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)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

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)

A portrait of scholastic approaches to a qualified disagreement of opinions, focusing on the antagonism of scholastic probabilism and anti-probabilism in the early modern era.

From the INTRODUCTION. The measurement of intelligence at the present time is a well recognized part of psychology. The growth of this work and the interest shown in it during the last three decades have been truly remarkable. We have witnessed the establishment of innumerable clinics and the appearance of the "mental tester." This growth has been characterized by the practical considerations of clinical examinations. The need for a psychological examination has been recognized and answers to practical situations have been (...) demanded before the psychologist has really had time to formulate his own conceptions of the whole problem. Theoretical considerations have lagged behind the practical application of mental tests. We have been measuring intelligence long before we have decided as to what intelligence really is. Far from being a drawback, as this at first sight would appear to be, it has in fact proved' to be of distinct advantage, since the measurement of this something, that we have been making, is leading us slowly but surely to a real knowledge of what can with profit be called "general intelligence." Only after considerable work with mental tests did psychologists arrive at the now generally accepted definition of intelligence, as enunciated by Stern, that "Intelligence is a general capacity of an individual consciously to adjust his thinking to new requirements: it is general mental adaptability to new problems and conditions of life." Although even this definition of intelligence may be modified in the future, it serves, at the present time, as a good working hypothesis for the selection of tests for mental measurement. Other conceptions of general intelligence are numerous and many are very similar. Binet, for example, says: "It seems to us that in intelligence there is a fundamental faculty, the alteration or the lack of which is of the utmost importance for practical life. This faculty is judgment, otherwise called good sense, initiative, the faculty of adapting one's self to circumstances. To judge well, to comprehend well, to reason well, these are the essential activities of intelligence." Meumann says general intelligence depends on two qualities, "(1) on the capacity for independent, productive thought (productive, synthetic thinking).... (2).the intensity of the whole mental life." Ebbinghaus makes intelligence include abstraction and the ability to compare and contrast. Burt says that the result of his work "strongly suggests that it is one feature or function of attentive consciousness which forms the basis of intelligence, namely, the power of readjustment to relatively novel situations by organizing new psycho-physical co-ordinations." And lastly Hart and Spearman look upon general intelligence as a "common factor" or "central tendency" not exactly definable, but entering into all sorts of mental activities to a greater or less degree. In addition to these hypotheses as to the nature of intelligence, theoretical considerations as to the growth of intelligence and the general distribution of the various grades of intelligence are arising as a direct result of the practical work being done. Questions as to the rate of increase in normal mentality are being raised, and the theoretical assumptions, upon which we base our classification of individuals into different groups, are being discussed. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Language and imagination play a prominent role in Merleau-Ponty’s early reflections on literature. The “literary use of language” is opposed to usual or ordinary language, and it is also assigned the task of rejuvenating the latter. Merleau-Ponty is here openly inspired by Saussure and more secretly by Bergson. Poetic language is said to effect a coherent deformation of a linguistic code and to liberate signifiers from their subordination under a subjective meaning that directly refers to external objects. Literature also illustrates, (...) in exemplary fashion, the creative power of imagination and the effective force of fictions. This is where the discussion with Sartre comes into the picture. The article explores, in particular, what personal identity and the meaning of real facts owe not only to language but also to the imagination of possibilities. It further investigates the different notions of truth that apply to literary works of art. Literature is also shown to undermine the conception of the relation between fact and meaning, actuality and possibility, reality and fiction, truth and semblance in terms of dual oppositions. Most importantly, literary fictions and narratives can make a real change in the life of writers and readers by unfolding their unrealized personal potentialities, by refining their emotional sensibility, and by distancing them from themselves. In all this, an imaginative mode of ‘projection’ plays a central role. Le langage et l’imagination jouent un rôle de premier plan dans les réflexions de Merleau-Ponty sur la littérature. « L’usage littéraire du langage » est opposé au langage usuel ou ordinaire, et la tâche lui est également dévolue de rajeunir ce dernier. Merleau-Ponty s’inspire ouvertement de Saussure et plus secrètement de Bergson. Le langage poétique est dit effectuer une déformation cohérente du code linguistique et libérer les signifiants de leur subordination à une signification subjective qui réfère directement aux objets externes. La littérature illustre également, de manière exemplaire, la puissance créatrice de l’imagination et la force effective de la fiction. Ici la discussion avec Sartre entre en jeu. Mon article explore en particulier ce que l’identité personnelle et la signification des faits réels doit non seulement au langage, mais également à l’imagination des possibilités. Il discute également les différentes notions de vérité qui s’appliquent aux oeuvres d’art littéraires. Je montre aussi que la littérature empêche de concevoir comme des oppositions duelles les relations entre fait et signification, actualité et possibilité, réalité et fiction, vérité et vraisemblance. Par dessus tout, les fictions et narrations littéraires peuvent provoquer de réels changements dans la vie des écrivains et des lecteurs en déployant leurs potentialités personnelles non réalisées, en affinant leur sensibilité émotionnelle et en se distanciant d’eux-mêmes. Dans tout cela, le mode imaginatif de la projection joue un rôle central.Linguaggio e immaginazione rivestono un ruolo centrale nelle prime riflessioni di Merleau-Ponty sulla letteratura. L’“uso letterario del linguaggio” viene opposto al linguaggio ordinario o quotidiano e al primo viene inoltre assegnato l’incarico di rinnovare il secondo; in questo, Merleau-Ponty si ispira apertamente a Saussure e, in modo meno manifesto, a Bergson. Il linguaggio poetico è ritenuto in grado di imprimere una deformazione coerente a un determinato codice linguistico e di liberare i significanti dalla loro subordinazione a un significato soggettivo che si riferisce direttamente a oggetti esterni. La letteratura, inoltre, illustra in modo esemplare il potere creativo dell’immaginazione e la forza effettiva della finzione letteraria. È qui che entra in gioco la discussione con Sartre. Questo articolo esplora, in particolare, ciò che l’identità personale e il significato dei fatti reali debba non solamente al linguaggio, ma anche all’immaginazione delle possibilità; indaga inoltre le diverse nozioni di verità che possono essere applicate all’opera d’arte letteraria. L’articolo mostra poi come la letteratura possa mettere in discussione il carattere di opposizione binaria della relazione tra fatto e significato, attualità e possibilità, realtà e finzione, verità e verisimiglianza. In maniera significativa, le finzioni e le narrazioni letterarie possono cambiare la vita di scrittori e lettori svelando le loro potenzialità personali irrealizzate, raffinando la loro sensibilità emotiva e ponendoli a distanza da se stessi. In tutto questo, una modalità immaginativa di “proiezione” svolge un ruolo di primaria importanza. (shrink)