a private scholar in Naples. His Estetica, which first appeared in 1902, has remained a seminal work not only for aesthetics but also for general linguistics. As the full title indicates, this is not a narrow work dealing with the theory of art and criticism. For Croce intended this to be the first part of his "philosophy of the spirit" and he thus presents a systematic general theory (...) intended to solve all philosophical problems. The work presents an account of the structure of the human mind and shows how art arises naturally from that structure, as well as introducing the influential notion of the organic unity of a work of art. As a result, art is shown to be integral to any life and an essential aspect of what it is to be human. This new translation of the first and most important part of the work (Theory) supersedes the defective translation by D. Ainslie, first published in 1909. It is based on the most recent Italian edition (1990). In his foreword the translator addresses the difficulties in translating certain key words in the Italian original, "scienza", "fantasia", and of course, "estetica" itself. He also furnishes the reader with helpful explanatory annotation. This publication will be of cardinal importance for all those interested in the philosophy of art, the history of criticism, and the history of linguistics. (shrink)

It is the aim of this article to establish the conceptual continuity between Fichte's early manuscript Personal Meditations on Elementary Philosophy/ Practical Philosophy (1793/94) and his Foundation of the Entire Wissenschaftslehre (1794/95) and thereby draw implications for understanding the proper foundation of the Wissenschaftslehre. The second section will begin with a remark on Fichte’s term “setzen” (to posit), a term that Fichte appropriated from his predecessors to designate a fundamental activity which is central to rational agency and prior to the (...) Kantian distinction of sensibility and understanding. I suggest that the positing act underlies the act of judging as well as representing. The third section points out that there is a common task in Personal Meditations and the Foundation. On that score, their continuity is prominent, and it justifies taking them together as one project in which the third element takes up the unique synthetic role in the system. The fourth section acknowledges some significant nuances that differentiate the two phases. In the fifth section, I attempt to give a modern reading of the fundamental principles of the Foundation under the assumption that Fichte’s account of the positing acts gives us an idealist account of the transcendental conditions of judgments. The final section traces the foundational conception of limitation in Personal Meditations, where representation was given greater prominence, and draws out the theoretical implications that were largely preserved in the Jena phase. (shrink)

First published in 2005, Economics and Social Interaction is a fresh attempt to overcome the traditional inability of economics to deal with interpersonal phenomena that occur within the sphere of markets and productive organizations. It makes use of traditional economic concepts for understanding interpersonal events, while venturing beyond those concepts to give a better account of personalised interactions. In contrast to other books, Economics and Social Interaction offers the reader a rigorous effort at extending economic analysis to a difficult field (...) in a consistent manner, sensitive to insights from other behavioural and social sciences. This collection represents an important contribution to a growing research agenda in the social sciences. (shrink)